History UsefulNotes / TheBechdelTest

27th Jun '16 12:14:19 AM BallsDandy
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* ''Webcomic/{{xkcd}}'' passes the test in [[https://xkcd.com/896// strip 896]] with [[EverythingsDeaderWithZombies zombie]] UsefulNotes/MarieCurie talking to the other character about scientific achievements by women other than herself.

7th Jun '16 5:56:50 AM Mildegard
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* Most of the conversations in the ''Webcomic/GiftsOfWanderingIce'' are between women (it's a matriarchal world), and not about men.
17th May '16 5:12:43 PM StFan
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This is because the Bechdel Test is ''not'' meant to give a scorecard of a work's overall level of feminism. It is entirely possible for a film to pass without having overt feminist themes in fact, the original example of a movie that passes is ''Film/{{Alien}}'', which, while it has feminist subtexts, is mostly just a sci-fi/action/horror flick. A movie can easily pass the Bechdel Test and still be incredibly misogynistic. For instance, the infamously bad ''Film/ManosTheHandsOfFate'' passes the test, but its treatment of women is incredibly {{squick}}y. So does The Bikini Carwash Company, which is little more than tasteless pandering. Conversely, it's also possible for a story to fail the test and still be strongly feminist in other ways (cf. the aforementioned ''Mulan''; see also ''Film/PacificRim'' and its spinoff "Mako Mori Test", discussed in the "Web Originals" section below). There's nothing necessarily wrong with a feminist film flunking the Bechdel Test. What's a problem is that it becomes a pattern when ''so many'' movies fail the test, while very few show male characters whose lives seem to revolve around women, that says [[UnfortunateImplications uncomfortable things]] about the way Hollywood handles gender. There are also lesser-known variations of the test, such as the [[DeggansRule Race Bechdel Test]], in which two characters of colour talk about anything other than the white leads, and the Reverse Bechdel Test, [[GenderFlip with the roles of men and women swapped]].

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This is because the Bechdel Test is ''not'' meant to give a scorecard of a work's overall level of feminism. It is entirely possible for a film to pass without having overt feminist themes in fact, the original example of a movie that passes is ''Film/{{Alien}}'', which, while it has feminist subtexts, is mostly just a sci-fi/action/horror flick. A movie can easily pass the Bechdel Test and still be incredibly misogynistic. For instance, the infamously bad ''Film/ManosTheHandsOfFate'' passes the test, but its treatment of women is incredibly {{squick}}y. So does The Bikini Carwash Company, which is little more than tasteless pandering. Conversely, it's also possible for a story to fail the test and still be strongly feminist in other ways (cf. the aforementioned ''Mulan''; see also ''Film/PacificRim'' and its spinoff "Mako Mori Test", discussed in the "Web Originals" section below). There's nothing necessarily wrong with a feminist film flunking the Bechdel Test. What's a problem is that it becomes a pattern when ''so many'' movies fail the test, while very few show male characters whose lives seem to revolve around women, that says [[UnfortunateImplications uncomfortable things]] about the way Hollywood handles gender. There are also lesser-known variations of the test, such as the [[DeggansRule [[UsefulNotes/DeggansRule Race Bechdel Test]], in which two characters of colour color talk about anything other than the white leads, and the Reverse Bechdel Test, [[GenderFlip with the roles of men and women swapped]].



Compare TheSmurfettePrinciple. Works that follow TheSmurfettePrinciple include a female character strictly for demographic appeal but make no real attempt to treat her as an interesting character in her own right, outside of her relationships with the male characters. See also NeverASelfMadeWoman, which shows that even a well rounded female character with her own goals is most often only relevant to the story by her relationship to a man. Finally, see TokenRomance and RomanticPlotTumor for the effects of Hollywood's belief that both male and female audiences are generally uninterested in female characters except in the context of romance with a male character. See also DeggansRule, which is a similar rule regarding race.

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Compare TheSmurfettePrinciple. Works that follow TheSmurfettePrinciple include a female character strictly for demographic appeal but make no real attempt to treat her as an interesting character in her own right, outside of her relationships with the male characters. See also NeverASelfMadeWoman, which shows that even a well rounded female character with her own goals is most often only relevant to the story by her relationship to a man. Finally, see TokenRomance and RomanticPlotTumor for the effects of Hollywood's belief that both male and female audiences are generally uninterested in female characters except in the context of romance with a male character. See also DeggansRule, UsefulNotes/DeggansRule, which is a similar rule regarding race.
12th May '16 5:15:37 PM skidoo23
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* The ''Series/DoctorWho'' episode "Mummy on the Orient Express" lampshades it when Clara tries to comfort a woman about her boyfriend for much of the episode, before complaining that she's on her own with another woman, so why can't they talk about something other than men? The fact that their resulting conversation is about the Doctor is a further lampshading.

