Goddess: Brave. Bold. Beautiful.

In Her Words

In Her Words section, Goddess exhibition.

In Her Words is a soundscape by composer and music producer Chiara Costanza. Costanza sampled talk shows, movies, acceptance speeches and interviews to create this work. It features the voices of many stars across time foregrounding these women's words.

In the male-dominated film industry, when women raise their voices, it’s often seen as an act of rebellion and solidarity. In Christmas in Connecticut (1945), American actress Barbara Stanwyck declared she was “tired of being pushed around… being told what to do… dancing to everyone else’s tune.” She could very well be speaking on behalf of most women that Hollywood has labelled as stars! Since the birth of cinema, women have been described as beautiful, glamorous, marvellous and magnificent. However, they’ve also been forced to consider how they look and even who they are.

Actresses have often had to defy expectations and the influence of the industry to make their mark and stake their claims. Through shared experiences, their collective voices over time form a cultural legacy. There is a continued need to acknowledge and profile the contributions of women in film, now and for generations to come.

Crafting The Ideal

Crafting the Ideal section, Gentlemen Prefer Blondes. 

Crafting the Ideal takes a closer look at how women have been represented on screen across film history. The way films portray women reflect the social standards of the time and often establish or reinforce stereotypes. As a result, society's perceptions of beauty have been largely skewed and shaped by screen culture and mass media.

Actresses such as Marilyn Monroe, Dorothy Dandridge, Meena Kumari and Joan Chen worked hard to overturn the stereotypes and typecasting they faced across their careers. They challenged existing views and fought for agency and control, paving the way for a more open and progressive world.

One of the most well-known cultural icons is Hollywood actress Norma Jean Mortenson, best known as Marilyn Monroe. She was often typecast in roles that depicted her as a blonde bombshell and sex symbol. However, she was an accomplished businesswoman in her own right. Monroe fought back against the film studio system, renegotiated her contract for less restrictive terms and eventually formed her own production company. Celebrities such as pop singer Madonna, Australian actress Margot Robbie and model Winnie Harlow have paid homage to Monroe at different points in their careers, referencing Monroe to make statements for equal representation within the broader entertainment industry.

Crafting The Ideal

She’s Just Too... 2004. Courtesy Russel Wong.

Crafting the Ideal takes a closer look at how women have been represented on screen across film history. The way films portray women reflect the social standards of the time and often establish or reinforce stereotypes. As a result, society's perceptions of beauty have been largely skewed and shaped by screen culture and mass media.

Actresses such as Marilyn Monroe, Dorothy Dandridge, Meena Kumari and Joan Chen worked hard to overturn the stereotypes and typecasting they faced across their careers. They challenged existing views and fought for agency and control, paving the way for a more open and progressive world.

One of the most well-known cultural icons is Hollywood actress Norma Jean Mortenson, best known as Marilyn Monroe. She was often typecast in roles that depicted her as a blonde bombshell and sex symbol. However, she was an accomplished businesswoman in her own right. Monroe fought back against the film studio system, renegotiated her contract for less restrictive terms and eventually formed her own production company. Celebrities such as pop singer Madonna, Australian actress Margot Robbie and model Winnie Harlow have paid homage to Monroe at different points in their careers, referencing Monroe to make statements for equal representation within the broader entertainment industry.

Crafting The Ideal

Crafting the Ideal section, Halle Berry and Dorothy Dandridge.

Crafting the Ideal takes a closer look at how women have been represented on screen across film history. The way films portray women reflect the social standards of the time and often establish or reinforce stereotypes. As a result, society's perceptions of beauty have been largely skewed and shaped by screen culture and mass media.

Actresses such as Marilyn Monroe, Dorothy Dandridge, Meena Kumari and Joan Chen worked hard to overturn the stereotypes and typecasting they faced across their careers. They challenged existing views and fought for agency and control, paving the way for a more open and progressive world.

