Hollywood in the Wake of Weinstein: #MeToo and the Road Ahead to Equality

I. Introduction.

Women in Hollywood have been and continue to be exploited because of their gender. The New York Time’s 2017 exposé on Harvey Weinstein uncovered Hollywood’s history of misogynistic practices. In the case of Weinstein, Hollywood protected him until he became a liability. However, it is easy to see Hollywood as a faceless institution; and forget about the powerful elite behind the scenes who accept these standards and silence victims. For the sake of progress, these individuals must be made accountable. The #MeToo movement played an integral part in exposing such behaviour and gave victims a voice. Conversations surrounding toxic masculinity, gender inequality and abuse are a step in the right direction. We must expect more from Hollywood. Lasting change can only happen if the public demands it. Hollywood has a long way to go but we are finally seeing it take its first steps towards equality.

II. Gender Inequality & Sexism in Hollywood.

The New York Film Academy conducted an investigation on gender inequality in Hollywood spanning from 2007-2012 and 2012-2018. The findings show an increase in women visibility on screen when the director or casting agent is female. There is a 5:1 ratio of men working in film to women. This statistic has stayed consistent from 2007 to 2018. Clearly there are not enough roles to go around *insert sarcasm* appropriate for the lesser sex. When a female does score a leading role, they will have to accept the fact that their male co-stars will be paid significantly more. Big budget block-buster films are no exception.

Gender Inequality in the Film Industry Infograph

In 2013 Jennifer Lawrence starred in the critically acclaimed American Hustle. The film earned a staggering $251,171,807 USD worldwide. The following year emails belonging to Sony Pictures were hacked and published online known as the ‘Sony Scandal’. The emails revealed Lawrence, alongside Amy Adams, although both are Oscar-nominated actresses, earned less than their male co-stars. Lawrence would go on to write a letter explaining her frustration with the industry. Like many before her, Lawrence was made to feel she was being difficult when discussing her salary. One email went so far as to label an actress a “spoiled brat” when asking for equal pay (Lawrence 2015).

The blatant sexism doesn’t end there. According to a 2016 journal article on organized sexism in Hollywood (Simon 2016, p. 1), talent agencies “…structure the labor market for actors, directors, and writers”. In layman-terms, they have the power to dictate each person’s role in the film-making process. This would also suggest they are able to implement change by hiring more female actors, directors and writers.

TED TALKS – The Data Behind Hollywood’s Sexism. Watch until 6min 25sec.

Unfortunately, talent agencies are not actively seeking equality. Instead, they favour men and form obstacles for women through a gendered organizational framework (Simon 2016, p.3). Masculinity is symbolic of strength, dignity & intelligence and are desired traits in decision-making roles such as a producer or casting director. The women who do become talent agents are likely to continue this cycle of gender inequality to avoid confrontation (Simon 2016, p.7). After all, women are constantly reminded to not rock the boat.

If this culture of overt sexism continues, women will remain grossly underrepresented in Hollywood; and complex female characters will be dismissed in favour of desirable, young heroines.

Leading Lady Parts – watch until 7min 25sec.

III. The #MeToo Movement and its impact on Hollywood.

In 2003 Tarana Burke, an African American sexual assault survivor, created Just Be, Inc; a wellness group for young women (Sherwood 2019). The organization quickly turned into a safe space for open discourse and to Burke’s surprise, a staggering number came forward with personal accounts of sexual violence and rape. In an attempt to show solidarity with these women, Burke used the phrase ‘me too’. In 2006 the phrase turned into a hashtag and the #MeToo movement was born.

In 2017 The New York Times released a detailed exposé on Miramax co-founder and Hollywood icon Harvey Weinstein. Allegations of sexual assault against employees and actresses dated back to the 1980’s. Weinstein’s lawyers were able to silence victims and his behaviour quickly became an open secret. After reading the article, celebrity actress Alyssa Milano encouraged victims of sexual assault to tweet about their experiences. This gesture of solidarity quickly turned into an international phenomenon capturing both media and public attention. The #MeToo hashtag would be mentioned 12 million times within the first 24 hours (Keller, Mendes & Ringrose 2018).

Image Source Fed up with Weinstein’s actions, Milano encouraged victims of sexual assault to tweet about their experiences using Tarana Burke’s #MeToo hashtag.

Within three days after the New York Time’s exposé was published, the Weinstein Company’s board was forced to fire their co-founder (Khorasani 2018). The public was outraged and demanding justice for his victims. The #MeToo movement would have a ripple effect on other industries; powerful men including actors, directors, politicians and journalists were publicly accused of sexual misconduct and shamed (Davis & Zarkov 2018). 

Harvey Weinstein and Rose McGowan pictured together in 2007. McGowan would later accuse Weinstein of raping her in his hotel room. Image Source.

According to the Australian Institute of Family Studies (AIFS 2014), gender inequality and sexism leads to violence against women. Aspiring actresses arguably sit on the lowest point of Hollywood’s hierarchy. They are dependent on powerful men like Weinstein who can give them their first acting role in a credited film. When co-founder of Miramax, Weinstein produced critically acclaimed and cult favourites Pulp Fiction and Good Will Hunting to name a few. Although many denied Weinstein’s advances and quickly escaped, others felt they had no alternative or simply froze in fear. Rose McGowan (pictured above) had accused Weinstein of raping her years prior to the New York Times exposé. When McGowan joined #MeToo, her accusations were publicly acknowledged and she became a leading activist against the sexual exploitation of women in Hollywood.

Through continued activism, Burke has facilitated worldwide conversation about recovery, consent, toxic masculinity and systematic misogyny (Sherwood 2019). Celebrity actresses continue to come forward to publicly denounce abusers and Hollywood’s protection of them. Oscar-winning Emma Thompson refused to work with Skydance Animations after it employed Pixar’s John Lasseter to work on the same film. In an open letter to Skydance, Thompson questioned their decision to hire Lasseter after numerous accusations of misconduct against female employees.

“Much has been said about giving John Lasseter a “second chance.” But he is presumably being paid millions of dollars to receive that second chance. How much money are the employees at Skydance being paid to GIVE him that second chance?” – Emma Thompson.