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* The ''Series/DoctorWho'' episode "Mummy on the Orient Express" lampshades it when Clara tries to comfort a woman about her boyfriend for much of the episode, before complaining that she's on her own with another woman, so why can't they talk about something other than men? The fact that their resulting conversation is about the Doctor (who Clara is trying to work out her own relationship with) is a further lampshading.
12th May '16 5:14:13 PM skidoo23
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** A notable failure of the test occurs in the made-for-DVD mini-episode "Clara and the TARDIS", in which companion Clara Oswald engages in a conversation with the Doctor's TARDIS (previously established in the episode "The Doctor's Wife" as being both female and possessing affection for the Doctor, to the point of breaking the show's [[TheILoveYouStigma "I Love You" Stigma]], so she counts as another female), and the entirety of their conversation - when Clara isn't complaining about being the victim of a practical joke by the TARDIS - is about the Doctor.
12th May '16 3:04:39 PM eroock
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The Bechdel Test, Bechdel-Wallace Test, or the Mo Movie Measure[[note]] named after Mo, the main character of ''DTWOF'', even though it was introduced in a one-off strip before Mo was introduced[[/note]], is a litmus test for female presence in fictional media. The test is named for Alison Bechdel, creator of the comic strip ''ComicStrip/DykesToWatchOutFor'', who made it known to the world with [[http://www.flickr.com/photos/zizyphus/34585797/ this strip]].

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The Bechdel Test, Bechdel-Wallace Test, or the Mo Movie Measure[[note]] named after Mo, the main character of ''DTWOF'', even though it was introduced in a one-off strip before Mo was introduced[[/note]], is a litmus test for female presence in fictional media. The test is named for Alison Bechdel, creator of the comic strip ''ComicStrip/DykesToWatchOutFor'', who made it known to the world with [[http://www.[[https://web.archive.org/web/20140216030535/http://www.flickr.com/photos/zizyphus/34585797/ this strip]].
12th May '16 2:29:30 PM eroock
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-->--'''Hans Kieslowski''', ''Film/SevenPsychopaths''

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-->--'''Hans -->-- '''Hans Kieslowski''', ''Film/SevenPsychopaths''
12th May '16 1:54:11 PM slvstrChung
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** It has [[http://aescifi.ca/index.php/non-fiction/37-editorials/2401-the-mako-mori-problem been suggested]] that Mako Mori actually fails her own test, because she ''doesn't'' truly have a fully-developed story arc that doesn't revolve around men- she exists primarily in relation to her father-figure and the main hero, and her story arc is about becoming a partner to a man and whether or not she and this man are "compatible", and it is debatable if this story arc is even fully developed as her importance to the story in the climax is just to support the hero. This is less a criticism of the test itself, and more of the wisdom of using Mako Mori as an example of it.

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** It has [[http://aescifi.ca/index.php/non-fiction/37-editorials/2401-the-mako-mori-problem been suggested]] that Mako Mori actually fails her own test, because she ''doesn't'' truly have a fully-developed story arc that doesn't revolve around men- men: she exists primarily in relation to her father-figure and the main hero, and hero; her story arc is about becoming a partner to a man and whether or not she and this man are "compatible", "compatible"; and it is debatable if this her story arc is even fully developed developed, as her importance to the story in the climax is just to support the hero. This is less analysis was ''not'' intended a criticism of the test itself, and more of instead questioning the wisdom of using Mako Mori as an example of it. it.



* [[http://www.themarysue.com/doctor-who-bechdel-test/ This article]] applies the test to modern-era ''Series/DoctorWho''. 80% of episodes pass: 85% under Russel T. Davies and 75% under Steven Moffat. Series 3 and 4 each had only one episode that failed the test (for S3, "The Shakespeare Code" was put to a vote, and 53% of people said it didn't pass)

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* [[http://www.themarysue.com/doctor-who-bechdel-test/ This article]] applies the test to modern-era ''Series/DoctorWho''. 80% of episodes pass: 85% under Russel T. Davies and 75% under Steven Moffat. Series 3 and 4 each had only one episode that failed the test (for S3, "The Shakespeare Code" was put to a vote, and 53% of people said it didn't pass)pass).
20th Apr '16 10:44:31 PM surgoshan
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[[folder:Music]]
* Of all things, ''Baby Got Back'' passes the Bechdel test. See above re: passing the test not making a work feminist.
[[/folder]]
20th Apr '16 10:43:33 PM surgoshan
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[[folder:Music]]
* Of all things, ''Baby Got Back'' passes the Bechdel test. See above re: passing the test not making a work feminist.
[[/folder]]
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