One of the most well-known cultural icons is Hollywood actress Norma Jean Mortenson, best known as Marilyn Monroe. She was often typecast in roles that depicted her as a blonde bombshell and sex symbol. However, she was an accomplished businesswoman in her own right. Monroe fought back against the film studio system, renegotiated her contract for less restrictive terms and eventually formed her own production company. Celebrities such as pop singer Madonna, Australian actress Margot Robbie and model Winnie Harlow have paid homage to Monroe at different points in their careers, referencing Monroe to make statements for equal representation within the broader entertainment industry.

Breaking The Binary

Breaking the Binary section, Billy Porter and Marlene Dietrich.

There are many moments in film history where actresses have obviously been typecast into certain roles. Such practices served as reflections of the gender biases of broader society and reinforced stereotypes. Breaking the Binary profiles creatives who pushed back against restrictive social standards, highlighting how unnecessary such gendered roles in cinema, and in life, were and are.

In Chinese opera, it is common for individuals to play roles of the opposite gender. Cantonese opera legend Yam Kim-fai performed in over 300 films across her career, where she mainly played male roles. Actress Tilda Swinton became an arthouse icon for her dual-gender lead role in the film, Orlando (1992) directed by Sally Potter. Now a landmark work of independent cinema, the film rebelled against the traditions of British costume drama. Acting alongside Swinton was British counter-cultural icon Quentin Crisp, who took on the role of Queen Elizabeth I in a costume created by award-winning designer Sandy Powell.

Stars made a statement against gender-related norms by challenging fashion conventions and strict dress codes. German American actress Marlene Dietrich and blues musician Gladys Bentley began wearing tuxedos at a time when it was scandalous for women to even wear trousers. To this day, androgynous fashion and avant-garde designers continue to challenge social constructs of gender.

Breaking The Binary

Orlando, 1992, Tilda Swinton. Image courtesy of Photo 12 / Alamy Stock Photo.

There are many moments in film history where actresses have obviously been typecast into certain roles. Such practices served as reflections of the gender biases of broader society and reinforced stereotypes. Breaking the Binary profiles creatives who pushed back against restrictive social standards, highlighting how unnecessary such gendered roles in cinema, and in life, were and are.

In Chinese opera, it is common for individuals to play roles of the opposite gender. Cantonese opera legend Yam Kim-fai performed in over 300 films across her career, where she mainly played male roles. Actress Tilda Swinton became an arthouse icon for her dual-gender lead role in the film, Orlando (1992) directed by Sally Potter. Now a landmark work of independent cinema, the film rebelled against the traditions of British costume drama. Acting alongside Swinton was British counter-cultural icon Quentin Crisp, who took on the role of Queen Elizabeth I in a costume created by award-winning designer Sandy Powell.

Stars made a statement against gender-related norms by challenging fashion conventions and strict dress codes. German American actress Marlene Dietrich and blues musician Gladys Bentley began wearing tuxedos at a time when it was scandalous for women to even wear trousers. To this day, androgynous fashion and avant-garde designers continue to challenge social constructs of gender.

Breaking The Binary

Breaking the Binary section, Yam Kim-fai.

There are many moments in film history where actresses have obviously been typecast into certain roles. Such practices served as reflections of the gender biases of broader society and reinforced stereotypes. Breaking the Binary profiles creatives who pushed back against restrictive social standards, highlighting how unnecessary such gendered roles in cinema, and in life, were and are.

In Chinese opera, it is common for individuals to play roles of the opposite gender. Cantonese opera legend Yam Kim-fai performed in over 300 films across her career, where she mainly played male roles. Actress Tilda Swinton became an arthouse icon for her dual-gender lead role in the film, Orlando (1992) directed by Sally Potter. Now a landmark work of independent cinema, the film rebelled against the traditions of British costume drama. Acting alongside Swinton was British counter-cultural icon Quentin Crisp, who took on the role of Queen Elizabeth I in a costume created by award-winning designer Sandy Powell.

