Feminist/Gender Theory, Society and Politics

Equalism: The Feminist Alternative?

A/N: This is a follow-on piece to my previous post, ‘A Response to Women Against Feminism’, and some of the comments I received on it, so if you haven’t already it might be helpful to read it – as well as some of the comments – before reading this.

I have always tried to separate emotion from criticism as a writer, but when I came across an article about the group ‘Women Against Feminism’ and scrolled through some of the photos from the group’s members, I did get emotional. At first I was frustrated. Then I was disheartened. Then I began to think about some of the statements from the group more rationally; think about their context, and perhaps their misunderstandings about a cause I believed in, and decided to do what I normally try to avoid – put my honest and emotional reaction into writing. I read about the group in the morning and by the early evening I had finished, edited, and posted the response, thinking nothing more would really come of it.

Somehow a lot of people not only found and read the post, but they shared it, commented on it, liked/disliked it, and even wrote their own response to my response. I was truly overwhelmed by all of it, so, to all of you reading this who did one or more of the above things – thank you. Whether you agreed whole-heartedly or thought I was talking absolute rubbish, I am touched that you felt strongly enough to contribute to this ever-growing debate.

A common trend I noticed both in the ‘WAF’ group and within the comments on my response to them was the rejection or negation of Feminism as a word and/or concept in favour of words and/or concepts such as Humanism or Equalism. While I can’t respond to every single point raised by every single person, nor do I want to directly answer specific questions or criticisms thrown at me, this trend did get me thinking:

Is Equalism really the antidote to the perceived problems of Feminism?

As I made mention of in my response piece, Feminism is a political, social, and cultural movement with over 200 years of history behind it. One of the reasons why it is has remained so prevalent – other than the fight for women’s equality not yet being won – is because of a cycle of continual reinvention. Get ready for a cheesy pop cultural reference: It’s pretty much the Madonna of equal rights movements. It’s history is not defined as simply ‘traditional’ and ‘modern’ as many make the mistake of thinking it is, but broadly as Feminism and Post-Feminism, with those two halves then being divided again into four ‘waves.’ From Goddess worship to Cyborg Anthropology, Suffragettes to Riot Grrrls, Feminist history is diverse, militant, creative, crazy, and even unappealing and downright ugly at times.

Isn’t that what keeps a cause alive, though? Isn’t that what keeps a democratic society in general thriving? Constant debate, constant re-examination, constant rebirth… It’s an exciting and fascinating movement, whether you agree with its aims or not.

As long as there has been any kind of women’s movement, there has also been an opposing one. WAF is certainly not the first, and it most certainly will not be the last. From what I can tell, this particular group seem to be saying that they feel brow-beaten, belittled, patronised, or even abused by Feminists (or ‘Femi-Nazis’ as they are affectionately called by some…) And you know what? I do empathise with this to a certain point. Like any flourishing political movement, Feminism’s supporters hold a broad spectrum of beliefs – much like the Left, Right and Centre spectrum of the political landscape as a whole. To put it simply: On one side you have liberal Feminists, and on the other, you have radical Feminists. (Just for the curious – I consider myself to be a liberal Feminist with Post-Human leanings).

Whilst I don’t want to put words into their mouths, I know from research and experience that some radical (really radical) Feminists might argue that women should in fact be superior to men; that all heterosexual sex is rape; and that marriage should be abolished. Liberal Feminists (like myself) might argue that women should be equal to men, and that women should have complete freedom of choice in their lives without judgement or alienation from any other woman or man.

That is not to say that there aren’t points of cross-pollination though. Even as a liberal Feminist believing in gender equality, I hold some beliefs that may seem extreme or odd to some, but are purely personal choices based on my political preference. For instance, I don’t believe in marriage. Does this mean I go around telling every man and woman that he or she shouldn’t get married? No. That belief to me is a personal choice and I am grateful that I live in a society in which men and women can now choose whether or not to uphold this tradition. However, issues relating to marriage such as child-brides and legalised rape within marriage in certain cultures are not personal beliefs of mine – they are global injustices that I think are important to stop.

That is the difference between a personal belief and a global injustice. I think that the point in which a healthy debate turns into a nasty argument is often when we confuse the two.