Important questions are being asked and established actresses are openly denouncing sexist behaviour. Although #MeToo would argue it is an open platform for all victims, media coverage focuses on celebrity accounts (Davis & Zarkov 2018). Therefore, change feels real. It appears Hollywood is being made accountable and misconduct in the industry will not be tolerated. As Thompson explains in her letter, Hollywood has experienced centuries of entitlement over women’s bodies. #MeToo is not an overnight solution and it will likely take decades of activism to achieve lasting change

IV. The Yellow Brick Road to Equality.

The #MeToo movement has also received heavy criticism. Many actors and actresses have discouraged #MeToo for its call-out culture. Trial by media, particularly social media sites like Twitter, has concerned many. Film legend Brigitte Bardot openly criticised the movement and accused actresses of exaggerating. Bardot is not alone in her opinion. Actress Catherine Deneuve joined over 100 women in signing an open letter in Le Monde newspaper. The letter states #MeToo, and its French equivalent, #Balancetonporc, or “expose your pig”, has gone too far (Spellings 2018).

Men are being forced to assess their behaviour in the workforce as accusations continue to headline the news. This has led people to debate what is appropriate behaviour and what is not (Davis & Zarkov 2018). Gone are the days of spontaneity when you can go up and kiss a woman without saying a word. What a shame *insert sarcasm for the second time*. Such spontaneous acts of lust have been romanticised in Hollywood films from the beginning. Men are only now being told that this is not normal behaviour and they are shocked.

The Weinstein scandal and #MeToo movement have done an excellent job in exposing Hollywood’s misogynistic practices. In order to move forward however, #MeToo must accept men who acknowledge their behaviour and try to better themselves. Some are already dismissing the movement as mob rule or a direct attack on all men (Pipyrou 2018). By including men in the conversation and discouraging call-out culture, the idea of gender equality becomes more appealing to both sexes.

In January 2019, shaving brand Gillette released a controversial Ad campaign on toxic masculinity. Gillette highlighted how toxic masculinity has been subconsciously taught to us through social norms and the media we consume. Most importantly, it shows how it negatively impacts both men and women. Equality and mutual respect is the way forward as even shaving brands recognize Hollywood’s outdated perception of gender.

V. Conclusion. 

Gender equality in film and television will see a positive ripple effect in wider society. No longer will women be underrepresented in Hollywood as we see more complex female characters on our screens. Aspiring actresses will have equal opportunity when auditioning for roles because more women hold positions as talent agents, casting directors and producers. The powerful elite like Harvey Weinstein will be used as an example of how not to behave, rather than idolized and protected.  Society will continue to consume Hollywood films and will recognize traits of toxic masculinity as harmful for both sexes. Hollywood and greater society are far from achieving this idealistic level of equality. However, thanks to the #MeToo movement, we have taken a collective leap forward in the right direction. We must continue to hold Hollywood accountable to ensure future generations do not experience this extent of inequality, sexual violence and abuse.

VI. References.

AIFS 2014, ‘Gender equality and violence against women: What’s the connection?’, Australian Institute of Family Studies, no. 7, pp. 1-4, viewed 1 June 2019, Available: https://aifs.gov.au/publications/gender-equality-and-violence-against-women/introduction

Davis, K & Zarkov, D 2018, ‘Ambiguities and dilemmas around #MeToo: #ForHowLong and #WhereTo’, European Journal of Women’s Studies, vol. 25, no. 1, pp. 3-9, viewed 15 March 2019, Available: https://journals-sagepub-com.ezproxy.uow.edu.au/doi/10.1177/1350506817749436

Keller, J, Mendes, K & Ringrose, J 2018, ‘#MeToo and the promise and pitfalls of challenging rape culture through digital feminist activism’, European Journal of Women’s Studies, Vol. 25, no. 2, pp. 236-246, viewed 15 March 2019, Available: https://journals-sagepub-com.ezproxy.uow.edu.au/doi/10.1177/1350506818765318

Khorasani, S 2018, ‘Harvey of Hollywood: the Face That Launched a Thousand Stories’, Hastings Communications and Entertainment Law Journal, no. Issue 1, p. 104-24, viewed 29 May 2019, Available: https://heinonline-org.ezproxy.uow.edu.au/HOL/Page?handle=hein.journals/hascom41&div=6&?&collection=journals&t=1559980616

Lawrence, J 2015, ‘Why Do I Make Less Than My Male Co‑Stars?’, Lenny Letter [online blog], viewed 28 May 2019, Available: https://us11.campaign-archive.com/?u=a5b04a26aae05a24bc4efb63e&id=64e6f35176&e=1ba99d671e#wage

Pipyrou, S 2018, ‘#MeToo is little more than mob rule // vs // #MeToo is a legitimate form of social justice’, Journal of Ethnographic Theory, vol. 8, no. 3, pp.415-419, viewed 12 March 2019, Available: https://www.journals.uchicago.edu/doi/full/10.1086/701007

Sherwood, I-H 2019, ‘Q&AA: GIVING VOICE: Me Too founder Tarana Burke discusses the next phase of marketing a movement that’s changing the world’, Advertising Age, vol. 90, Iss. 4, p.18, viewed 15 March 2019, Available: https://eds-a-ebscohost-com.ezproxy.uow.edu.au/eds/detail/detail?vid=6&sid=87a52ebc-bfd3-47e2-b010-f678703385f9%40sdc-v-sessmgr02&bdata=JnNpdGU9ZWRzLWxpdmU%3d#AN=134851311&db=heh

Simon, S 2016, ‘Behind the Sony Scandal: Organized Sexism in Hollywood Talent Agencies’, Conference Papers — American Sociological Association, pp. 1-25, viewed 26 May 2019, Available: https://eds-a-ebscohost-com.ezproxy.uow.edu.au/eds/pdfviewer/pdfviewer?vid=2&sid=b28660e8-3574-45aa-9aaf-37139376cf43%40sessionmgr4007

Spellings, S 2018, ‘Catherine Deneuve Joins French Women in Denouncing #MeToo Movement’, The Cut [online], viewed 3rd June 2019, Available: https://www.thecut.com/2018/01/catherine-deneuve-denounces-metoo-movement.html

Trial by Media: Should the #MeToo Movement Respect Rights of the Accused?

On October 15th 2017, celebrity actress Alyssa Milano encouraged victims of sexual assault to tweet about their experiences. Specifically, Milano asked participants to use the phrase ‘me too’ to show solidarity and the widespread prevalence of sexual assault.

