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	<title>ké kampeas-rittenhouse, Author at cléo</title>
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	<description>a journal of film and feminism</description>
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		<title>Soft, Scrappy Survivors: Kedi’s Melancholic Ode to the Street Cats of Istanbul</title>
		<link>https://cleojournal.com/2017/12/19/2847/</link>
		
		<dc:creator><![CDATA[ké kampeas-rittenhouse]]></dc:creator>
		<pubDate>Tue, 19 Dec 2017 13:27:50 +0000</pubDate>
				<category><![CDATA[vol. 5, issue 3: hot]]></category>
		<category><![CDATA[cats]]></category>
		<category><![CDATA[Ceyda Torun]]></category>
		<category><![CDATA[documentary]]></category>
		<category><![CDATA[istanbul]]></category>
		<category><![CDATA[kedi]]></category>
		<category><![CDATA[turkey]]></category>
		<guid isPermaLink="false">https://cleojournal.com/?p=2847</guid>

					<description><![CDATA[<p>“Everything is beautiful when you look at it with love.” The statement comes a third of the way into Kedi—Ceyda Torun’s 2016 documentary about Istanbul street cats—as an older man describes a mindful, open-hearted approach to life: seek happiness in small things (a cat, a flower) and “all the world will be yours.” This philosophy [&#8230;]</p>
<p>The post <a href="https://cleojournal.com/2017/12/19/2847/">Soft, Scrappy Survivors: &lt;i&gt;Kedi&lt;/i&gt;’s Melancholic Ode to the Street Cats of Istanbul</a> appeared first on <a href="https://cleojournal.com">cléo</a>.</p>
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		<title>Escape from Late Capitalism: Fish Tank and Two Days One Night</title>
		<link>https://cleojournal.com/2016/04/18/escape-from-late-capitalism-fish-tank-and-two-days-one-night/</link>
		
		<dc:creator><![CDATA[ké kampeas-rittenhouse]]></dc:creator>
		<pubDate>Mon, 18 Apr 2016 14:29:48 +0000</pubDate>
				<category><![CDATA[vol. 4, issue 1: risk]]></category>
		<category><![CDATA[Andrea Arnold]]></category>
		<category><![CDATA[Dardenne Brothers]]></category>
		<category><![CDATA[Fish Tank]]></category>
		<category><![CDATA[Marion Cotillard]]></category>
		<category><![CDATA[Two Days One Night]]></category>
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					<description><![CDATA[<p>“If you could be any animal, what would you be?” “A white tiger.” &#8211; Mia, Fish Tank “I don’t exist. I’m nothing, nothing at all.” &#8211; Sandra, Two Days One Night Unlike most poor or working class “everyman” characters, the body labouring under capitalism’s long shadow in Andrea Arnold’s Fish Tank (2009) and the Dardenne [&#8230;]</p>
<p>The post <a href="https://cleojournal.com/2016/04/18/escape-from-late-capitalism-fish-tank-and-two-days-one-night/">Escape from Late Capitalism: &lt;i&gt;Fish Tank&lt;/i&gt; and &lt;i&gt;Two Days One Night&lt;/i&gt;</a> appeared first on <a href="https://cleojournal.com">cléo</a>.</p>
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		<title>&#8220;Die to Yourself&#8221;: The 21st Century Feminist Crime Drama&#8217;s Dream of Justice</title>
		<link>https://cleojournal.com/2015/04/20/die-to-yourself-the-21st-century-feminist-crime-dramas-dream-of-justice/</link>
		
		<dc:creator><![CDATA[ké kampeas-rittenhouse]]></dc:creator>
		<pubDate>Mon, 20 Apr 2015 16:01:46 +0000</pubDate>
				<category><![CDATA[vol. 3, issue 1: boob tube]]></category>
		<category><![CDATA[Elizabeth Moss]]></category>
		<category><![CDATA[Gillian Anderson]]></category>
		<category><![CDATA[Happy Valley]]></category>
		<category><![CDATA[Jane Campion]]></category>
		<category><![CDATA[The Fall]]></category>
		<category><![CDATA[Top of the Lake]]></category>
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					<description><![CDATA[<p>&#8220;Thirteen bodies, all female, 11 white, two Asian-looking, all between the ages of maybe 20, 30, all very dead.&#8221; &#8220;If they were alive, they&#8217;d be illegals and that would mean Immigration. But they&#8217;re dead, so they&#8217;re cargo.&#8221; This exchange between two cops on The Wire epitomizes a particular strain of sexism common to contemporary crime [&#8230;]</p>
<p>The post <a href="https://cleojournal.com/2015/04/20/die-to-yourself-the-21st-century-feminist-crime-dramas-dream-of-justice/">&#8220;Die to Yourself&#8221;: The 21st Century Feminist Crime Drama&#8217;s Dream of Justice</a> appeared first on <a href="https://cleojournal.com">cléo</a>.</p>
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		<title>“What Are You Afraid Of, A Fate Worse Than Death?”: How Funny Women Survive Clue’s Anti-Party</title>
		<link>https://cleojournal.com/2014/12/03/what-are-you-afraid-of-a-fate-worse-than-death-how-funny-women-survive-clues-anti-party/</link>
		
		<dc:creator><![CDATA[ké kampeas-rittenhouse]]></dc:creator>
		<pubDate>Wed, 03 Dec 2014 12:26:28 +0000</pubDate>
				<category><![CDATA[vol. 2, issue 3: party!]]></category>
		<category><![CDATA[Clue]]></category>
		<category><![CDATA[cult movies]]></category>
		<category><![CDATA[Jonathan Lynn]]></category>
		<guid isPermaLink="false">https://cleojournal.com/?p=1059</guid>

					<description><![CDATA[<p>A party, according to Clue (1985), is a sinister exercise in social engineering and surveillance. Set in 1954 in a remote, gloomy mansion and laced with references to McCarthyism—“Communism was just a red herring!” is a famous quote—the film chronicles a soirée where the guests are held captive and must conceal their true identities. As [&#8230;]</p>
<p>The post <a href="https://cleojournal.com/2014/12/03/what-are-you-afraid-of-a-fate-worse-than-death-how-funny-women-survive-clues-anti-party/">“What Are You Afraid Of, A Fate Worse Than Death?”: How Funny Women Survive &lt;i&gt;Clue’&lt;/i&gt;s Anti-Party</a> appeared first on <a href="https://cleojournal.com">cléo</a>.</p>
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