Uncensored Images: Virgins, Whores, and Mothers

Q:     Hollywood and Catholic Women: Virgins, Whores, Mothers and Other Images has aroused interest just with its provocative title.  What’s the meaning behind it?
A:     The title refers to several aspects of feminist theory discussed in the book.  First, there’s the idea that for Hollywood

actresses in general they are often relegated to three primary roles – that of the virgin, whore, or mother.  For Catholic women these portrayals are even more pronounced.  Then there’s the idea of the virgin/whore dichotomy, where a woman’s personality is split between what is essentially viewed as good and evil.  Examples include Diane Keaton in Looking for Mr. Goodbar, Whoopi Goldberg in Sister Act, and the character of the dead Lois Fazenda in True Confessions, who is actually referred to as the “virgin tramp”.
 

Q:     The image of Catholic women in Hollywood films isn’t a topic most movie-goers would think of right off the top of their heads.  What drew you to the theme?
A:        I’m a convert to Catholicism who happened to marry someone who has dedicated their life to working for the Church.  We both love movies, and as I was being exposed to Catholicism I began to notice Catholic elements in films.  For example, with just a few quick symbols – parishioners crossing themselves or kneeling, votive candles, the confessional - the audience knows that a scene is set in a Catholic Church or during Mass.   All that ritual and ceremony looks great on screen and it’s easy to telegraph.  Then I started noticing how Catholic women were portrayed in these films and I thought that was an area worth pursuing.
                       

Q:        Which you developed into your master’s thesis?
A:        Yes.  Madonnas, Tramps, and Redeemers was written in 1992 using 12 films to complete my MA in Mass Communications.  Three specific questions dealt with how the patriarchal structures of Western society, Roman Catholicism, and Hollywood often conspire to diminish women’s significance.  Frequently focusing on the fear of women, these ingrained attitudes often influence the cinematic portrayals of Catholic women in American film.  The thesis was written from a strong feminist perspective, which proved both fascinating and enlightening.
 

Q:        Enlightening in a good way or bad way?
A:        Both, actually.  Some films portrayed Catholic women in a very brutal light, particularly those who dared to challenge the “position” both the Church and society had set for them.  But there were positive images as well and not always where expected.  For example, The Quiet Man starring John Wayne and Maureen O’Hara is essentially a reversal of the Adam and Eve story, with the woman in the role of man’s redeemer.  For a film made in 1954 that’s pretty progressive.
   

Q:        What caused you to revisit the topic almost 13 years later?
A:        The images of Catholic women in Hollywood films had aroused a lot of interest over the years and people often asked to read my thesis.  The only problem was that I had just one copy, with one more in the Fresno State library.  So that wasn’t exactly conducive to reaching a mass audience.
 

Q:        So you investigated the new technology of Publish On Demand in conjunction with the Internet?
A:        Yes.  A friend of mine had published a business-oriented book using POD with great success.  I had originally considered publishing my novel this way, but with so much interest in the thesis topic, chose to revise and expand that work instead.  Using POD technology means the author has to work at promotion, but even at this early stage I can honestly say that more people have read this book than ever read my thesis.
 

Q:        How is Hollywood and Catholic Women different from your thesis?
A:        It’s a less scholarly work and I think the audience for Hollywood and Catholic Women covers a much broader spectrum, encompassing those interested in feminism, film, education, media, religion, and popular culture to name a few.  There have also been a number of recent films involving Catholic women, so I added three: Dogma, Return to Me, and Sister Act.  But I also had the sense that things are changing in Hollywood for women as they became a larger part of the power structure.  That observation evolved into a fourth question which asked whether the increasing power of women in Hollywood has translated into more positive images not just for Catholic women, but female characters overall.  

Q:        Which brings up the question – are the portrayals of Catholic women in Hollywood films becoming more positive?
A:        I would say I’m cautiously optimistic that the image of Catholic women is improving, but as with any form of empowerment, progress has been extremely slow.  Out of the 15 films only two were either written or directed by a woman, roles that are prominent in the envisioning and crafting of a film.  At the same time that mirrors Hollywood in general as we see Sophia Coppola being nominated for Best Director, only the third woman in 76 years to be recognized by the Academy in this capacity.  But you also have filmmakers such as Kevin Smith breaking new ground with the portrayal of Bethany in Dogma, a Catholic woman who literally saves humanity.  So I’m hopeful that with the increasing clout of women in Hollywood the portrayals of female characters overall will continue being affirmative.  But I’m naturally impatient, and it can’t happen fast enough for me.