This gesture of solidarity quickly turned into an international phenomenon capturing both media and public attention. The #MeToo hashtag would be mentioned 12 million times within the first 24 hours (Keller, Mendes & Ringrose 2018). The movement would continue to gain traction and within weeks powerful men including producers, actors, directors, Australian politicians and journalists were publicly accused of sexual misconduct and shamed (Davis & Zarkov 2018). 

Image source Milano kick-started the #MeToo hashtag. However, the phrase was originally coined by African American sexual assault survivor Tarana Burke in 2006.

Milano’s original tweet was in retaliation to the institutions which protect sexual predators and silence victims. The very same that protected Hollywood mogul Harvey Weinstein.

On October 5, 2017 the New York Times investigated sexual assault allegations against the Miramax co-founder and producer. The investigation revealed a plethora of accusations from high profile celebrities and ex-employees. Settlements dating back decades revealed aggressive tactics to silence victims quickly and permanently. Accusers were threatened with losing their job, reputation and defamation lawsuits. The charges were promptly dropped and Weinstein’s position remained intact and his behaviour became an open secret (Issitt 2019). 

Following the investigation, an outstanding number of new victims came forward. Unlike before, these women now had a collective voice and the public’s full support. On October 8, 2017 the former King of Hollywood was fired from his company and subsequently banned from the 2018 Oscars.

Watch up to 2min 50sec. 

It is important to recognize Hollywood not as the forefront against sexual violence but as an institution that protected Weinstein and others until they became a liability (Davis & Zarkov, 2018). The media has also changed its tune; going public traditionally meant accusers were trying to gain something. Today, their stories are believed often before the alleged is given the chance to defend themselves.

The below excerpt exemplifies how the Australian news media over-dramatizes victim’s stories, portraying women as innocent and men as deviants. Keep in mind the close up recording of the victim crying, choice of music and descriptive words i.e. ‘gut churning’, and ‘toxic team culture’.

“The game’s got to grow up, and that includes our players.” This week, Steve @Pennells investigates the toxic misogynistic culture that infects both the #NRL and #AFL. The women involved go on the record with the shameful truth. That’s this Sunday at 8:30pm on @Channel7. pic.twitter.com/OBwG4eXpLc

— 7NEWS Spotlight (@7NewsSpotlight) March 15, 2019

The NRL and Australian Rugby League Commission (ARLC) are currently facing their own #MeToo moment. Dragons player Jack de Belin was charged with sexual assault after handing himself over to police in December 2018.  The 28-year-old pleaded not guilty and received conditional bail awaiting his trial. Under the pressure of news tabloids and public opinion, the NRL asked de Belin to voluntarily stand down from his club. De Belin refused and was subsequently suspended. This led to his decision to sue the NRL for misleading and deceptive conduct. Legal representatives of de Belin say public comments made by the NRL formed a view that he is guilty. This message of guilt has been spread across Australian media causing irreparable damage to his reputation leading to financial loss.

Trial by media carries a multitude of problems; including but not limited to, bias coverage, defamation of character and can endanger the safety of the accused. Importantly, the media’s commentary on #MeToo has shaped modern feminism. Feminazi is a term we are hearing more and more, particularly on social media. This notion of gender wars and witch hunts against men has caused many to question the intentions of #MeToo and feminism as a whole (Pipyrou 2018).

Watch up to 2min 15sec.

African American sexual assault survivor and activist Tarana Burke coined the phrase ‘me too’ back in 2006. A proud feminist, Burke has facilitated worldwide conversation about recovery, consent, toxic masculinity and systematic misogyny (Sherwood 2019). The #MeToo founder has used multiple media platforms in an attempt to create a world free of sexual violence. These include speaking at TED TALKS, PSA short films, and creating a ‘safe space’ website for victims.

Today, I’m excited to launch our Survivor Stories on a number of digital platforms, a suite of powerful videos produced with @DeutschInc that feature the journeys of individual survivors. See the announcement on Refinery29 here: https://t.co/5Y63RvsUEy

— Tarana (@TaranaBurke) January 28, 2019

Burke recognises #MeToo’s potential and wants to use it to “…dismantle the building blocks of sexual violence, power and privilege” (Burke 2018, 9min 57sec). Following Weinstein’s exit from Hollywood and other powerful men taking responsibility for their actions, we can be mistaken for thinking #MeToo has already achieved that.

What we do know is accusations of sexual assault are dominating our news headlines. This can mean one of two things; 1. sexual violence against women is on the rise or 2. An increasing number of people are coming forward with accusations of sexual assault.

We as a public must ask ourselves; is social justice better than a guilty verdict in court? Should we continue to forgo the rights of the accused to a trial and the belief that they are innocent until proven guilty? Or is the silent suffering of victims around the world more important?

References: 

Burke, T 2018, ‘Me Too is a movement, not a moment’, TED TALKS [ONLINE VIDEO], viewed 15 March 2019, Available:   https://www.ted.com/talks/tarana_burke_me_too_is_a_movement_not_a_moment/transcript

Davis, K & Zarkov, D 2018, ‘Ambiguities and dilemmas around #MeToo: #ForHowLong and #WhereTo’, European Journal of Women’s Studies, vol. 25, no. 1, pp. 3-9, viewed 15 March 2019, Available: https://journals-sagepub-com.ezproxy.uow.edu.au/doi/10.1177/1350506817749436

Issitt, ML 2019, ‘Me Too Sexual Misconduct Movement’, Salem Press Encyclopedia, viewed 12 March 2019, Available: https://eds-a-ebscohost-com.ezproxy.uow.edu.au/eds/detail/detail?vid=1&sid=87a52ebc-bfd3-47e2-b010-f678703385f9%40sdc-v-sessmgr02&bdata=JnNpdGU9ZWRzLWxpdmU%3d#AN=132204393&db=ers

Keller, J, Mendes, K & Ringrose, J 2018, ‘#MeToo and the promise and pitfalls of challenging rape culture through digital feminist activism’, European Journal of Women’s Studies, Vol. 25, no. 2, pp. 236-246, viewed 15 March 2019, Available: https://journals-sagepub-com.ezproxy.uow.edu.au/doi/10.1177/1350506818765318

Pipyrou, S 2018, ‘#MeToo is little more than mob rule // vs // #MeToo is a legitimate form of social justice’, Journal of Ethnographic Theory, vol. 8, no. 3, pp.415-419, viewed 12 March 2019, Available: http://ey9ff7jb6l.search.serialssolutions.com.ezproxy.uow.edu.au/?genre=article&ID=doi:10.1086/701007&issn=20491115&title=HAU:%20Journal%20of%20Ethnographic%20Theory&volume=8&issue=3&date=20181201&atitle=#MeToo%20is%20little%20more%20than%20mob%20rule%20//%20vs%20//%20MeToo%20is%20a%20legitimate%20form%20of%20social%20justice&spage=415&pages=415%20-%20419&sid=EBSCO:Scopus%ef%bf%bd&au=Pipyrou,%20S.?

