16 Millimeter Earrings (1966)
16 Millimeter Earrings (1966)
Overview
Not to be confused with Robert Withers's 1979 "16 Millimeter Earrings" which builds upon this work, Meredith Monk's 1966 "16 Millimeter Earrings" is a black and white film of a woman holding a magnifying glass to each eye and tearing apart several wigs.
Starring Cast
Rating & Dimensions
Not Rated
Overview
Not to be confused with Robert Withers's 1979 "16 Millimeter Earrings" which builds upon this work, Meredith Monk's 1966 "16 Millimeter Earrings" is a black and white film of a woman holding a magnifying glass to each eye and tearing apart several wigs.
Starring Cast
Detailed Bias Analysis
Primary
Screen Test [ST2]: Charles Aberg is rated 0 because its central subject matter—a silent, unedited portrait of an individual—is inherently apolitical, focusing on human presence and the act of observation rather than any specific socio-political issue or ideology.
This film, a static portrait of a single individual, features a traditional subject without any explicit diversity in casting or character roles. Its observational nature provides no narrative or framing that critiques traditional identities or explicitly promotes DEI themes.
Secondary
Meredith Monk's '16 Millimeter Earrings' is an experimental film focused on abstract visuals and sound rather than narrative or character arcs. Due to its non-traditional structure and lack of explicit character development, there are no identifiable LGBTQ+ characters or themes present within the film's content.
Meredith Monk's experimental film '16 Millimeter Earrings' does not feature identifiable transsexual characters or themes. Its abstract and non-narrative structure explores broader concepts of identity and performance, rather than specific gender identities or transitions.
The movie does not contain any action or adventure elements.
The film is a direct screen test of the real-life individual Charles Aberg, who is portrayed as male, consistent with his historical gender. There is no instance of a character established as one gender being portrayed as another.
The film is a direct portrait of Charles Aberg, a real person, who portrays himself. There is no established prior canonical or historical depiction of Charles Aberg as a different race.