A Quote by Simone de Beauvoir
At the moment of their emancipation, women have a need to write their own histories.
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As a historian I understand how histories are written. My enemies will write histories that dismiss me and prove I was unimportant. My friends will write histories that glorify me and prove I was more important than I was. And two generations or three from now, some serious sober historian will write a history that sort of implies I was whoever I was.
The demolishment of the power of organized Christianity in the Western world to finally realize the emancipation of women and give them the vote in 1920. Women couldn't even own property in their own names until the last quarter of the 19th century in America.
The history of men's opposition to women's emancipation is more interesting perhaps than the story of that emancipation itself.
... women learned one important lesson--namely, that it is impossible for the best of men to understand women's feelings or the humiliation of their position. When they asked us to be silent on our question during the War, and labor for the emancipation of the slave, we did so, and gave five years to his emancipation and enfranchisement.... I was convinced, at the time, that it was the true policy. I am now equally sure that it was a blunder.
Let women write horror. Let women write darkness, let women write trauma, without having to carve out their own trauma to justify it.
There were musicians that influenced me, but they weren't all women. Teena Marie was a big influence because she wrote and produced her own music, which let me know that women could write and produce their own music, which was an empowering moment for me.
I'm also developing my own narrative, because I'm the son of a widow. And so, while working with women and gathering their oral histories, I'm taking a step back to do my own art book and visual work.
The emancipation of man is the emancipation of labor and the emancipation
of labor is the freeing of that basic majority of workers who are yellow, brown and
black.
I've been making 16mm urban landscape films about San Francisco for many years. I choose different nonfiction themes to investigate and am generally interested in surfacing lesser-known histories. I like to investigate and illuminate these histories, combining them with my own unconventional storytelling style, which is generally a stream-of-consciousness voiceover involving a steady stream of personal reflections on pining over unavailable women.
As historians write more and more histories, it's a sort of self-fulfilling prophecy that other historians read their histories and then make synthesis, and certain things just get forgotten and left out and neglected.
I need to go out and write and produce my own stuff and collaborate with other women.
The world has enough women who are tough; we need women who are tender. There are enough women who are coarse; we need women who are kind. There are enough women who are rude; we need women who are refined. We have enough women of fame and fortune; we need more women of faith. We have enough greed; we need more goodness. We have enough vanity; we need more virtue. We have enough popularity; we need more purity.
The male clerk with his quill pen and copper-plate handwriting had gone for good. The female short-hand typist took his place. It was a decisive moment in women's emancipation.
I do believe we are actors in our own dramas, which, moment by moment, we ourselves write; that we are characters in our own fictions or those devised for us by someone or something else.
The emancipation of women must be the work of women themselves, independent of the class struggle.
I still write. I'd love to write more trashy chick-lit. At the moment, I just re-write my own lines, which probably annoys most directors - though, thankfully not Adam Brooks!
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