“It is hard to evaluate the extent of the problem of the unpaid or badly paid work of these women religious which is in any case barely recognized…Yet it is not only a question of money. The matter of financial compensation constitutes rather the trees which hide the forest of a far greater problem: recognition of how matters stand. So many women religious have the feeling that much is being done to give new value to male vocations but that very little is being done to do the same for female vocations. “Unfortunately behind all this lies the idea that women are worth less than men and, especially, that the priest is all whereas the sister is nothing in the Church.”
“We are religious in order to serve to the very end and it is precisely this that causes a slippage in the subconscious of many people in the Church, creating the conviction that paying us does not fit into the natural order of things, whatever may be the service that we offer. The sisters are seen as voluntary workers to be made use of as desired which gives rise to real abuses of power. Behind all this lies the question of the professionalism and competence of women religious, which many people have a hard time recognizing”.
As we reflect on the ‘power’ relationships in film, politics and corporations, perhaps @TIMESUPNOW should broaden the tent to include folks who took a vow of poverty not realizing it meant losing their voice, being invisible.
Dee Rees delivers a tutorial on the art of cinema
On Saturday, writer-director Dee Rees was awarded the Robert Altman Award for her movie, Mudbound. She accepted with a speech that many industry insiders described as a cinematic manifesto. It’s a must read for anyone who considers themselves a film-maker.
“I know that as Independent Filmmakers, as the so-called Rebels, as the Outsiders creating without respect to means or access…
I know that we, of all makers, are far, far beyond any Identity Tokenism or Snobbery of Form
In both production and distribution
Because we know that cinema lies not in
A strip of celluloid
A length of magnetic tape
Nor across the blind plain of an image sensor
No, we know that
Cinema lies in absorbing , electrifying Performances by committed actors
That make audiences feel, that make them think, make them observe themselves and world around them in a more expansive way
Like Rob Morgan’s intelligent, deliberate, emotionally exquisite performance of Hap Jackson, a man whose capabilities, ambition and work ethic are continually undone by the ancient and overlapping systems of social and economic oppression that still exist today
We know that cinema lies in the thoughtful and narrative Composition and Choreography of subject, movement, color, and light
Like Rachel Morrison’s compelling, sculptural, humanistic photography that elevates reality into a visceral, highly textured symphony of feeling…”
(Full text and video at deadline.com)
Radhika Jones on culture, conformity and journalism
In November, Radhika Jones was introduced as the new editor-in-chief of Vanity Fair, adding to her resume of experience at Time and The New York Times. March marks the first issue under her guidance and in her first editor’s letter she connects her background to storytelling and her new “responsibility to interrogate the culture’s most powerful players and hold them to account.”
“There’s a movie coming out this month that I’ve been waiting all my life to see: A Wrinkle in Time, based on Madeleine L’Engle’s fantasy novel, which was published in 1962 but is only now receiving its first big-screen adaptation. There was almost no novel to adapt. Twenty-six publishers rejected L’Engle’s manuscript before John Farrar, of Farrar, Straus and Giroux, took it on. You can imagine how A Wrinkle in Time may have perplexed publishers. The plot hinges on shortcuts through the space-time continuum; it leavens its central fight against evil with amusing scenes involving midnight liverwurst sandwiches. But at its core L’Engle’s tale tackles a problem most people have to cope with sooner or later: how to be yourself in a world that prefers conformity.
I was born in New York City and grew up in Cincinnati. My first name, common enough in India, was unusual and often threw people off. I tried not to mind, though I secretly wished I were called Elizabeth. I grew up, grew into myself, became an editor, and learned the delights of helping writers shape their stories.
For those of us who care about storytelling, about influence, about soft and hard power, this is a singularly rich moment to be in journalism. I had my first, heady conversation about the editorship of Vanity Fair on September 20 of last year. Two weeks later, The New York Times published the first of its series of reports about Harvey Weinstein. Arguments that have simmered for years—about the importance of championing women, new voices, people who come from a wide range of ethnicities and backgrounds—are finding an audience.”
And, one last story – Michael Cooper‘s profile of conductor Yannick Nézet-Séguin, the new music director of The Metropolitan Opera.
If binge watching ‘Mozart in the Jungle’ has prompted you to consider a career as maestro, spend 14 hours ‘shadowing’ the new conductor at the Met.
“If there is one thing Mr. Nézet-Séguin has been criticized for, it has been for taking on too much: He is also the music director of the Philadelphia Orchestra and the Orchestre Métropolitain in his native Montreal, and is wrapping up his final season with the Rotterdam Philharmonic. But earlier on Friday, as he headed back to conduct “Parsifal,” he had brushed off the suggestion that he was overstretched.
“Yes, I do have a high level of energy — that’s clear,” he said. “That’s maybe why I love New York. There is this kind of pace. But I am able, definitely, to also stop and do nothing.”