Most of these extremely radical beliefs seem to be in the minority though, and whilst I would speak against any Feminist who promoted something I didn’t agree with, I would not tell him or her that they couldn’t believe in those ideals, just as I wouldn’t tell anti-Feminists they couldn’t be anti-Feminists. I would – and did – however, present my side of the argument for their consideration. If you believe in a cause strongly enough you will always defend and promote it. Whether you manage to convince the opposing side of your point, well, that depends on the strength of your argument.

Whether you are a radical or a liberal, all Feminists (Female Supremacists aside…) are united and bound by the goal of reaching total equal political, social, and cultural status with men. We may take different roads, but the destination will always remain the same.

The question I ask now is: With so many different beliefs, theories, and splinter-movements to pick and choose from within the rich history of Feminism – and indeed other movements for similarly oppressed groups – what does something like Equalism really offer you as an alternative?

Reading the comments and statements of its supporters and champions, the central ideal of Equalism for many appears to reject movements that cater to a specific oppressed or disadvantaged group – e.g. Feminist groups for women, Men’s Rights groups for men, Civil and Racial Rights groups for people of colour, Disabled Rights groups for disabled people, or LGBT groups for lesbian, gay, bisexual and transgendered people – in favour of lumping them all together in one easily digestible package of equality.

This is all well and good in theory, and I certainly support Equalist ideology, but the fundamental problem I keep getting stuck on is this: If you’re focussing on everyone, who are you making them equal to?

The point of these individual pressure groups is that they recognise that they belong – not through choice – to a marginalised and disadvantaged faction in society, and so seek to advance themselves to match – not surpass – their comparative dominant and over-privileged faction. Their goal is to level the playing field by bringing the oppressed side up, not the oppressive side down. Very often, the toughest battles to fight are on a culturally systemic one – where this oppression is so inherently indoctrinated into an oppressive group, that they may not even be aware that they are enacting it, or when they are made aware of it, they find it hard to accept and reject it completely.

Identifying the most privileged/least oppressed group can be tricky, as it is usually bound up in varying socio-economic and cultural systems from country to country. Certainly in most of the Western world – the perspective I write from – this group appears to be white, able-bodied, heterosexual, and middle to upper class men. This does not mean that this group suffers no oppression whatsoever, but that they suffer the least amount compared to the others.

The most privileged and least oppressed group in a society therefore provides the ‘pinnacle’ or set standard that any disadvantaged group strives to reach.

This gets more complicated when you begin to crossbreed the perceived disadvantages with one another. For example, a black woman may experience more oppression than a white woman. A gay man may experience more oppression than a heterosexual man. A disabled, transgendered Asian woman may experience more oppression than a disabled, bisexual white man. You can see how complicated this can get, and how the levels of oppression can multiply and multiply based on numerous social and political stigmas.

Each of these groups has completely different obstacles to overcome, completely different experiences of life, and completely different needs to be fulfilled to feel like they are truly accepted within a particular society. Or maybe they don’t even want to be part of a society at all. Maybe they want to be part of their own.

Therefore, if the goal of Equalism is simply ‘to make everyone equal’ then how is that going to be achieved in practical terms? This definition, as sweet and simple as it is, seems to be just that – too sweet and too simple.

Of course, you could say this of Feminism – that the goal is too big and the target group too diverse. Except that Feminists have already recognised this, and, as I said earlier, split into various splinter groups and waves that aim to address the needs of all kinds of different women. The one common thread that weaves through them is that they are all women – biological, Cis, or transgendered – whatever their definition is. Feminism also practices what it preaches. Better women than me do more than write ranty blogs, sign petitions, donate to charities, and join in on ‘Reclaim The Night’ rallies. They physically go out into disadvantaged communities and directly make a difference in people’s lives. Brave and intelligent activists like Malala Yousafzai, for example.

Furthermore, if your definition of ‘everyone’ really means everyone, does that include the most privileged/least oppressed groups as well? What is the measure of equality for the group that sits comfortably at the top? There is nowhere else to go for them except up or down. In this case, the terminology would need to either be Disenfranchisement or Advancement, not Equalism. Surely, it seems more sensible to focus on enabling the groups below them to first reach their level at the top before we decide how to advance society as a whole.