Stars made a statement against gender-related norms by challenging fashion conventions and strict dress codes. German American actress Marlene Dietrich and blues musician Gladys Bentley began wearing tuxedos at a time when it was scandalous for women to even wear trousers. To this day, androgynous fashion and avant-garde designers continue to challenge social constructs of gender.

Dangerous Women

Dangerous Women section, Anna May Wong and Glenn Close.

Dangerous Women reflects upon the way women have been portrayed negatively in film, especially when they have been seen to be different, ambitious or, simply, getting older. In the early days of Hollywood, Asian actresses were overlooked for leading film roles, they were either typecast as villainous ‘Dragon Ladies’ or subservient ‘Lotus Flowers’ who needed protection. Wong Liu Tsong, known professionally as Anna May Wong, is considered the first Chinese American Hollywood film star. She spoke out against the contrived roles she was offered and paved the way for other Asian stars such as Lisa Lu to be cast as more diverse and complex characters. Lu, known as the “Light of China,” was the first actress from the Chinese mainland to break into Hollywood. Turning 97 this year, she is an inspiring figure who continues to act today including recently in Crazy Rich Asians (2018).  

The femme fatale was a character often associated with women in film, particularly in the 1940s and 50s. This role portrayed women as mysterious, seductive and often deadly. During World War II, women entered the workforce in America and, in doing so, gained newfound agency. When men returned to work after the war and tried to re-establish ‘traditional’ gender roles, the femme fatale character came to represent an unspoken fear of powerful, independent and assertive women.

While it was, and still is, acceptable for men to be seen growing old on screen, the film industry does not view ageing female actresses as kindly. Older women are often portrayed in unflattering roles, such as in campy thrillers and horror movies. Even legendary actresses such as Bette Davis and Joan Crawford found it increasingly difficult to secure roles as they got older.

Dangerous Women

Anna May Wong, Courtesy Anna M. Wong, CPA Media Pte Ltd/Alamy Stock Photo.

Dangerous Women reflects upon the way women have been portrayed negatively in film, especially when they have been seen to be different, ambitious or, simply, getting older. In the early days of Hollywood, Asian actresses were overlooked for leading film roles, they were either typecast as villainous ‘Dragon Ladies’ or subservient ‘Lotus Flowers’ who needed protection. Wong Liu Tsong, known professionally as Anna May Wong, is considered the first Chinese American Hollywood film star. She spoke out against the contrived roles she was offered and paved the way for other Asian stars such as Lisa Lu to be cast as more diverse and complex characters. Lu, known as the “Light of China,” was the first actress from the Chinese mainland to break into Hollywood. Turning 97 this year, she is an inspiring figure who continues to act today including recently in Crazy Rich Asians (2018).  

The femme fatale was a character often associated with women in film, particularly in the 1940s and 50s. This role portrayed women as mysterious, seductive and often deadly. During World War II, women entered the workforce in America and, in doing so, gained newfound agency. When men returned to work after the war and tried to re-establish ‘traditional’ gender roles, the femme fatale character came to represent an unspoken fear of powerful, independent and assertive women.

While it was, and still is, acceptable for men to be seen growing old on screen, the film industry does not view ageing female actresses as kindly. Older women are often portrayed in unflattering roles, such as in campy thrillers and horror movies. Even legendary actresses such as Bette Davis and Joan Crawford found it increasingly difficult to secure roles as they got older.

Dangerous Women

Dangerous Women section, Bette Davis and Joan Crawford.

