Coming of Age Films and their Contribution to the Erasure of Black Women
The exclusion of Black women and the issues that affect them in the feminist narrative has historically been a problem in the feminist movement. As Maxwell Shamase stated in his paper exploring feminism and womanism, “As a term conceptualized and adopted by white American women, feminism entails an agenda designed to meet the needs and demands of that particular group.” (9210) White women have been accused of pushing the feminist agenda towards issues that are their priority and come from a place of privilege in society in comparison to other women, such as the gender wage gap, while Black women are overlooked as they face marginalization due to their socioeconomic status, lack of access to education, and underrepresentation in most industries. One of these industries is the film industry, which is notorious for excluding people of color and their stories from mainstream success as well. Although over the past few decades there has been an increase in representation for women and people of color, Black women have been left behind. Usually their presence takes the form of secondary characters that help advance the white person’s storyline or the Black man’s evolution throughout a story. Representation is extremely important, however, both in impactful social movements and in professional industries, as it gives Black women a platform to connect, express, and stand up for themselves. This is particularly true for young girls, who can be very affected by the lack of validation of their identities in the society that surrounds them. Coming-of-age movies are an essential vessel for young people to feel heard and validated. Therefore, the lack of representation of young Black women in coming-of-age films is detrimental to the image that young Black women have of their stance in society. Films like Lady Bird (2017), although not as common as films that tell stories about young men, are abundant in mainstream media and give young, white feminists a platform to learn from and be exposed to narratives that tell their stories. Films like Just Another Girl on the I.R.T. (1993), which tell coming-of-age stories about Black young girls, on the other hand, are just as important for that same reason (if not more due to these representation issues), but are much less common in mainstream media. By comparing the issues that these two films address and their aftermaths, in terms of both cultural impact and the advancement of women’s rights in film, it becomes evident that the erasure of Black women and its harmful effects that is present in coming-of-age films is a reflection of this same issue in the film industry and feminist movement as a whole.
Lady Bird and Just Another Girl on the I.R.T. are both coming of age films that, although released 24 years apart, are set within ten years of each other and contribute to a timeless representation of what it is like to grow up as a woman. They both explore topics that most young women can relate to: from sexual encounters, to feeling misunderstood by family members, to petty fights and dramatic reconciliations with friends. Growing up and developing a sense of self throughout teenage years is a universal experience that most people, regardless of race, ethnicity, sexuality, economic stance, or generation, can relate to. These films depict what is it like to experience this coming of age period with a feminist lens that exposes the audience to the narratives in an unconventional way. The leads of both films are young women: Chantel in Just Another Girl on the I.R.T. and Christine, who goes by Lady Bird, in Lady Bird. They stand out among their peers for being unapologetically authentic and independent. Unlike most coming of age films about women, Chantel and Lady Bird are well-developed characters and central to the narrative. In other words, they are not characters that are meant to propel male characters forward, nor characters that are defined by love stories and their relationship to men. Romance is a characteristic theme in coming of age films because it is an essential component of growing up. However, while romance tends to define women in films, in the case of Just Another Girl on the I.R.T. and Lady Bird, romance is just an experience that aids the development of the characters, not the defining quality. In a refreshing alternative, male characters play the supporting roles that propel these women forward throughout their evolution as people.