Don’t get me wrong. Just like Equalists I really do want to live in a world in which everyone is equal, in which no child is brought up in a world that will punish them for the circumstances of their birth that they do not have any chance of changing – nor should they be forced to. I want to live in a world in which difference and diversity is so accepted that those words have lost all meaning.

The crux of what I’m saying is that Equalism certainly has it’s heart in the right place, but I’m just not convinced that it offers any practical solution to the problems of the individualised Equal Rights groups. In fact, the blind rejection of the hard work these groups have done in favour of lumping them altogether seems almost offensively simplistic. If there is a real, working Equalist agenda that sets practical and achievable aims as to how each and every person in our society can be made exactly equal to one another – I’d really like to see it. If you think I’m wrong – Change my mind.

In the meantime, I will continue to support individualised groups tailored for individualised needs and hope that one by one, or in collaboration with one another, they win every battle, and continue to change every heart and mind set against them for the good of our society as whole.

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Anime, Pop Culture, Visual Cultural Theory

Anime and Cartoons: East vs. West

So, this is all started when I tried to find a DVD of the brilliant but sadly forgotten anime series The Big O. I say ‘tried’ because to my surprise I discovered that not only were there barely any copies up for sale on both eBay and Amazon, but the asking prices ranged from £35 – 70…for two measly series’. I hadn’t encountered this much trouble finding an anime series on DVD since my fruitless hunt for Neon Genesis Evangelion last year (which was even more distressing – yes, distressing. Point of interest: the Evangelion manga is actually far easier to buy – and makes a heck more sense than the show. You can even get these handy 3-in-1 volumes, which I’ve been collecting, that also include neat stuff like full colour art pages and bizarre interviews with the writer and voice actors…if you’re an Evangelion junkie, I can’t recommend them enough.)

I did have some idea beforehand that Big O was a bit of a cult series, but the fact that the DVDs were so rare piqued my interest, so I had a nose around the show’s Wikipedia page (when in doubt…Wiki it) and found that the critical response to the show was sort of like…Marmite. Some people (like me) thought it was slick and clever with some pretty awesome mecha fight scenes, but others found it far too derivative. One guy from IGN said it seemed like

“the creators had watched The Matrix and The Truman Show one too many times.”

Yeah, I can see that. Most interestingly, however, was the fact that the show did very poorly in Japan, but was largely received positively in the West by the three people that actually watched it.

There isn’t really much reason given as to why that is online, but from what I remember of the show I could hazard a guess at why. The first thing I – and probably many other viewers – noticed when watching Big O is how similar the animation style is to Bruce Timm’s Batman: The Animated Series of the 90s, a show which took its artistic cues from film Noir of the 30s and 40s, as well Art Deco of the 20s.

Batman

In fact, the similarities between these shows are so similar, it’s about as hard to not notice them as it would be as hard not to notice you were being wacked in the face by a giant robotic arm coming out of the TV screen. Not only is this true of the animation style, but the entire colour palette, design, atmosphere and characterisation draw parallels: Big O’s protagonist – the dashing Roger Smith – is pretty much Bruce Wayne, but with a giant mecha suit instead of a human-sized Bat-themed one. He even has a British butler, for Christ’s sake.

This leads me on to another obviously Western influence – the names of the characters. Roger Smith, Dorothy Wayneright, Norman Burg… the list goes on. Of course, this is not a unique trait to Big O. Full Metal Alchemist, Attack on Titan, D-Gray Man, Hellsing and a tonne of other anime have used Western names for their characters and also are clearly set in Western countries (the most popular being America, the UK, Germany and France.) However, all of the shows I just mentioned differ from Big O in that they have all been critically and commercially successful in their home country – Japan. Why? Well, the only difference I can see is again in the animation style – the other shows I just mentioned all look like Japanese home-grown anime, whereas Big O has the paw-prints of foreign influences (Bruce Timm’s Batman) all over it.

