Romance, Historical, Contemporary, Paranormal, Young Adult, Book reviews, industry news, and commentary from a reader's point of view


Friday News: Twitter tolerates harassment, animated films and the ‘fun father,’ Christian Romance goes up against 50 Shades, and Mac releases “Novel Romance” makeup collection

Friday News: Twitter tolerates harassment, animated films and the ‘fun father,’...

“As far as Twitter is concerned the ideal anti-harassment policy is just effective enough to prevent [Anita] Sarkeesian from leaving while simultaneously permitting thousands of people to enjoy harassing her every day. In this way Twitter doesn’t need to engage directly in the Charles Foster Kane-style yellow journalism of its predecessors; it reaps the same rewards (while incurring very few of the risks) by allowing users to do so on its behalf.”

In other words, the value of Twitter is such that people like Anita Sarkeesian can’t easily leave without losing a large amount of her community and voice. By withholding tools that would allow targeted individuals like her to manage who contacts her and how, as outlined above, Twitter drives up engagement. The people organizing the abuse are creating value for Twitter, there is no reason to stop them from doing so. –Polygon

So it’s interesting to see this trend in animated films where the mother is killed off (a kid lit staple), only to be replaced by the fun father. It is, of course, a very perverse way of bringing the father into the domestic sphere, and it’s one that relies on the absence of the mother. So what does all of this say about how we imagine fathers, how different genres and media represent them, and how they are treated relative to mothers.

Quite simply, mothers are killed in today’s kids’ movies so the fathers can take over. (Of course, there are exceptions; in Lilo and Stitch, for instance, both of Lilo’s parents die and it’s her big sister who becomes the surrogate parent.) The old fairy-tale, family-romance movies that pitted poor motherless children against horrible vengeful stepmothers are a thing of the past. Now plucky children and their plucky fathers join forces to make their way in a motherless world. The orphan plot of yore seems to have morphed, over the past decade, into the buddy plot of today. Roll over, Freud: in a neat reversal of the Oedipus complex, the mother is killed so that the children can have the father to themselves. Sure, women and girls may come and go, even participate in the adventure, but mothers? Not allowed. And you know what? It looks like fun! –The Atlantic

Swartzwelder is already riding the buzz surrounding the two very different films opening up on the same night. His own comparison pretty much sums up this upcoming box office battle.

“One is a modestly budgeted indie flick that seeks to make room for godly romance in contemporary America,” he wrote on his blog. “The other is a multi-million dollar studio film based on a best-selling erotic novel that has… other goals in mind.” –E! Online

Fall in lust with A Novel Romance, a colour collection teeming with luscious shades that will have you feeling overwhelmed with desire. Eyes tantalize in Electric Cool Eye Shadow, Fluidline Eye Liner and Mineralize Eye Shadow quads, as lips provoke in seductive shades of Lipstick. Cheeks flush in shimmering Powder Blush, and Nail Lacquers tempt you to take the plunge in intriguing nocturnal hues. Like fiction brought life, the surging passions of this after-dark adventure seem almost too good to be true. –Temptalia

Thursday News: Defining “Black Films,” the Korean retail book industry, Fire TV arrives, and movies with women make more money

Thursday News: Defining “Black Films,” the Korean retail book industry, Fire...

OPEN THREAD: WHAT MAKES A BLACK FILM A BLACK FILM? – A short but pithy piece about how films get categorized as “black films” versus, say, “Comedy” or “Sports Drama.” There is a strong parallel to Romance here, not only in terms of the way POC Romance has often been shelved separately, but also in terms of how we often categorize books as IR/MC rather than by plot type (e.g. PNR, Historical, etc.). Does it further marginalize books that feature non-white protagonists when we categorize them based on the race of the protagonists, or are we helping to mainstream racial and cultural diversity?

While Black audiences are expected to relate and empathize with white characters in films regularly, the moment we ask them to do the same for us suddenly it’s a Black Film. In that case, the categorization is almost left up to the white viewer alone. –Racalicious

The Changing Korean Book Retail Industry: Digital Publishing in Korea 2014 – This is a really interesting article about how the retail book industry in Korea is positing itself for success in a hybridized book market. Korea’s largest online bookstore, YES24, is more than 15 years old and has captured more than 40% of the Korean online retail book market (it sells stuff other than books, too). Not surprisingly a small majority of YES24′s customers are female. However, YES24 also organizes reader events, including an event called “Camping with Writers,” which is intended to bring authors and readers together to talk about books and more.

Korea’s largest physical bookseller, Kyobo Book Centre, which is also a chain, has been in business since 1981. In addition to starting its own digital subscription service, Kyobo has been working to maintain a book buying and reading culture in Korea:

For its physical stores at Gwanghwamun and another 13 locations, Kyobo is repositioning them to be more than just shelves and tables of books. “We want Kyobo to become more of a cultural space and the meeting point of choice for culturally active people, as well as a place where print and e-content come together, where people’s lives are enriched,” says Ahn. The stores regularly invite authors, readers and publishers to its ‘book concerts,’ and “over the years we have had singers, comedians, professors, politicians and the liberal arts community talking about books. These gatherings have produced new concepts and book ideas that we channel back to the publishers. We also organize author-led culture tours. It is all about extending our value chain and expanding our role in society.” –Publishers Weekly

The Fire TV is a Weak Gaming Console, Marginal Streaming Media Box, but None of that Matters – So Fire TV is here. Yay? At $99, plus $40 for a gaming console Nate Hoffelder calls “weak,” the device is definitely entering a market dominated by Roku. And once Roku introduces its new upgrade, what advantages Fire TV now has (faster CPU, better remote,more RAM), may have disappeared. Still Hoffelder is not suggesting that we bet against Amazon quite yet:

And even though the Fire TV might not be the best, I would not make any guarantee that this won’t change in 6 months. Another thing Amazon knows is how to iterate and release updates that improve their products.  The current lack of games can be solved by getting more developers interested, and the current shortcomings in the streaming dept can be addressed in a software update.

Looking back at Amazon’s past product launches, it is safe to say that the Fire TV platform will be significantly more impressive a year down the road. –The Digital Book Reader

The Dollar-And-Cents Case Against Hollywood’s Exclusion of Women – Despite being funded at lower levels, films that feature female protagonists actually earn more money in the long run. Demonstrating, among other things, that Hollywood had learned nothing from the success of movies like Bridesmaids and even Frozen, which is now the highest grossing animated film EVER. Since I understand very little about the statistics here (maybe Sunita would like to step in here), I’m just going to point you to the article and provide you with the upshot of the analysis:

Using Bechdel test data, we analyzed 1,615 films released from 1990 to 2013 to examine the relationship between the prominence of women in a film and that film’s budget and gross profits. We found that the median budget of movies that passed the test — those that featured a conversation between two women about something other than a man — was substantially lower than the median budget of all films in the sample. What’s more, we found that the data doesn’t appear to support the persistent Hollywood belief that films featuring women do worse at the box office. Instead, we found evidence that films that feature meaningful interactions between women may in fact have a better return on investment, overall, than films that don’t. –FiveThirtyEight