Aside from shattering the expectations of young women’s role in romance, Just Another Girl on the I.R.T. and Lady Bird continue to depict women positively through a feminist gaze by subjecting Chantel and Lady Bird to real-life situations that challenge young people as they struggle to form an identity. This expands the characters’ relatability even further and proves the strength that young women are capable of exhibiting. Both films mirror each other with similar scenes: parents discussing bills and working long hours to make ends meet, Chantel and Lady Bird being reprimanded by adult figures in school, being told that they will not be able to fulfill their post graduation academic goals, and the alienation of their best friends due to a new romantic interest. Despite the fact that both films contain scenes that replicate each others’ scenarios and explore the same themes that provide a realistic and empowering view of their main characters, however, there is a fundamental difference between the films: the discussion of the implications of race on all of the issues explored. As Tyler Young described it in the article “The Lasting Appeal of 'Just Another Girl on the I.R.T.”, "Chantel’s culturally aware first-person POV, accompanied by a quick-witted, IDGAF attitude, allowed audiences to see the world through the raw yet intimate perspective of one of the most silenced voices of any era: a black girl.” Every element of Just Another Girl on the I.R.T. is affected by race in one way or another, because being a Black woman is inherently political. When Chantel gets in trouble in school for talking back to her professor, it is for calling out the erasure of Black people’s presence and importance in her United States History class’ curriculum. When Chantel talks about wanting to climb the social mobility ladder and get away from her parents’ reality, she is talking about getting away from the depicted excited crowds that run towards a shooting around the corner of her home in the projects to witness violence. When Chantel’s dreams of going to college and becoming a doctor are threatened, it is due to an unplanned pregnancy that results from a lack of access to reproductive information (evidenced by multiple cases of teen pregnancy in Chantel’s social circle).
On the other hand, Lady Bird, although an important depiction of young women in film, tells a story of white privilege and its oblivion towards ongoing social issues and its contribution to them. As Aditi Natasha Kini phrases it in her article for The Week, "The movie brings up tendrils of intersectional discourse — race, class issues, reproductive rights, mental health — only to leave them shriveling in the backdrop of the movie, their importance not even secondary to Lady Bird's white girl problems.” Much like in real life, white privilege allows the main character to act in her self-interest without regard to those around her and is rewarded for it. When Lady Bird rebels in school by pulling a prank on a nun from her school, she does not get reprimanded and instead is told that it is funny. When she throws away her teacher’s gradebook and then proceeds to lie about her grade in the class, her teacher accepts the higher grade she gives herself even though he knows it is a lie. When Lady Bird talks about escaping her home situation, she speaks about getting away from “the wrong side of the tracks”, where she lives in a house in a safe neighborhood with her family. Her ambition to go to college is not threatened by a lack of access to higher education, but by her prejudice against schools that her parents can afford because of the type of majors that they specialize in that she views as inferior.
Lady Bird’s struggle throughout the film is honest and valid for a young woman navigating her teenage years; however, the way those around her allow her to get away with her inconsiderate coping mechanisms and self-centered view of the world is a problematic reflection of the way the feminist movement and society allow white women to behave. The film is crowded with characters that deal with important internal struggles that need to be addressed in the media, such as mental health, sexuality, ethnic stereotypes, and class issues (although race is notably excluded). From Lady Bird’s father and his battle with depression and job loss; to her first boyfriend, who is struggling to come to terms with his sexuality and the pressures of being queer in a conservative and religious community; to her brother, who has to navigate his identity within interracial adoption; to even minor characters like Father Leviatch, who acts a mentor to the kids in performing arts while battling problems with his mental health. Lady Bird had the chance to delve into these topics, either by providing these characters with a larger role, or by allowing Lady Bird to interact with them in a responsible way, but failed to do so.
Although there was potential to show how white women could take on the role of allies, how their own struggles are also deeply affected by the plight of those around them, or how all of these issues could be addressed together, this potential was not taken advantage of. Instead, these issues are addressed in minor and superficial ways and overshadowed by Lady Bird’s story, almost as if they are being tokenized to pass the representation check, and not to provide depth to the feminist narrative. In fact, Lady Bird’s minor interaction with these issues is usually irresponsible and dismissive. For example, when Lady Bird finds out about her father’s depression and money struggles, it is through short conversations with her mother that end up being ineffective in stopping her from asking him for money and support to go against her mother’s wishes and follow her own dreams. Similarly, when frustrated about her inability to go to the college of her choice due to financial problems and a lack of good grades, she takes it out on her brother and insinuates that the only reason he received the opportunity she yearns for was affirmative action. These could be considered as a self-aware approach to criticize Lady Bird’s inconsideration for others; however, the fact that these scenes do not hold much weight in comparison to the rest of the film and do not take the time to explore the repercussions of such actions, both on the evolution of Lady Bird’s character and the feelings of those that she directs her attitude towards, prove that that is not the case. These issues, much like in the feminist movement, are used superficially to provide the illusion of depth and inclusivity as the attention is focused on the white woman’s struggles.