Sherwood, I-H 2019, ‘Q&AA: GIVING VOICE: Me Too founder Tarana Burke discusses the next phase of marketing a movement that’s changing the world’, Advertising Age, vol. 90, Iss. 4, p.18, viewed 15 March 2019, Available: https://eds-a-ebscohost-com.ezproxy.uow.edu.au/eds/detail/detail?vid=6&sid=87a52ebc-bfd3-47e2-b010-f678703385f9%40sdc-v-sessmgr02&bdata=JnNpdGU9ZWRzLWxpdmU%3d#AN=134851311&db=heh

 

Star-studded Animal Rights Documentary to Screen for Free in Wollongong.

Image Source: Dominion Media Photos

The UOW Vegan Society (VEGSOC) will screen animal rights documentary Dominion on Thursday 25th October at the University of Wollongong (UOW) campus.

The free screening aims to educate Wollongong locals on the animal cruelty committed by the Australian meat industry.

Priscilla Huynh, president of VEGSOC, wants to spread awareness and compassion for animal welfare by encouraging a vegan diet.

“We want to educate as many people as we can in the hope that they take action and align their actions with their beliefs,” Ms Huynh said.

Jessica Butt, who had struggled to stick to a strict vegan diet, said Dominion helped her to commit. Butt believed the Australian meat industry killed animals humanely. After watching the trailer, she began to reconsider her values.

“I saw footage of the mother cow chasing her calf. It literally crushed me and a switch went off in my brain,” Butt said.

“I saw chickens, cows, pigs and fish all as my dog – a loving, caring, innocent being.”

“It [the film] turned me completely. I started crying before the movie even started. I didn’t stop the whole time.”

Thursday will be the third time VEGSOC screens the film. 120 people attended the first screening however, Hyun does not expect such a large crowd this time around. In an attempt to raise awareness on a mass scale, the official website for Dominion has offered free online access since October 10.

Chris Delforce, the documentary’s director, used drones, hidden and handheld cameras to expose the meat industry over seven years. It claims to be an honest portrayal of mankind’s dominion over the animal kingdom hence the film’s title.

The documentary is a sequel to Delforce’s 2014 Lucent which won multiple humanitarian awards for exposing the cruel standards accepted by the Australian pig-farming industry.

Dominion has had high-profile support with celebrities including singer-songwriter Sia, actor Joaquin Phoenix and actress Rooney Mara narrating the film.

As an animal activist, Delforce encourages fellow vegans to fight for animal rights. By providing them with useful information and proof, the director hopes vegans can better educate the public.

Ms Huynh protesting with another local activist in Wollongong.

 

Last year UOW was voted Australia’s most vegan-friendly university by PETA. VEGSOC hopes to keep this title in the new year with regular film screenings, BBQ fundraisers and educational picnic days.

Wollongong Couple Rescue Dudley the Pig from Slaughter

Wollongong couple Stacey Calder and Jessy Creer rescued a pig after a Gumtree farmer advertised pigs for slaughter. Dudley, now 160kg, lives in a large pen in the couple’s backyard.

Calder, a vegetarian with ambitions of becoming a veterinary nurse, refers to Dudley as her best friend. However, she often has to compete for Dudley’s attention when their dog Sirius is around.

“Dudley and Sirius love each other. Dudley will often cry when he isn’t around,” Calder said.

Adopting a pig has been a challenging but rewarding experience for the young couple.

“I’d love my own farm to rescue more animals,” Creer said.

“If only we could win the lotto.”

Education or Home Ownership? A Student Dilemma.

The Illawarra’s incessant rising house market is diminishing the dream of home ownership for many young Australians, particularly university students. Unlike previous generations, millennial’s are having to ask themselves, do I value education or home ownership more?

Mid-way through 2017, 60 minutes Australia discussed this struggle with Melbourne luxury property developer Tim Gurner. But with almost half a billion dollars to his name, the millionaire mogul was far from relatable.

Tim Gurner believes our housing crisis will be resolved when young Aussies inherit the 'incredible wealth' from the Baby Boomers. #60Mins pic.twitter.com/iET9sus8qW

— 60 Minutes Australia (@60Mins) May 15, 2017

Gurner implied that young people can’t afford to buy property because they’re wasting money on “smashed avocado and coffee” (S Levin, 2017). Unsurprisingly, the online backlash ensued.

Gurner went on to claim “They want to eat out every day [and] they want travel to Europe every year.” Given that no one living outside of the rich and famous can really afford this lifestyle; Gurner has dismissed the struggles of young Australians as self inflicted and irrelevant.

In 2017, the Mercury reported Wollongong to be the third most expensive city in Australia, surpassing Sydney in its price growth. Since entering 2018, the market is showing no signs of slowing. This is a problem for all wishful buyers who don’t want the instability of long-term renting. So why are university students more prone to giving up on the ‘Australian dream’ of owning their own home?

In 2011, the coalition abolished the year 10 school certificate in the hope that “…students will stay on to complete the HSC (High School Certificate).” (A Patty, 2011) Fast forward to 2018 and the number of students in higher education has increased significantly compared to previous years. From the outset, this looks fantastic, yet it is important to acknowledge the significant debt that comes with degrees and qualifications. The University of Wollongong’s average cost for bachelor degrees range from $26,448 – $32,400.

Image Origin: The Conversation Australia

As an undergraduate at the University of Wollongong, I can vouch for others who struggle financially. Our HECS government debt, which sits comfortably in the back of the minds of most students, is just the tip of the iceberg. Include textbook costs (usually starting at $100) on top of stationary, parking fees, printing etc. it isn’t cheap.