Dangerous Women reflects upon the way women have been portrayed negatively in film, especially when they have been seen to be different, ambitious or, simply, getting older. In the early days of Hollywood, Asian actresses were overlooked for leading film roles, they were either typecast as villainous ‘Dragon Ladies’ or subservient ‘Lotus Flowers’ who needed protection. Wong Liu Tsong, known professionally as Anna May Wong, is considered the first Chinese American Hollywood film star. She spoke out against the contrived roles she was offered and paved the way for other Asian stars such as Lisa Lu to be cast as more diverse and complex characters. Lu, known as the “Light of China,” was the first actress from the Chinese mainland to break into Hollywood. Turning 97 this year, she is an inspiring figure who continues to act today including recently in Crazy Rich Asians (2018).  

The femme fatale was a character often associated with women in film, particularly in the 1940s and 50s. This role portrayed women as mysterious, seductive and often deadly. During World War II, women entered the workforce in America and, in doing so, gained newfound agency. When men returned to work after the war and tried to re-establish ‘traditional’ gender roles, the femme fatale character came to represent an unspoken fear of powerful, independent and assertive women.

While it was, and still is, acceptable for men to be seen growing old on screen, the film industry does not view ageing female actresses as kindly. Older women are often portrayed in unflattering roles, such as in campy thrillers and horror movies. Even legendary actresses such as Bette Davis and Joan Crawford found it increasingly difficult to secure roles as they got older.

Weaponising Glamour

Dangerous Women section, Zendaya and Josephine Baker.

Weaponising Glamour addresses how make-up, costumes and accessories contribute to the construction of memorable on and off-screen personas. In the Hollywood golden era of film, actresses often took on hyper-feminine styles to command attention and establish influence. They then used their platforms to champion rights and address more complex social concerns.

Freda Josephine McDonald, also known as Josephine Baker, was an American-born French singer and dancer known for her unique dance style and costumes. Her fame gave her a platform, and some protection, for her to speak out against racism and discrimination. As an example, she refused to perform for segregated audiences. Her legacy inspires contemporary stars such as Zendaya, who has also called out the racism she has encountered in the film industry.

Actresses such as Mae West and Anna Tsuchiya redefined what it meant to be feminine on screen. West’s larger-than-life and confident persona shone through in her lavish costumes and platform shoes. She offered a vision of womanhood that celebrated desire as an expression of independence. Actress and rockstar Tsuchiya is known for her electrifying live performances, which defied the stereotype of Japanese actresses needing to be demure and quiet.

Chinese screen icons Tang Wei and Gong Li have both played complex characters who used their beauty, charm and intellect to manipulate others for their own purposes. These characters symbolised power and resilience, a far cry from the subservient roles more often associated with Asian actresses.

Weaponising Glamour

Gong Li as Empress Phoenix in Curse of the Golden Flower, 2006. Courtesy Russel Wong.

Weaponising Glamour addresses how make-up, costumes and accessories contribute to the construction of memorable on and off-screen personas. In the Hollywood golden era of film, actresses often took on hyper-feminine styles to command attention and establish influence. They then used their platforms to champion rights and address more complex social concerns.

Freda Josephine McDonald, also known as Josephine Baker, was an American-born French singer and dancer known for her unique dance style and costumes. Her fame gave her a platform, and some protection, for her to speak out against racism and discrimination. As an example, she refused to perform for segregated audiences. Her legacy inspires contemporary stars such as Zendaya, who has also called out the racism she has encountered in the film industry.

Actresses such as Mae West and Anna Tsuchiya redefined what it meant to be feminine on screen. West’s larger-than-life and confident persona shone through in her lavish costumes and platform shoes. She offered a vision of womanhood that celebrated desire as an expression of independence. Actress and rockstar Tsuchiya is known for her electrifying live performances, which defied the stereotype of Japanese actresses needing to be demure and quiet.

Chinese screen icons Tang Wei and Gong Li have both played complex characters who used their beauty, charm and intellect to manipulate others for their own purposes. These characters symbolised power and resilience, a far cry from the subservient roles more often associated with Asian actresses.

Weaponising Glamour

Dangerous Women section, Sakuran (2006). 

