In case you are unaware, the Bechdel test, or Bechdel-Wallace test, was created in the mid-1980's, and was designed to gauge sexist content (against women) in screenwriting so it could be objectively measured. The rule primarily operates on a percentile base, specifically relating to the amount of female characters in the script or film, and more importantly, the content of their dialog. Often, but mostly not explicitly stated, the elasticity of the criteria moves past the art itself and into the real world, encompassing practical, behind the camera issues, such as, "is the writer, director or producer of such and such a film female?"
According to Wikipedia: "...the Bechdel Test, sometimes called the Mo Movie Measure or Bechdel Rule is a simple test which names the following three criteria: (1) it has to have at least two women in it, who (2) who talk to each other, about (3) something besides a man. The test was popularized by Alison Bechdel's comic Dykes to Watch Out For, in a 1985 strip called The Rule. For a nice video introduction to the subject please check out The Bechdel Test for Women in Movies on feministfrequency.com."
As a writer, and I hope as a good one, I demand of myself the capacity to create characters of either gender or sexual orientation, as well as any race or ethnic group, or religion or creed. I understand that in the past female screenwriters had a hard go of it a male dominated industry, and that often male writers have presented female characters as one-dimensional archetypes supporting the male lead rather than as the fully fleshed out people they deserved to be in the world of film story. I grasp that the problem of literary sexism continues to exist in some smaller ways, but the goal here is to create quality writing, yes? Not to empower an over-arching revenge ploy or victimization narrative, right?
We, as creators, want to produce the best work possible, and in the modern world, the best way to do so is to not be "sexist" or "feminist", but rather, to be "egalitarian", and treat all characters as equally important to the structure of the plot and interpersonal relationship hierarchy within the realities we have created.
But perhaps, I am "man-splaining" too much.
Nevekari Enterprises) eight time awarded script "Classical Ideal" as feminist. But upon much reflection, and some major revisions, I feel that it is indeed now a truly egalitarian work. Classical Ideal chronicles the slow evolution of Lilly Goslicki, who has just awakened from a medical procedure designed to "reboot" her genome after a dreadful road accident.
The Log-Line reads: In the near future a woman awakens to find that she has been transformed into an ideal version of herself - the only catch, her memory of the past has been obliterated. Manipulated by a culture driven by vanity and unreasonable expectations, she struggles to find what she has lost.
"Girl Power" is one thing, but when any victim identity makes the pressing for equal rights, or just taking pride in their identity to desiring revenge in order to balance scales that can never be truly balanced, simply because we can't re-write and undo the past, this becomes sheer fallacy.
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