Another demographic within the student community are the renters or people who ‘share-house’. According to the UOW student introductory page, the median rent for a 3 bedroom house in Wollongong is $470 per week accumulating to $2,037 a month. Mind you, I have never seen prices so cheap on the ‘UOW Buy & Sell’ Facebook page. Then of course, renters must add on the cost of utilities and internet etc. My point being, smashed avocado may just be a luxury us students occasionally give ourselves to say hey, you are doing alright, hang in there.

Research Proposal Plan: 

To gather authentic responses from students I will create a survey for them to answer online. I will also ask students for their view on home ownership and if it is still the ‘Australia dream.’ Because if the majority say no, than this research paper could point to a generation of willing renters and perhaps a permanent change in the Australian housing market where owning homes will be a thing of the past.

Through academic journal papers, news articles and data research, I aim to provide an honest and objective response to student opinion; making sure what they claim can be backed up by evidence. For instance, analyzing academic, food and transport costs at the University of Wollongong and how much this amount accumulates to throughout a students time at the university. Ultimately, I want to remain as objective as possible as I pose the question; ‘do you feel you are choosing your education over home ownership?’

References: 

Australian Education Network 2018 [online], Tuition Fees, University of Wollongong (UOW) Profile, accessed: 14/03/18, available: http://www.australianuniversities.com.au/profiles/university-of-wollongong-uow.html

Duke, J 2017, Wollongong revealed as Australia’s third most expensive city with price growth outpacing Sydney, Illawarra Mercury [online], accessed: 12/03/18, available: http://www.illawarramercury.com.au/story/4425081/wollongong-revealed-as-australias-third-most-expensive-city/

Levin, S 2017, Millionaire tell millennials: if you want a house, stop buying avocado toast, The Guardian [online], accessed: 13/03/18, available: https://www.theguardian.com/lifeandstyle/2017/may/15/australian-millionaire-millennials-avocado-toast-house

NineNews.com.au 2017 [online], ‘Don’t buy $19 smashed avocado’: Melbourne property tycoon hammers millennials over spending habits’, accessed: 14/03/18, available: https://www.9news.com.au/national/2017/05/15/08/39/melbourne-property-tycoon-hammers-millennials-over-spending-habits#AefJMO779aIiZ4ud.99

Parr, N 2015, Who goes to university? The changing profile of our students, The Conversation [online], accessed: 14/03/18, available: https://theconversation.com/who-goes-to-university-the-changing-profile-of-our-students-40373

Patty, A 2011, Coalition to abort year 10 certificate, The Sydney Morning Herald [online], accessed: 14/03/18, available: https://www.smh.com.au/education/coalition-to-abolish-year-10-certificate-20110803-1ibos.html

 

Sit Down with an EX-Con

“Believe nothing of what you hear and only half of what you see.” – Tony (Ex-convicted criminal)

It is fascinating the way in which people hesitate to talk to someone who has been through our judicial system. It is as if their experiences must be biased or a straight out fabrication. This article aims to change that perception, at least for the man I had the pleasure to get to know. To protect his identity I have named him Tony. By remaining somewhat anonymous, we eliminate the need to think through responses just in case his answers could get back to him.  Therefore this short interview is an honest portrayal of life after and during incarceration.

Since the late 1960’s to approximately 10 years ago, Tony has served fourteen years in some form of incarceration. His first offense was stealing milk money that people would leave on their doorsteps. Tony confessed he was a young surfer, a bit of a rebel at that and wanted some money for the day. After being caught in the act, he was sent to a state-run government ‘Boys Home’ where “systematic abuse was always going on”.

“It was a bit of a fucking rude-awakening for me”. Tony, like myself when hearing about his first convicted crime, did not expect to end up at a Boys Home. He explained how the facility ran on a point system where guards had the power to reward and take away points from inmates depending on their behavior. Although this seems like a constructive approach, it was a “vicious system” that surprisingly divided inmates from each other whilst successfully banding together guards and inmates who were “the best fighters”.

Although a juvenile facility, the Boys Home ran on divisions ranging from 1-6 to control the population. Tony remembers section 1 consisted of the strongest, quickest and best fighters while the others were mixed. To receive privileges and get ahead, members from group 1 would work with the guards.

“One day we were all out working on the field, there were no guards around so I took my chance and dropped my shovel and ran as fast as I could. One of the boys from section 1 came after me and chased me down, I was punished soon after and sent to solitary. I then knew how the game was played.”

 The guards would also return the favor by organizing certain groups to be left alone whilst turning a blind eye to the violence that would ensue.

 “You always knew there would be a fight when the guards called for toilet breaks and left group 1 and another group alone. Everyone knew someone was getting bashed. This was just one of the ways the guards would get their favorites to do their dirty work”.

I asked Tony whether things could have been different for him. Keeping in mind, he did re-offend and would later experience life inside some of Australia’s most notorious prisons. I posed the question, “If you had received community service, for arguments sake, rather than be sent away to the Boys Home, would things have turned out differently?’ Tony didn’t hesitate before agreeing wholeheartedly. And when we discussed the difference between adult prisons and juvenile facilities he casually responded, “the ball game doesn’t change, just the players”. In fact, many of the players had stayed the same. Stemming from his time at the boys home, entering prison was a lot easier for Tony than most others. People he shared his juvenile sentence with were now also adults who were facing tougher and longer sentences. This is where the point of this article becomes clear, the judicial system is not helping rehabilitate and reintegrate, in this case young offenders, back into society. Sending Tony to the Boys Home may have been effective, that is if the guards spent more time learning about the young man who had troubles at home and difficulty finding himself. Instead, they abused their power and set in place an ever-lasting power struggle between people like Tony and authority.

Long-Bay Jail, Sydney NSW Australia

ail in 1970’s Australia were derelict facilities flirting with sickness and disease due to their lack of hygiene. Tony recalls Long-Bay Jail, Goulburn Correctional Centre and Bathurst Correctional Complex  all used “shit-tubs” rather than actual toilets. If you did not use these tubs outside of your cell, you ran the risk of using it alongside cell-mates. Since eating regimes consisted inside the cells and the tubs were changed only once a week, this was an obvious concern. Tony admitted it stripped his humanity for some time, “you felt like an animal but that’s just the way it was in those days.” In contrast, today’s prisons have dramatically changed their exterior shell. Cleaner cells and more humane conditions improved living standards but the facilities themselves face a new set of problems, “When I re-entered prison it was a culture-shock. It was like things looked better but problems were still there. They are just run by gangs now and I can’t see that changing any time soon”.

