ON WORSHIPPING GIRLS
Julie Burchill’s Girls On Film starts with a lie: men are worshipped in all walks of life, but women are worshipped only for their acting in movies. This statement is so hapless and self-loathing as to be beyond reasonable discourse. I worship the ground Simone De Beauvoir walked on, would love to have been an adult in the '50s solely for the chance to talk with Hannah Arendt, firmly believe Emily Bronte was one of the greatest people who ever lived, and have more than an affected liking for Billie Holliday.
ON WORSHIPPING GIRLS
CREEMEDIA
GIRLS ON FILM by Julie Burchill (Pantheon)
Iman Lababedi
Julie Burchill’s Girls On Film starts with a lie: men are worshipped in all walks of life, but women are worshipped only for their acting in movies. This statement is so hapless and self-loathing as to be beyond reasonable discourse. I worship the ground Simone De Beauvoir walked on, would love to have been an adult in the '50s solely for the chance to talk with Hannah Arendt, firmly believe Emily Bronte was one of the greatest people who ever lived, and have more than an affected liking for Billie Holliday.
After sprouting this said lie, Julie abruptly forgets it as Girls On Film follows a fairly tortuous (if well-written path) to a ludicrous equation:
The decline and moral decay of America equals the decline of American Cinema.
The decline of American Cinema equals the decline of decent roles for women in films.
Therefore, the decline and moral decay of America equals the decline of decent roles for women in films.