Weaponising Glamour addresses how make-up, costumes and accessories contribute to the construction of memorable on and off-screen personas. In the Hollywood golden era of film, actresses often took on hyper-feminine styles to command attention and establish influence. They then used their platforms to champion rights and address more complex social concerns.

Freda Josephine McDonald, also known as Josephine Baker, was an American-born French singer and dancer known for her unique dance style and costumes. Her fame gave her a platform, and some protection, for her to speak out against racism and discrimination. As an example, she refused to perform for segregated audiences. Her legacy inspires contemporary stars such as Zendaya, who has also called out the racism she has encountered in the film industry.

Actresses such as Mae West and Anna Tsuchiya redefined what it meant to be feminine on screen. West’s larger-than-life and confident persona shone through in her lavish costumes and platform shoes. She offered a vision of womanhood that celebrated desire as an expression of independence. Actress and rockstar Tsuchiya is known for her electrifying live performances, which defied the stereotype of Japanese actresses needing to be demure and quiet.

Chinese screen icons Tang Wei and Gong Li have both played complex characters who used their beauty, charm and intellect to manipulate others for their own purposes. These characters symbolised power and resilience, a far cry from the subservient roles more often associated with Asian actresses.

Cut from the Same Cloth

Cut from the Same Cloth section, Maria Menado, K. Fatimah and Saloma.

Cut from the Same Cloth profiles three film icons of the golden age of Malay cinema in Singapore, which lasted from the 1940s to the 1970s: Saloma, Maria Menado and K. Fatimah. On screen, they played progressive characters who signalled the changing socio-cultural values of the time. From being financially independent to forming alliances and challenging gender-based norms, their characters demonstrated that women could dream bigger and bolder.

Many films with strong female characters were developed by the Malay Film Productions Limited (MFP) studio in Singapore. MFP was part of the Shaw Brothers film empire which, together with Cathay-Keris Productions, produced hundreds of films during the golden age of Malay cinema. A flourishing of cultural and intellectual life in Singapore at the time meant progressive and ambitious ideals found their way into films.

Off-screen, these multi-talented actresses established themselves in other creative fields like music, fashion and business. K. Fatimah was a beauty queen. Indonesian actress and model Maria Menado went from being in front of the camera to behind it, founding her own production company. Salma Ismail, better known as Saloma, was awarded the title of Biduama Pertama Negara (First National Songbird) in 1978 for her contributions to the Malay music industry. A fashion icon, she even had a modern style of kebaya, a traditional Southeast Asian upper garment, named after her.

Cut from the Same Cloth

Photograph of Maria Menado in a scene from a film, 1960s. Collection of the National Museum of Singapore, National Heritage Board.

Cut from the Same Cloth profiles three film icons of the golden age of Malay cinema in Singapore, which lasted from the 1940s to the 1970s: Saloma, Maria Menado and K. Fatimah. On screen, they played progressive characters who signalled the changing socio-cultural values of the time. From being financially independent to forming alliances and challenging gender-based norms, their characters demonstrated that women could dream bigger and bolder.

Many films with strong female characters were developed by the Malay Film Productions Limited (MFP) studio in Singapore. MFP was part of the Shaw Brothers film empire which, together with Cathay-Keris Productions, produced hundreds of films during the golden age of Malay cinema. A flourishing of cultural and intellectual life in Singapore at the time meant progressive and ambitious ideals found their way into films.

Off-screen, these multi-talented actresses established themselves in other creative fields like music, fashion and business. K. Fatimah was a beauty queen. Indonesian actress and model Maria Menado went from being in front of the camera to behind it, founding her own production company. Salma Ismail, better known as Saloma, was awarded the title of Biduama Pertama Negara (First National Songbird) in 1978 for her contributions to the Malay music industry. A fashion icon, she even had a modern style of kebaya, a traditional Southeast Asian upper garment, named after her.

Cut from the Same Cloth

Cut from the Same Cloth section, K. Fatimah and Saloma.