This is a stark contrast with the way that Just Another Girl on the I.R.T. explores the relationship between a young girl’s struggles with those that surround her. Not only does Chantel face the same coming-of-age problems that Lady Bird faces, she is also subjected to the intersectional issues that come with being a young, Black woman in an economically unstable situation. She also acts irresponsibly and makes mistakes like Lady Bird does, as that is a universal experience of growing up. Chantel ditches her best friend and boyfriend for a new love interest, sneaks out of her house to go to parties, spends the money that her boyfriend borrowed for an abortion inappropriately, and hides her pregnancy from most of the people in her social circle (including her parents). However, these actions do not blind her nor the film’s narrative from recognizing the importance of the struggles that those around her face. An example of this is Chantel’s relationship with her mother, who, like Lady Bird’s, is overworked and struggles to balance maintaining a steady income to support her family and fulfilling her responsibilities at home. Chantel recognizes the struggle that her parents are facing financially and insists on helping any way that she can. Instead of trying to pressure her parents into spending their money on non-essentials, Chantel offers to pitch in with the income that she earns at her job. Her mother refuses to accept her money, stating that any income she makes should go into her own interests and future. Still, Chantel takes care of her younger brothers and takes on the burden of household chores while her parents spend any time that they can get away from work sleeping. This dedication to her family and consideration to others’ struggles despite her own hardships is consistent with the womanist movement, which describes Black women as “[...]acting in outrageous, courageous, and willful ways, attributes that freed them from the conventions long limiting white women [...] they were responsible, in charge, and serious.” (Collins 10) This movement highlights the importance of Black women’s empowerment as individuals, but also their dedication to the wellbeing of their families and loved ones.
Perhaps one of the biggest problems, however, that arises when comparing these two films is not how they include or exclude race from their narratives. Ultimately, these films tell coming-of-age stories in two very different contexts and do the main characters justice in developing them as strong women leads. Regardless of Lady Bird’s failure to take the chance of providing a platform for the feminist agenda that includes representation, the main issue derived from the comparison of these two films can be found in a greater social context. When looking at the cultural relevance of these two films and the legacy that they have left behind, it is clear how much value is placed into media that provides a platform for white feminism, and how little attention is given to Black women’s stories.
Much like the feminist movement tends to exclude Black women from its platform, the media and popular culture exclude Black women and their experiences by limiting their opportunities to tell their stories and, when finally given the chance to tell them, not giving them the recognition they deserve. Once the world saw Lady Bird, it instantly became a success and was applauded for its accurate representation of strong women. Greta Gerwig, who wrote the screenplay and directed the film, received nominations and awards, recognition, and an established position in the film industry that allowed her to pursue other projects. Lady Bird was nominated for a total of five academy awards, which was a big win for women in the film industry. As Eliza Berman phrased it, “The nod makes Gerwig just the fifth woman nominated for directing in 90 years of Academy Awards—and the first female nominee since Kathryn Bigelow became the only woman to win, for The Hurt Locker in 2010.” Even in her acceptance speech for her Golden Globe (which can be found here), however, the lack of diversity is evident as she is surrounded by an all-white cast. After all of the recognition received from Lady Bird, Gerwig was given the opportunity to continue to further her career and work on well-funded projects, such as the recreation of Little Women (2019). Little Women was produced with a budget of $40M, and after accounting for other global costs its estimated profit was $56M. (D'Alessandro) So, although Gerwig’s success was historic and necessary in advancing the representation of women in the film industry in positions that are usually male-dominated, it still represented a win for white feminism and made no nods towards other women of color.