Unlike the vast majority who struggle with life after incarceration, Tony was given a chance at life as a functioning member of society. Once released,

 “I was lucky. I worked on a water front where they don’t hold criminal records against you. They tried to get them on the straight and narrow…to earn legally. It’s common sense, if you don’t look after people they will look after themselves. They just need someone to believe in them and give them a start, sure 80% will fuck up but the 20% that don’t, deserve the second chance.”

After years of struggling with authority, probation restrictions and re-offending, Tony has proven to himself and his loved ones that he can function in the outside world. Yet its wrong to assume his reintegration owes thanks to his time in incarceration. The judicial system works to “….break you down and then you have to fight”. Time passes but feelings of resentment and frustration linger, “I’m still fighting them to this day” Tony admits laughing.

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Phone Photography: A Human Right & An Ethical Dilemma.

Legal repercussions force us to re-think our actions. After all, laws are set in place to prevent crime as well as punish perpetrators which in turn provides emotional and/or financial compensation to the victims. Easy enough? Yet here is the kicker; ethical conduct, at least in regards to street photography, relies on individual choice rather than a punishable system. There is obviously less emphasis on how we consider our actions when we are not legally accountable. For example, I like many others held a “…mistaken belief that the consent of the parents or guardian must be obtained before children can be photographed” (Arts Law Centre of Australia 2017, p.2). The photographer has the choice to notify the parents or the child, or to continue on.

As the vast majority of western civilization are smartphone owners, we have convenient access to high quality cameras. It is therefore an individual code of ethics that we choose to conduct ourselves by. In a perfect society, we would be mindful of emotional, physical and psychological harm. But alas, society will never attain perfection. With this in mind, I took a photograph in a public space of a woman engaged in her media devices. *An important note: the iconic blue bar at the top of her laptop screen tells me she was logged onto Facebook.

An image of a alfresco area OR a woman unknowingly captured?

This image not only illustrates the ease of photographing people in a public space, it validates our reality; we, who engage in social media, play a part in an ongoing cycle of victims and perpetrators. The crimes however, are subjective and depend on whether you fall into the category of victim or perpetrator. This woman may take great offense to having her image taken, all the while sharing or liking images and videos of strangers who have also been unknowingly captured. If we engage with such content because it’s funny or even insightful and bares no legal repercussions, what else do we grow to accept?

There is a plethora of graphic and disturbing content that swarms the internet. More recently, such content has been viewed and shared on social media platforms like Facebook. Although these sites have ethical codes which attempt to monitor harmful content, it is an unrealistic goal. Photo uploads alone total 300 million per day (Zephoria Digital Marketing 2017). And with Facebook’s introduction of ‘Facebook Live’ where users stream in the moment, the job of safeguarding content is even harder. The result is a desensitized generation and many are producing their own content to shock or humiliate.

In April 2017, 19 year old Serena McKay was beaten to death in a group assault. The incident was live streamed on Facebook which led to the arrest of two teenage girls. Another upsetting incident which was repeatedly shared and received international attention was the text messages between (then 17 year old) Michelle Carter and her ex-boyfriend 18 year old Conrad Roy III. Over a period of months, Carter had encouraged and verbally assisted in the planning of Roy’s suicide. The messages show a reluctant Roy get out of his carbon monoxide-filled truck and Carter demanding he “get back in…you just have to do it. You said you were gonna do it.” Carter was found guilty of involuntary manslaughter and faces up to 20 years incarceration.

Facebook users re-uploaded the video of Serena McKay and the text messages between Carter and Roy after they had been taken down. Although their efforts directly assisted police and lawyers in prosecuting the perpetrators, we should reflect on their lack of ethical responsibility. The video of McKay’s death was extremely graphic and upsetting to her family, community and friends. Yet, one could argue that the ends justify the means as her killers face jail time. This ideology has led to a new sub-culture of ‘Cop Watchers’ to combat police brutality in the NYPD division.

When an event unfolds, our first reaction is to capture it on our mobile devices. More often than not, this content finds itself on social media without the consent of people in the video/image. We are not held legally accountable for sharing such content even if it is graphic or shameful for those involved. Instead, we conduct ourselves by an individual code of ethics. Social media users mould this code to suit their own interests, whether it be to expose police brutality or to make their friend laugh. Regardless, we must acknowledge the immense power we hold in our hands as we actively share, like and comment without a second thought.

This brings me to my next venture; the Reflective Project. For this assignment, I will research further into this contemporary problem of personal devices and public space. Stolen identities created on social media accounts is a dangerous reality for many users. To explain, I will go through Facebook’s policies surrounding photo ownership and how it is a system that protects perpetrators. As this is a multi-media task, I could use videography to record either previous victims or have someone act out a scenario where their identity has been stolen. I have found some alarming statistics to validate this issue, such as their being 83 million fake profiles on Facebook (Zephoria Digital Marketing 2017). 

VHS Killed the Drive-In (Star)

The drive-in theater, when first introduced to Australia in 1954, was an overnight success (Goldsmith 1999). With only a handful still in existence today, it begs the question why so? And more importantly, how did we let slip such an iconic cinema experience? Drive-in theaters offered patrons a public space in which movie-goers (in particular pubescent teens) socialized, ate choc-tops and flirted with adult liberties (like making out in the back of your boyfriend’s car). For many, it was the private conversations, personal experiences and the gathering of sub-cultures that shaped its atmosphere.

‘A couple making out at the Drive-In movie theater. Ohio, 1950s’ -Photo Source: Pinterest

New South Wale’s South Coast has always been a popular breeding spot for surfers. As depicted in the cult-classic novel Puberty Blues, those living by the coast in the 1970’s would often end their nights at the drive-in. Of course, actually watching the movie was not a priority. Once belonging to this sub-culture, Jenean (Nina) Draper was a vivacious blonde living in Kiama – an hour and a half south of Sydney. Nina recalls, “It (the drive-in) was a place where you could come for a laugh. The cars next to you would be bouncing up and down because they were having a root!” Just like the characters in the novel, Nina would catch a ride in her boyfriend’s Sand Man Holden Panel Van. It was not unusual to find three or more friends hidden beneath a mattress to avoid entrance fees, “…the guards would look in the back with a torch but the security was relaxed. People would even sneak alcohol and marijuana in, I suppose that explains the comical scenes that would take place!” 