Cut from the Same Cloth profiles three film icons of the golden age of Malay cinema in Singapore, which lasted from the 1940s to the 1970s: Saloma, Maria Menado and K. Fatimah. On screen, they played progressive characters who signalled the changing socio-cultural values of the time. From being financially independent to forming alliances and challenging gender-based norms, their characters demonstrated that women could dream bigger and bolder.

Many films with strong female characters were developed by the Malay Film Productions Limited (MFP) studio in Singapore. MFP was part of the Shaw Brothers film empire which, together with Cathay-Keris Productions, produced hundreds of films during the golden age of Malay cinema. A flourishing of cultural and intellectual life in Singapore at the time meant progressive and ambitious ideals found their way into films.

Off-screen, these multi-talented actresses established themselves in other creative fields like music, fashion and business. K. Fatimah was a beauty queen. Indonesian actress and model Maria Menado went from being in front of the camera to behind it, founding her own production company. Salma Ismail, better known as Saloma, was awarded the title of Biduama Pertama Negara (First National Songbird) in 1978 for her contributions to the Malay music industry. A fashion icon, she even had a modern style of kebaya, a traditional Southeast Asian upper garment, named after her.

Fighting Back

Fighting Back section, Michelle Yeoh and Zhang Ziyi.

Fighting Back details the daring physical feats of actresses on screen, from classic stuntwomen to today’s action heroes. It also profiles the forming of alliances between female characters to push back against injustice. Examples include the protagonists in films like Thelma & Louise (1991), played by American actresses Geena Davis and Susan Sarandon. After a violent assault in the film, both women banded together and became fugitives, as the authorities would not believe their story.

The Blaxploitation era of 1970s America saw Black actresses like Pam Grier packing a punch and taking on lead action roles. These films fought back against racial injustice, echoing the Black Power and women’s rights movements of the time. The Blaxploitation genre of films inspired Asian directors, as shown in the film They Call Her… Cleopatra Wong (1978) which starred Singaporean actress Doris Young. Both Young and fellow Singaporean, Fann Wong, played fierce and fabulous action heroines. They presented women as strong and independent, countering early film depictions of women being fragile.

Martial arts films from Asia have captivated audiences around the world, crossing over into the West. Wuxia, a genre of film that explores the adventures of martial artists in ancient China, has proven to be particularly popular. These films often showcase female power through the depiction of women warriors, such as the characters played by Zhang Ziyi and Maggie Cheung in Hero (2002).

Early wuxia films featured Chinese actress Cheng Pei Pei, known as the ‘Queen of Wuxia.’ Cheng inspired other female stars like celebrated Malaysian actress Michelle Yeoh, who won the Oscar for Best Actress in 2023 for Everything Everywhere All at Once (2022). Yeoh began her career in martial arts roles and performed her own stunts. In Police Story 3: Super Cop (1992), she even pulled off a motorcycle jump from a road onto a moving train!

Fighting Back

Lobby card for They Call Her... Cleopatra Wong, 1978. Courtesy Doris Young / Marrie Lee.

Fighting Back details the daring physical feats of actresses on screen, from classic stuntwomen to today’s action heroes. It also profiles the forming of alliances between female characters to push back against injustice. Examples include the protagonists in films like Thelma & Louise (1991), played by American actresses Geena Davis and Susan Sarandon. After a violent assault in the film, both women banded together and became fugitives, as the authorities would not believe their story.

The Blaxploitation era of 1970s America saw Black actresses like Pam Grier packing a punch and taking on lead action roles. These films fought back against racial injustice, echoing the Black Power and women’s rights movements of the time. The Blaxploitation genre of films inspired Asian directors, as shown in the film They Call Her… Cleopatra Wong (1978) which starred Singaporean actress Doris Young. Both Young and fellow Singaporean, Fann Wong, played fierce and fabulous action heroines. They presented women as strong and independent, countering early film depictions of women being fragile.

