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	<title>vol. 4, issue 3: firsts Archives - cléo</title>
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	<link>https://cleojournal.com/category/vol-4-issue-3-firsts/</link>
	<description>a journal of film and feminism</description>
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		<title>vol. 4, issue 3: firsts</title>
		<link>https://cleojournal.com/?p=1909</link>
		
		<dc:creator><![CDATA[cléo journal]]></dc:creator>
		<pubDate>Thu, 15 Dec 2016 21:17:39 +0000</pubDate>
				<category><![CDATA[vol. 4, issue 3: firsts]]></category>
		<guid isPermaLink="false">https://cleojournal.com/?post_type=issue&#038;p=1909</guid>

					<description><![CDATA[<p>To quote the inimitable Sheryl Crow, “The first cut is the deepest.” For vol. 4, issue 3 of cléo, we’re going to be looking at FIRSTS: groundbreaking women; first films or performances; the new and novel; or those initial, formative film­going experiences. Cover Art: Angela Lewis The woman in this photograph is a new mom. [&#8230;]</p>
<p>The post <a href="https://cleojournal.com/?p=1909">vol. 4, issue 3: firsts</a> appeared first on <a href="https://cleojournal.com">cléo</a>.</p>
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		<item>
		<title>Editor&#8217;s Note: Firsts</title>
		<link>https://cleojournal.com/2016/12/15/editors-note-firsts/</link>
		
		<dc:creator><![CDATA[kiva reardon]]></dc:creator>
		<pubDate>Thu, 15 Dec 2016 12:50:48 +0000</pubDate>
				<category><![CDATA[vol. 4, issue 3: firsts]]></category>
		<category><![CDATA[amanda kernell]]></category>
		<category><![CDATA[Angela Lewis]]></category>
		<category><![CDATA[disney]]></category>
		<category><![CDATA[disney princesses]]></category>
		<category><![CDATA[elena of avalor]]></category>
		<category><![CDATA[heaven knows what]]></category>
		<category><![CDATA[La Casa Muda]]></category>
		<category><![CDATA[my so called life]]></category>
		<category><![CDATA[sami blood]]></category>
		<guid isPermaLink="false">https://cleojournal.com/?p=1792</guid>

					<description><![CDATA[<p>First off: a note of thanks. Thanks to the incredible women who give so much to this journal: Manisha Aggarwal-Schifellite, Mallory Andrews, Lydia Ogwang, Kathleen Kampeas-Rittenhouse. Thanks to Jovana Jankovic who copy edits our issues, Cathleen Evans who curates our newsletter, and Calina Ellwand and Bianca Huang for their fundraising work. Thanks to our contributors [&#8230;]</p>
<p>The post <a href="https://cleojournal.com/2016/12/15/editors-note-firsts/">Editor&#8217;s Note: Firsts</a> appeared first on <a href="https://cleojournal.com">cléo</a>.</p>
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		<title>&#8220;You can’t just go home&#8221;: An Interview with Amanda Kernell</title>
		<link>https://cleojournal.com/2016/12/15/you-cant-just-go-home-an-interview-with-amanda-kernell/</link>
		
		<dc:creator><![CDATA[manisha aggarwal-schifellite]]></dc:creator>
		<pubDate>Thu, 15 Dec 2016 12:50:31 +0000</pubDate>
				<category><![CDATA[vol. 4, issue 3: firsts]]></category>
		<category><![CDATA[amanda kernell]]></category>
		<category><![CDATA[indigen]]></category>
		<category><![CDATA[sami blood]]></category>
		<category><![CDATA[swedish film]]></category>
		<guid isPermaLink="false">https://cleojournal.com/?p=1788</guid>

					<description><![CDATA[<p>In the 1930s, indigenous children in Nordic countries were sent to boarding schools to “assimilate” into mainstream white culture. In Sweden, Sámi children left their families of reindeer herders to attend these schools for months at a time, forbidden from speaking their own languages and wearing their own clothes. Many students were subject to abuse [&#8230;]</p>
<p>The post <a href="https://cleojournal.com/2016/12/15/you-cant-just-go-home-an-interview-with-amanda-kernell/">&#8220;You can’t just go home&#8221;: An Interview with Amanda Kernell</a> appeared first on <a href="https://cleojournal.com">cléo</a>.</p>
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		<title>“Because it is a big deal…”: A conversation with author Soraya Roberts about virginity and My So-Called Life</title>
		<link>https://cleojournal.com/2016/12/15/because-it-is-a-big-deal-a-conversation-with-author-soraya-roberts-about-virginity-and-my-so-called-life/</link>
		