Anime, after all, seems quite strict in its self-classification. It’s kind of like a tin of baked beans: instantly recognisable from the label, and you know exactly what you’re getting in the inside (I can’t believe I just equated anime to baked beans…is that really the best analogy I can come up with? ) Even if you’ve never consciously sat down (or stood up, you can watch things how you like…) and watched any anime since Pokémon when you were 10 years old, I bet if I showed you a picture of any anime character you would most likely be able to say that the drawing style was certainly not Western. In fact, a perfect example of this is the hugely popular (and deservedly so) cartoon series Avatar: The Last Airbender and its sequel Korra (which is currently airing as I write this.) This show is CONSTANTLY being misclassified as anime due to the obvious Eastern influences on its style and over-arching themes, when in fact both of its creators are American and the show’s network is Nickelodeon. (It looks like anime, it smells like anime, but it just ain’t anime. I will tell you why in a bit…)

This is not to say that all anime looks exactly the same though. In a similar way that different fine artists and film directors have individual and identifiable styles, anime (and manga) artists have different styles that suit different types of anime. Some shows that have stuck in my mind over the years for their outstanding and unique artwork include Soul Eater, Ghost in the Shell, One Piece, Blood Lad, Samurai Shamploo and K. Different anime studios also have a collective ‘house’ style, just like Western ones. Production I.G, which is famous for producing some of the best anime series’ and films in recent years, can be easily recognised by its super crisp and almost impossibly detailed digital rendering, not to mention its ethereal use of light and colour in post-production. Of course, the most recognisable ‘house’ style of all the Japanese studios has to be Ghibli, which has been hailed as the Disney of the East (although I think it equates better with Pixar. No offence Disney.). Ghibli’s style is probably the most Westernised of all come to think of it, yet its popularity in Japan – and internationally – cannot be overstated. It seems to be a troublesome anomaly in the context of what I’m talking about, but hey, exceptions prove the rule, right? (The answer is yes.)

studio_ghibli

All of this is not really about me accusing Japanese anime creators or fans of being closed-minded or even xenophobic, but more to do with what I mentioned earlier: the strict parameters of the medium itself. A strictness that I consider largely self-imposed. Last year when I managed to wrangle critical anime texts into my dissertation research I read one Film Professor’s (his name escapes me now) definition of anime as an animation style that can only be produced in Japan (discounting the fact the much of the more menial production work in modern anime is actually done in South Korea, but never mind…) This definition certainly gives credence to my theory as to why heavily Westernised shows such as Big O get such a lukewarm reception in their home country.

So, is there a problem with a cultural medium being so insular?

Well, let me get one thing straight first: as a Western fan, the things that first attracted and fascinated me about anime were their distinctively Japanese qualities – not just stylistically, but in terms of cultural in-jokes, references and stereotypes. They feel – without meaning to sound patronising or tourist-y – like a tiny window into an exotically different cultural landscape to my own as told right from the mouths and pens of its inhabitants. There’s a reason why there is no such thing as a ‘casual’ anime fan in the West. The fans (or ‘Otaku’ as the Japanese call them, a derogatory term similar to the American ‘geek’ or ‘nerd’ meaning someone who is obsessed with manga or anime) put the fan into fanatical. And speaking as one of them, I can tell you that I reckon this is firstly because of the medium’s unmistakable uniqueness, and secondly because – as an outsider – you really have to commit yourself to watch it to actually understand all of the…well, Japanese-ness.

I’ll give you an example: when a character (usually male) is aroused (usually at the sight of a female character’s skirt being blown up by a convenient blast of wind…trust me, this happens more than you’d think) they have a nosebleed. This is because of a Japanese ‘belief’ that having a nosebleed is linked to sexual arousal.

Anime Nosebleeds

Here’s another example: you know how we in the UK and US (and possibly in other Western countries) have the phrase ‘my ears are burning’ when we think someone is talking about us somewhere? Well, in Japan, this is signified instead by a single, random sneeze. Without translation notes (which some subbers helpfully provide) these little quirks are lost on us Westerners, as it would be vice versa for a Japanese audience watching some Western shows. Visually, anime has its own language that you have to learn as well: sometimes characters will shrink into ‘chibi’ mode, and sometimes thoughts that are visualised and become mingled with reality, and another character can see what the other one is thinking and interact with that ‘thought.’ Yeah. There are a lot of quirks to get accustomed to, but it’s all part of the charm.