Puberty Blues (1981) Drive-in Scene

Panel Van – Puberty Blues (1981)

To understand the sudden drop in patronage and subsequent closure of most drive-in theaters we can look to Swedish geographer Torsten Hagerstrand. Hagerstrand’s conceptual framework of time geography analysed individual movement in time and space (Neutens, Witlox & Demaeyer 2007). More importantly, it outlined spatio-temporal constraints that could potentially affect an individuals daily activities. I am going to refer to such constraints and how they relate to the closure of Nina’s local drive-in: the Lakeline Drive-In Theatre.

1. Capability Constraints. These refer to physical or biological factors such as the need to sleep or eat, access to mobility tools and the availability of temporal and financial resources (Hagerstrand 1970, cited in Schonfelder & Azhausen 2010, p.38). Following the release of VHS tapes as a convenient way to watch movies at home, patrons lacked the physical desire to travel – resulting in loss of petrol and finances (Parkinson 1995).
2. Coupling Constraints. These are restrictions on the autonomous allocation of time needed to coordinate with institutional logistics (schedules) or interactions with other individuals (appointments/meetings) (Hagerstrand 1970, cited in Schonfelder & Azhausen 2010, p.38). Nina mentioned Lakeline as one of two drive-in facilities in the Illawarra. For many, this meant an allocated driver would need to pick up friends (often across long distances) to arrive at the venue together. This could be a nuisance to the driver, particularly after ‘Midnight to Dawn’ sessions as they would need to make the same stops during the early hours of the morning.
3. Authority Constraints. These are limits imposed by external parties (rules and regulations) (Hagerstrand 1970, cited in Schonfelder & Azhausen 2010, p.38). Lakeline, as many other theaters do, forbid minors from attending without supervision and provided a security presence. However, it was the introduction of random breath testing by NSW police that negatively impacted the theater (Parkinson 1995).

Photo Source: Memedroid

As outlined by Nina, the drive-in served as a place of dysfunction, fond memories and often romance. I know I despise its closure. Yet, perhaps the drive-in could only exist in a more innocent society; one before random breath testing and VHS tapes. It was a place where the social needs of the ‘puberty blues’ generation could be satisfied. And a time when you could be content in the arms of your lover, whilst laughter filled the air and the cars around you bounced enthusiastically.

Why Television Feels Like Home.

Historic moments, to those who experience them firsthand and to those who have learnt about such experiences – stand out as socio-spatial points in time. In layman’s terms, they make you reflect on where you were, who you were with and how you felt when such goings-on occurred. In 1956, Australians were introduced to a technological marvel – the television. A historic moment in itself, television also marked the substantial progression of the ‘public sphere’ (where citizens debate social and political issues of the day).

Different from its predecessor the radio; television combines visual and audio components to attract and engage viewers. Absorbing news, politics and pop-culture has never been easier. The television series Gogglebox airs the opinions of relatable Australians – documenting an active public sphere which encourages viewers to participate. We are entertained whilst subconsciously forming opinions and taking in information.

Gogglebox reiterates this idea of socio-spatial moments and the evident culture around watching television. Those featured on the program are relaxed; they speak freely in their living rooms. There is an aura of safety and comfort. For most of us, we too sit in our designated spot alongside family, a friend or partner and share this feeling. Whether we realize it or not, a space has been created around our television; we laugh, cry, debate and ultimately feel connected to the world and the person sitting beside us.

Dennis Turner, an elderly Illawarra man, remembers the introduction of television came shortly after Germany’s defeat in WWII. For Turner, and many other teenagers in the 1950’s, to remember television is to remember it as a distraction from the horrors of war. Turner’s own father served for Australia, “It wasn’t discussed…you didn’t know what was going on or if he would come home.”

Aged just 17, Turner along with his mates, would enter local pubs for the sole purpose of watching television, “they knew we were underage but they let us come in and watch with everyone else…I don’t think I even listened to what the person inside the television was saying, I was too busy trying to take it all in…it was amazing.” 

Reiterating this idea of socio-spatial moments and how they relate to television, we can look at iconic or historic moments aired on-screen. As the anniversary of Princess Diana’s death looms near, current affairs programs release ‘exclusive’ interviews and ‘never-before-seen’ images of the princess. Footage of the incident is used to remind viewers of how they felt when they first found out. My own mother becomes emotional when watching such reports, “I’ll never forget it. It was during the Olympics and you were just a baby. ‘Breaking News’ came across the screen and they said she was dead. I couldn’t stop crying.” 

Over the years, television has come to represent more than a device for entertainment. It has an assigned spot in our living rooms, making our relationship with the media more intimate. The culture surrounding television involves active participation in the public sphere but in the privacy of our homes. Socio-spatial moments we witness via our television can connect people, even on an international level. Still not convinced? Ask yourself: “Where was I when news of 9/11 aired?” 

The Woman With Legally Male Tits

If you think puberty was bad, try going through it twice. Juno Zderic has faced this challenge with bravery and optimism. Standing tall with nothing more than jeans and the writing ‘Legally Male Tits’ on her chest, she is no wallflower.

“By law I’m a man and by law these tits belong to a man. It just makes people think, where is the line for nudity for Trans people?”

After realizing her true gender, Juno had to face the daunting task of declaring it to the world. She admits, “I was pretty late to the whole trans-game thing…I came out after high school.” However, she showed signs of her femininity from a young age. Her mother Linda recalls Juno at age two, “…standing there with her sister’s glittery pink heels on. Wearing nothing else but a nappy.”

It seems things haven’t changed much as Juno now regularly performs topless. The difference being her chest is now painted with political messages: “I usually take the opportunity to make a political statement. In fact, me performing topless is a political statement in itself. I may write something about refugees or others treating a minority wrong…stuff like that.”