		<dc:creator><![CDATA[cathleen evans]]></dc:creator>
		<pubDate>Thu, 15 Dec 2016 12:50:12 +0000</pubDate>
				<category><![CDATA[vol. 4, issue 3: firsts]]></category>
		<category><![CDATA[90s teen movies]]></category>
		<category><![CDATA[angela chase]]></category>
		<category><![CDATA[claire danes]]></category>
		<category><![CDATA[jordan catalano]]></category>
		<category><![CDATA[my so called life]]></category>
		<category><![CDATA[soraya roberts]]></category>
		<category><![CDATA[teens]]></category>
		<category><![CDATA[tv]]></category>
		<guid isPermaLink="false">https://cleojournal.com/?p=1743</guid>

					<description><![CDATA[<p>“Sex made your whole life start and if you think about life as like a circle, sex and death are like the same.” – Angela Chase Angela Chase (Claire Danes) takes sex seriously. Her attitude may seem overly dour, but the seriousness with which the protagonist of the short-lived ‘90s teen drama My So-Called Life [&#8230;]</p>
<p>The post <a href="https://cleojournal.com/2016/12/15/because-it-is-a-big-deal-a-conversation-with-author-soraya-roberts-about-virginity-and-my-so-called-life/">“Because it is a big deal…”: A conversation with author Soraya Roberts about virginity and &lt;i&gt;My So-Called Life&lt;/i&gt;</a> appeared first on <a href="https://cleojournal.com">cléo</a>.</p>
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		<title>Five Reasons to Love Love Jones</title>
		<link>https://cleojournal.com/2016/12/15/five-reasons-to-love-love-jones/</link>
		
		<dc:creator><![CDATA[neyat yohannes]]></dc:creator>
		<pubDate>Thu, 15 Dec 2016 12:49:53 +0000</pubDate>
				<category><![CDATA[vol. 4, issue 3: firsts]]></category>
		<category><![CDATA[black film]]></category>
		<category><![CDATA[indie film]]></category>
		<category><![CDATA[Larenz Tate]]></category>
		<category><![CDATA[love jones]]></category>
		<category><![CDATA[Nia Long]]></category>
		<category><![CDATA[Theodore Witcher]]></category>
		<guid isPermaLink="false">https://cleojournal.com/?p=1767</guid>

					<description><![CDATA[<p>The summer before I started college, I turned my lifelong passion for indie movies into a full-time job. In an attempt to prep for campus social life, a dear pastime became a chore as I tried to keep up with a white indie film canon that wasn’t exactly thrust upon me in my years in [&#8230;]</p>
<p>The post <a href="https://cleojournal.com/2016/12/15/five-reasons-to-love-love-jones/">Five Reasons to Love &lt;i&gt;Love Jones&lt;/i&gt;</a> appeared first on <a href="https://cleojournal.com">cléo</a>.</p>
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		<title>Women Unbound: Queer Utopia in the Wachowski Sisters’ Bound</title>
		<link>https://cleojournal.com/2016/12/15/women-unbound-queer-utopia-in-the-wachowski-sisters-bound/</link>
		
		<dc:creator><![CDATA[Erin Delaney]]></dc:creator>
		<pubDate>Thu, 15 Dec 2016 12:49:33 +0000</pubDate>
				<category><![CDATA[vol. 4, issue 3: firsts]]></category>
		<category><![CDATA[bound]]></category>
		<category><![CDATA[femme fatale]]></category>
		<category><![CDATA[film noir]]></category>
		<category><![CDATA[Jean Baudrillard]]></category>
		<category><![CDATA[neo noir]]></category>
		<category><![CDATA[Wachowski sisters]]></category>
		<guid isPermaLink="false">https://cleojournal.com/?p=1782</guid>

					<description><![CDATA[<p>Over the course of seven films and one TV series, directors Lana and Lilly Wachowski have proven to be experts at smuggling cultural theory into commercially successful films. Take their 1999 blockbuster, The Matrix: inspired by the work of Jean Baudrillard, it features Neo (Keanu Reeves) using a hollowed-out copy of the French philosopher&#8217;s Simulacra &#38; Simulation as a [&#8230;]</p>
<p>The post <a href="https://cleojournal.com/2016/12/15/women-unbound-queer-utopia-in-the-wachowski-sisters-bound/">Women Unbound: Queer Utopia in the Wachowski Sisters’ &lt;i&gt;Bound&lt;/i&gt;</a> appeared first on <a href="https://cleojournal.com">cléo</a>.</p>
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		<title>Elena of Avalor and the Fantastical World of Latinx Identity</title>
		<link>https://cleojournal.com/2016/12/15/elena-of-avalor-and-the-fantastical-world-of-latinx-identity/</link>
		
		<dc:creator><![CDATA[juan llamas-rodriguez]]></dc:creator>
		<pubDate>Thu, 15 Dec 2016 12:49:15 +0000</pubDate>
				<category><![CDATA[vol. 4, issue 3: firsts]]></category>
		<category><![CDATA[disney princess]]></category>
		<category><![CDATA[elena of avalor]]></category>
		<category><![CDATA[latinx]]></category>
		<category><![CDATA[latinx identity]]></category>
		<guid isPermaLink="false">https://cleojournal.com/?p=1773</guid>