This fate was not similar to Leslie Harris’, who directed Just Another Girl on the I.R.T. and also hoped to make it in the film industry after her success with it. As she mentioned in an interview with the NY Times conducted by Mecado Murphy 25 years after its release, "Just Another Girl was a rare thing then: a film written, directed and co-produced by a Black woman, with a young Black woman at the center of its story. Turns out it’s still a rare thing now.” Harris’ film and its success, although not as abundant as Gerwig’s with Lady Bird, was a step in the right direction to increase the representation of Black women not just in coming-of-age films, but also as participants of the film industry itself. The problem is that nothing came of this, as Harris struggled to find funding for the projects that she ambitioned to create after Just Another Girl on the I.R.T. that aimed to continue her mission in putting Black women’s stories on the media’s radar and starting up a conversation about them. She explained this idea further in that same interview, “I tend to write films that deal with one Black woman’s story. That’s where it becomes a little tricky in the film industry. And I think it does a disservice to the Black women who aren’t getting that kind of role.” The lack of support for directors like Harris and films like Just Another Girl on the I.R.T. have made it so that a clear path to success for Black women in film has not been paved yet. This feeds the problem of erasure of Black women in the media and in society in general, and validates Black women’s feelings of invisibility and hopelessness.
By comparing both the content and the cultural significance of the two coming-of-age films Just Another Girl on the I.R.T. and Lady Bird it becomes evident that although the film industry is notorious for excluding women from its opportunities, its erasure of Black women is much more prominent. Representation is essential for many reasons, whether that is to eliminate institutional barriers that keep Black women from succeeding in their careers or to reduce the feeling of being othered that may inhibit women from pursuing their goals in the first place. It is possible to increase representation by aiding the production of more stories like Just Another Girl on the I.R.T. and granting them cultural significance. This is also possible by using the privilege that films that tell white women’s stories, like Lady Bird, have to open up a conversation about the erasure of Black women. By generating a conversation in particular industries, especially one that has so much influence over popular cultural opinions, the representation of Black women in other industries and in the feminist movement itself will become much more demanded and prioritized.
*This analysis was originally written for UF course ENC2305: Race & Ethnicity in Film (Spring 2020).
Works Cited
Berman, Eliza. “How Greta Gerwig and 'Lady Bird' Proved the Industry Wrong.” Time, Time, 1 Mar. 2018, time.com/5180697/how-greta-gerwig-is-leading-by-example/.
Collins, Patricia Hill. “What’s in a Name? Womanism, Black Feminism, and Beyond.” Black Scholar, vol. 26, no. 1, Winter/Spring96 1996, p. 9. EBSCOhost, doi:10.1080/00064246.1996.11430765.
D'Alessandro, Anthony. “'Little Women,' Big Profits: Remake Lands At No. 24 In Deadline's 2019 Most Valuable Blockbuster Tournament.” Deadline, 10 Apr. 2020, deadline.com/2020/04/little-women-movie-profit-2019-greta-gerwig-sony-1202901744/.
Gerwig, Greta, director. Lady Bird.
Harris, Leslie, director. Just Another Girl on the IRT.
Kini, Aditi Natasha. “Lady Bird's Glaring White Mediocrity.” The Week - All You Need to Know about Everything That Matters, The Week, 7 Dec. 2017, theweek.com/articles/741399/lady-birds-glaring-white-mediocrity.
Murphy, Mekado. “25 Years After a Breakthrough at Sundance, Trying to Break Through Again.” The New York Times, The New York Times, 24 Jan. 2018, www.nytimes.com/2018/01/24/movies/leslie-harris-sundance-interview.html.
Shamase, Maxwell Z. “A Theoretical Exposition of Feminism Amd Womanism in African Context.” Gender & Behaviour, vol. 15, no. 2, May 2017, p. 9210. EBSCOhost, search.ebscohost.com/login.aspx?direct=true&AuthType=ip,uid&db=edb&AN=126152223&site=eds-live.
Young, Tyler. “The Lasting Appeal of 'Just Another Girl on the I.R.T.'.” Shondaland, Shondaland, 27 Aug. 2018, www.shondaland.com/live/a22665762/the-lasting-appeal-of-just-another-girl-on-the-irt/.