Martial arts films from Asia have captivated audiences around the world, crossing over into the West. Wuxia, a genre of film that explores the adventures of martial artists in ancient China, has proven to be particularly popular. These films often showcase female power through the depiction of women warriors, such as the characters played by Zhang Ziyi and Maggie Cheung in Hero (2002).

Early wuxia films featured Chinese actress Cheng Pei Pei, known as the ‘Queen of Wuxia.’ Cheng inspired other female stars like celebrated Malaysian actress Michelle Yeoh, who won the Oscar for Best Actress in 2023 for Everything Everywhere All at Once (2022). Yeoh began her career in martial arts roles and performed her own stunts. In Police Story 3: Super Cop (1992), she even pulled off a motorcycle jump from a road onto a moving train!

Fighting Back

Fighting Back section, Blaxploitation.

Fighting Back details the daring physical feats of actresses on screen, from classic stuntwomen to today’s action heroes. It also profiles the forming of alliances between female characters to push back against injustice. Examples include the protagonists in films like Thelma & Louise (1991), played by American actresses Geena Davis and Susan Sarandon. After a violent assault in the film, both women banded together and became fugitives, as the authorities would not believe their story.

The Blaxploitation era of 1970s America saw Black actresses like Pam Grier packing a punch and taking on lead action roles. These films fought back against racial injustice, echoing the Black Power and women’s rights movements of the time. The Blaxploitation genre of films inspired Asian directors, as shown in the film They Call Her… Cleopatra Wong (1978) which starred Singaporean actress Doris Young. Both Young and fellow Singaporean, Fann Wong, played fierce and fabulous action heroines. They presented women as strong and independent, countering early film depictions of women being fragile.

Martial arts films from Asia have captivated audiences around the world, crossing over into the West. Wuxia, a genre of film that explores the adventures of martial artists in ancient China, has proven to be particularly popular. These films often showcase female power through the depiction of women warriors, such as the characters played by Zhang Ziyi and Maggie Cheung in Hero (2002).

Early wuxia films featured Chinese actress Cheng Pei Pei, known as the ‘Queen of Wuxia.’ Cheng inspired other female stars like celebrated Malaysian actress Michelle Yeoh, who won the Oscar for Best Actress in 2023 for Everything Everywhere All at Once (2022). Yeoh began her career in martial arts roles and performed her own stunts. In Police Story 3: Super Cop (1992), she even pulled off a motorcycle jump from a road onto a moving train!

Walk Out With A Goddess

Walk out with a Goddess section.

When the characters on these screens walk away, it’s an act of defiance—not surrender. In Gentlemen Prefer Blondes (1953), Marilyn Monroe’s character asserted her control over men when she pulls the door closed and says, “Don’t say another word.” Cheerleader Torrance Shipman played by American actress Kirsten Dunst in Bring It On (2000) declared a barbed “buhbye” when she dropped the boyfriend who’d been holding her back.

The power of women’s voices extending into professional spaces manifests in American TV series Mad Men (2007), when actress Elisabeth Moss’s character tells her boss “Don’t be a stranger” and proves that she has surpassed him. In turn, the icy “Go” from actress Meryl Streep as powerful fashion magazine editor Miranda Priestly in The Devil Wears Prada (2006) cuts like broken glass ceilings.

These women seen in film and on TV are in dialogue, backing each other and backing themselves. When they walk away, they’re transformed. In Cruel Intentions (1999), actress Reese Witherspoon’s character Annette leaves behind toxicity, while the character of Fleabag played by actress Phoebe Waller-Bridge in British comedy series Fleabag (2016) walks away from the past. “Goodbye” is a new beginning, slamming a door is taking a stand.

Whether these goddesses have defied gender expectations or racial discrimination and pushed back against those who tried to control them, they have collectively stood up, raised their voices and reclaimed their story. By embodying resilience, courage, talent and strength, these screen icons possess inspiring qualities that are relevant to us all.