					<description><![CDATA[<p>For princesses of colour, heavy is the head that wears the first Disney crown. The entertainment monolith has famously fumbled in the past when it comes to issues of diversity. For one, the pressures of being the lone figure representing a heterogeneous group are immense. (See the debates around this year’s Moana, the first Polynesian [&#8230;]</p>
<p>The post <a href="https://cleojournal.com/2016/12/15/elena-of-avalor-and-the-fantastical-world-of-latinx-identity/">&lt;i&gt;Elena of Avalor&lt;/i&gt; and the Fantastical World of Latinx Identity</a> appeared first on <a href="https://cleojournal.com">cléo</a>.</p>
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		<title>Single Take/Infinite Views: La Casa Muda</title>
		<link>https://cleojournal.com/2016/12/15/single-takeinfinite-views-la-casa-muda/</link>
		
		<dc:creator><![CDATA[nadya sarah domingo]]></dc:creator>
		<pubDate>Thu, 15 Dec 2016 12:48:48 +0000</pubDate>
				<category><![CDATA[vol. 4, issue 3: firsts]]></category>
		<category><![CDATA[Elizabeth Olsen]]></category>
		<category><![CDATA[feminist film]]></category>
		<category><![CDATA[Florencia Colucci]]></category>
		<category><![CDATA[Gustavo Hernández]]></category>
		<category><![CDATA[horror film]]></category>
		<category><![CDATA[La Casa Muda]]></category>
		<category><![CDATA[silent house]]></category>
		<guid isPermaLink="false">https://cleojournal.com/?p=1762</guid>

					<description><![CDATA[<p>Gustavo Hernández’s low-budget Uruguayan horror film La Casa Muda (2011) stands out for two novelties: it’s based on real life grisly events and was made to appear as if it was shot in one continuous take. While the first has a salacious appeal, it’s the latter formal element that becomes suggestive of something far more [&#8230;]</p>
<p>The post <a href="https://cleojournal.com/2016/12/15/single-takeinfinite-views-la-casa-muda/">Single Take/Infinite Views: &lt;i&gt;La Casa Muda&lt;/i&gt;</a> appeared first on <a href="https://cleojournal.com">cléo</a>.</p>
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		<title>Mad Love in the City: The Safdies’ Heaven Knows What</title>
		<link>https://cleojournal.com/2016/12/15/mad-love-in-the-city-the-safdies-heaven-knows-what/</link>
		
		<dc:creator><![CDATA[clara miranda scherffig]]></dc:creator>
		<pubDate>Thu, 15 Dec 2016 12:48:21 +0000</pubDate>
				<category><![CDATA[vol. 4, issue 3: firsts]]></category>
		<category><![CDATA[Arielle Holmes]]></category>
		<category><![CDATA[heaven knows what]]></category>
		<category><![CDATA[safdie brothers]]></category>
		<guid isPermaLink="false">https://cleojournal.com/?p=1759</guid>

					<description><![CDATA[<p>During a location scout in New York’s Diamond District, filmmaker Josh Safdie noticed 19-year-old Arielle Holmes in the subway and was struck by her “gravitational pull.”[i] He would go on to cast Holmes, who at the time was homeless and addicted to heroin, as the lead in Heaven Knows What (2014), the third feature-length film [&#8230;]</p>
<p>The post <a href="https://cleojournal.com/2016/12/15/mad-love-in-the-city-the-safdies-heaven-knows-what/">Mad Love in the City: The Safdies’ &lt;i&gt;Heaven Knows What&lt;/i&gt;</a> appeared first on <a href="https://cleojournal.com">cléo</a>.</p>
]]></description>
		
		
		
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		<title>Women to Watch: Sofia Bohdanowicz</title>
		<link>https://cleojournal.com/2016/12/15/women-to-watch-sofia-bohdanowicz/</link>
		
		<dc:creator><![CDATA[kiva reardon]]></dc:creator>
		<pubDate>Thu, 15 Dec 2016 12:47:58 +0000</pubDate>
				<category><![CDATA[vol. 4, issue 3: firsts]]></category>
		<category><![CDATA[canadian film]]></category>
		<category><![CDATA[never eat alone]]></category>
		<category><![CDATA[Sofia Bohdanowicz]]></category>
		<guid isPermaLink="false">https://cleojournal.com/?p=1797</guid>

					<description><![CDATA[<p>Firsts are often thought to belong to the young: first steps, first word, first day of school, first kiss, first heartbreak. In this way, firsts are synonymous with novelty, momentous events that become less and less frequent—or at least less publicly lauded—as time passes. It’s a logic that emphasizes youth and calcifies the assumption that [&#8230;]</p>
<p>The post <a href="https://cleojournal.com/2016/12/15/women-to-watch-sofia-bohdanowicz/">Women to Watch: Sofia Bohdanowicz</a> appeared first on <a href="https://cleojournal.com">cléo</a>.</p>
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