As the front woman for the punk band ‘Queer Anne’s Revenge’, Juno is able to “…get up on stage and scream and be angry about transgender issues.” This has assisted greatly in overcoming ostracism and intrusive interrogations from the public. Juno shifts uncomfortably as she explains, “there are times when I’m just walking down the street, doing my thing, and people will shout out to me…call me an abomination or a fucking tranny. A lot of people will ask very private things about my genitals too, “Have you got the ‘snip’ yet?” And they phrase it like that as though I’m a dog.”  Linda believes, “People are hateful. Because of her appearance they think [getting the ‘snip’] is a topic open for discussion. They aren’t respectful because it is still a novelty for so many.”

A popular misconception is that coming out is a single process. Yet Juno argues that, “for most transgender people, they will be coming out for the rest of their lives.” This is emotionally and psychologically exhausting when you consider, “it isn’t just telling your family that you’re trans…initially it’s coming out to yourself which is a huge thing to overcome.” Furthermore, “Every time you meet a new person they will often ask questions…you never stop explaining yourself. Unless people can’t identify you as trans…but I’ve never been for that.” Instead, she is proud to be unique: “I love having tattoos, a beard and piercings. I just love that shit!”

“I’ll get up and play topless and throw around a guitar and get on the ground to let out all my emotions…It’s very therapeutic in a way.”

Queer Anne’s Revenge transforms social and political issues into catchy and relatable lyrics for the LGBTIQ community. Juno lights up as she describes the atmosphere when performing, “there is such an overwhelming power in that environment, everyone is there and they all have this aggression regarding their pride so if someone comes in and tries to disturb that, they will have all these people against them.”

However her safety is never guaranteed, “I’m still putting myself out there – being in a punk band, I’m always going to play at those dodgy/underground places.” Recently, the band turned down a gig at the Newtown Town Hall, “A couple of years ago a trans woman was beaten there. The security did nothing to stop it, instead they tried to cover it up and apparently there was a guard standing right there, just watching it happen.”

To the public, transitioning is often associated with the post-surgery reveal. In the beginning, Linda admits, “I would struggle with her wearing a dress but having stubble. I’d tell her I don’t understand. If you’re a girl, why are you doing this?” Retired Olympian Bruce Jenner recently transitioned into Caitlyn which put pressure on the ordinary transgender community “…they see her as pristine, shaven and coming out with all this jewellery. People expect me to cut off my genitals too because I’m trans and I should be ashamed of my body.” Juno reiterates, “I love my body. It’s me. All women’s bodies are different and I just have another type of body.”

Try to imagine a complete stranger analysing your gender. Questioning you as to whether you are confident in your answer. Although this stranger is a qualified psychiatrist, it is no less frightening. To be able to take testosterone or estrogen supplements, you must first be approved by a doctor. “It was really scary. I hated the idea of going to someone to be evaluated as to whether I’m trans or not. I felt I had to pretend to be more trans otherwise I wouldn’t pass the test.” Juno chose her clothes carefully, “I thought if I just wore jeans and a shirt, I may not be girly enough for the doctor.” Confident, she laughs, “Nothing is going to come between me and my estrogen.”

Estrogen has enabled Juno to experience a “second puberty”. Linda smiles as she describes her daughter’s “…body softening and becoming more feminine. I know what joy that would give to her.” Yet the psychological changes have been most significant, “I’m so much more emotional and sensitive.” Juno laughs, “My favourite thing to do is drink wine in the bath with some pasta whilst watching Star Trek…I’m addicted to carbs.”

However, there is another side to the estrogen coin: “When I first started taking it, I fell into a very bad depressive slump…I had to see psychiatrists who prescribed me anti-depressants. It was doing horrible things to my head and that’s pretty common.” Yet Juno is quick to not deter others, “I don’t want to scare people away from it because the good definitely out-weighs the bad. But people should be aware of the serious side effects.”

Often treated like a “test-subject” for curious outsiders, Juno has come to the conclusion that most still associate gender with sex. However, she believes “sexual orientation is completely separate.” Despite this, “people will assume I’m attracted to men because I’m a Trans-woman.” Intrigue escalates as Juno explains that she is polyamorous: “I’m in a romantic relationship – both emotional and sexual – but we have the freedom to have that with others as well.” She explains, “It’s an acknowledgement that our hearts and brains will feel love for more than one person. You can be in a relationship and love them a lot, but that doesn’t mean you can’t love someone else.” The older generation may associate polyamory with ‘swingers’. Juno admits she is no expert “…but polyamory is about love and relationships…swingers are just for sexual reasons and many people will swing as a couple to spice up their relationship.”

“Life has definitely changed for the better…I have the freedom to walk around and be myself, to wear whatever I want. No more walking on eggshells…I’m on the other side of the storm.”

Unfortunately for many of the LGBTIQ community, these individuals experience poorer mental health and have higher risk of suicidal behaviours. As Juno mentioned, issues including prejudice, discrimination and abuse are often the cause. The 20 year old acknowledges how lucky she is, “I have a really strong and supportive group of people behind me.” However, like many others, Juno faced hardships throughout her transition. Regrettably, Linda admits, “I was grieving for the child I lost. After that, I just became obsessed with the amount of prejudice in the world…I just wanted to protect her from all the arseholes out there.” Linda would encourage Juno to not wear feminine clothing around the home which eventually led to her daughter moving out, “In my stupid fright over everything, I asked Juno to not wear dresses around her little brother. I didn’t want him to be confused but deep down I was trying to pretend it wasn’t happening.” Yet to her surprise, “my 12-year-old son never skipped a beat. Now we openly talk about it. He will defend Juno and correct you if you say something wrong.” Zander was quick to let the world know, “yep she’s my sister, always has been.”

Today, Linda declares “I’m the proudest woman on this earth. I really am.” Reflecting on the last few years, “All I do is feel a bit sad that I wasn’t strong enough to support her the way I should have…I feel bad that I failed her.” What is important, is that Linda and her daughter’s bond is stronger than ever, “I feel proud that it has all come around for us now. It’s been a fantastic learning experience.”

So what’s next for this polyamorous vegan and topless fanatic? Juno envisions a career in music: “being able to express myself on stage as a job…that’s such a dream.” Linda adds, “I think she should get recognition musically not because she is transgender but because she is very talented.” For now, Juno is content with the small things. Perhaps tonight she will indulge in a hot bath with a glass of wine in one hand and pasta in the other. What more could a woman want?