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Going back to the mention of subbing though (or subtitling) – this opens up another kettle of fish for the Western Otaku. As I’m sure anyone who has ever tried directly inputting Japanese into Google translate has discovered there can be some hilariously terrible consequences of mistranslation in fan subs. Of course, I completely recommend purchasing official releases on DVD for professionally done subs (and to support the creators of the shows), however, as any seasoned fan will know, these English releases are too few and far between. (Not to mention overpriced…£16 for 4 episodes of Vampire Knight? I don’t think so HMV.) Only the most popular shows will get a Western release, and usually quite a bit longer after their Japanese release. Remember how you would have to wait, like, a whole YEAR for the next Pokémon game to come out after its Japanese release? Well, anime still feels like that for me. Even worse, the only anime that is shown on TV (that I can find) has had American dubbing wacked onto it – which can sound HORRIBLE (cases in point: Ceil Phantomhive in the dubbing of Black Butler and Sakura Kinomoto in Cardcaptors. Awful. Just…ugh.)

Saying that the American intro is just too catchy to be forgotten…

Even worse than this, anyone who has ever watched the American production company 4Kids ‘interpretations’ of anime such as Yu-Gi-Oh! and One Piece and then compared them with their Japanese originals will know just how heavily censored and fiddled with they are. (Cardcaptors is another good example of this, as I explored in my Tumblr blog – An LGBT Guide to Anime – in which 4Kids carefully cuts out every scene where it is evident that Sakura’s older brother has the hots for his male best friend. This results in one episode only being half as long as the rest, and so they have to fill time with flashbacks to the previous episodes. Really 4Kids? You think that two guys holding hands is a worse message to kids than a preteen girl sneaking out of her room every night to supposedly fight magical monsters and lie to her friends and family about it every day?)

TOUYA_AND_YUKI_motivator_by_purpletiger

This issue of censorship also makes the intolerance two-fold: just as Japanese audiences have little taste for Westernised shows; there are plenty of elements of Japanese shows that Western companies such as 4Kids deem unpalatable for their audiences. I have often been dismayed at the Western cultural practice of snubbing anything animated as being ‘just for kids.’ Now that I’m in my 20s * shudder * I have to admit that I’ve started wondering if I am just too old to be watching stuff like this. But then I remember that in Japan, most of the shows I watch are not aimed exclusively at kids – anime is a billion dollar (or yen, I should say) industry with a firm cultural foothold in the country’s heritage. Anime and manga are serious business and lots of it has some serious content – and by that I mean adult with a capital ‘A’. Anyone who has ever seen Ghost in the Shell, Neon Genesis Evangelion or Akira will know what I mean. Even more ‘kid-friendly’ shows such as Bleach have a fair amount of blood spurting around the place.

Aizen_cuts_down_Komamura

I suppose from Japan’s standpoint there’s also the argument that – as such moneymaking behemoth – why should this localised medium bother to try harder to extend its reach globally? And how could any foreign shows possibly compete against such overwhelming competition? With such a comparatively small international market there just doesn’t seem to be enough reason for most anime production companies to make that extra effort to cater to fans beyond the East. Or even just beyond Japan.

I think it’s about time I summed all this up. To begin with, I talked about how The Big O was not widely accepted in its home country seemingly due to its heavy use of Western influences; similarly, despite its popularity increasing from the mid-1990s to now, anime as a whole still enjoys only cult fan status in most of the West. As a Western fan, I find this a great shame – largely because of the availability issues I mentioned earlier, and also because I really feel that anime as a distinctive and imaginative creative medium is massively underrated in our mainstream visual cultural landscape. Though, perhaps I am just seeing it through the rose-tinted glasses of a foreigner…

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Let’s end things on a good note though. The existence of shows such as The Big O and Avatar: The Last Airbender and its sequel Korra, prove that cultural ‘borrowing’ from the West to the East and vice versa are not only possible, but produce some brilliant results. In fact some of your favourite American cartoons over the years may be a bit more Japanese than you realised: ever seen Totally Spies, Batman: Gotham Knight, The Matrix: Animated, Ben 10 or Teen Titans? All were heavily anime influenced. (In fact, Teen Titans creator Glen Murakami was so conscious of this that he purposefully picked Japanese pop (or J-pop) band Puffy Ami Yumi to do the show’s opening theme song – in both English and Japanese.) So perhaps the way forward is more of a cocktail, rather than a straight spirit. Yes, more food analogies…

(What do you mean Totally Spies was not one of your favourite cartoons? They have lipsticks disguised as lasers! What’s not to love??)

Anime and Cartoons: East vs. West

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