One way of characterising the male antiheroes in American Beauty, Revolutionary Road, and Shame is by their family members, the relationship they have with them, and their role within the family. Starting with Lester’s family, American Beauty’s exposition introduces the main characters in the first few minutes and presents the viewer with a series of framed photographs such as the one below representing a perfectly harmonious, put-together, touchy, happy nuclear American family. Broadly smiling, they directly face the camera, of course, in order to remind the world and themselves on a daily basis how ‘normal’ they are. Reality, however, differs very much from what is portrayed in the photograph, illustrated by a regular family dinner in the …show more content…
Did he not care about her at all, would he not spend so much energy in her in any way, be it avoiding, reprimanding, protecting, holding, or hysterically attacking her. In general, the sibling relationship in Shame holds many possible interpretations for the viewer from Brandon’s point of view: incestuous feelings, a general anxiety of closeness and loss, having forgotten how to categorise emotions in an emotionless life, common experiences of trauma he associates with her, etc. In fact, the latter approachs appears to be one of the most appropriate ones since Sissy once reminds him in tears “We’re not bad people; we just come from a bad place” (Shame). Also the fact that Sissy is a cutter points to some traumatic incident – perhaps domestic violence or even child sexual abuse – she surpresses or needs to come to terms with. Social experience in one’s family during childhood and youth have a crucial influence on a person’s ability to trust others, feel empathy as well as their regulation of emotions (cf. Astleitner 108). In Death and Identity: Being and the Psycho-Sexual Drama, M. de M’Uzan argues that “very early traumas as the determining factor in the development of patients with perverse sexuality” (qtd. in Gammelgaard n.p.), bearing in mind Brandon’s case. In any case, he cares about his sister, showing his feeling of responsibility and brotherliy love in some scenes more, in some scenes less; however, similar to Frank, he is rapidly overwhelmed by emotional family moments, no matter of which nature, in his case being busy keeping up appearances and isolating
The movie “The Public Enemy (1931)” revolves around the lives of two young men who venture into crime despite having solid background and support of a solid family. In particular, the movie focuses on the family of Tom, his brother Mike and their ever loving mother. The description of the mother in the entire movie as a doting parent illustrates the type of love that defines a family. In all the scenes that the mother is involved, the movie portrays a family as a haven of love, care and concern as the woman gets to show her sons the life she wants for them.
Overall, the play Afterimage shows the difference of being socially isolated versus the importance of being a part of a family. It also shows the appearance of how truthfulness plays a major role in families, because without it, there might be trouble that occurs. Through the use of tropology and the characters, the message of how being a part of a family is much more important than being accepted socially is also portrayed. Robert Chafe was able to illustrate a clear picture into the readers head through the thoughts, actions and the events that the characters went through to show how being socially isolated is nothing compared to having a family that you can rely on.
In All the Pretty Horses, Cormac McCarthy reveals the limitations of a romantic ideology in the real world. Through his protagonist, John Grady Cole, the author offers three main examples of a man’s attempt to live a romantic life in the face of hostile reality: a failed relationship with an unattainable woman; a romantic and outdated relationship with nature; and an idealistic decision to live as an old-fashioned cowboy in an increasingly modern world. In his compassionate description of John Grady, McCarthy seems to endorse these romantic ideals. At the same time, the author makes clear the harsh reality and disappointments of John Grady’s chosen way of life.
His sister is a typical sixteen-year-old. She constantly fights with her parents, rebels against everything and practises self-mutilation- “Real careful she takes the smoke out of her mouth and looks at the hot end and put it in one of her tits and shivers”- (ok, maybe that last part isn’t typical but she is a teenager living in the bush with nowhere to go and no chance to have friends or get out of the bush so I, as a teenager, can justify why she would do something like that).
In Arthur Miller's, “Death of a Salesman” and Charlotte Perkins Stetson’s, “The Yellow-Wallpaper” both struggle to maintain their own individual expectations in companion with Societies' input. Death of a salesman focused on how financial success plagues the family as they fail to meet the standards of the American Dream. The Yellow-Wallpaper focused on how society’s view of gender inhibits the narrators in functioning beyond her basic duties.
While America was just in its infancy during the late eighteenth century and into the nineteenth century, expanding and competing for its own national identity, there were ideals of manhood competing for dominance amidst the chaos. A couple of notions of masculinity were brought to the New World straight from Europe; the idea that men were to work hard for success and value family, while others maintained wealth and landownership as the characteristics of a man. However, the eminence of industrialization soon made these notions obsolete. Without these longstanding notions, American men were left in a crisis without an identity. It is within this framework that specific paintings serve as material expressions and vehicles for gendering beliefs and constructs.
Over the years America’s ability to address taboo issues by channeling them through popular culture has become increasingly popular (Pruitt, 2007). Among the many taboo issues as evidenced by the number of mainstream films which minimally address the matter, is the issue of men living on the down low (Hamilton, 2009). An example of such is the 2011 film “For Colored Girls.” The film like many bring up the issue of men being on the down low, but they have neglected to go in-depth as to why men chose this lifestyle – rather than the age old notion that they fear social rejection (Pruitt, 2007). As it relates to the drama “Angels in America,” written by Tony Kushner, the work does a great job highlighting men who have secret lifestyles and two of the characters within the drama that exemplify characteristics of living on the down low – Joe Pitt and Ray Cohn (Kushner, 1993)
A.M. Holmes’ critique of the American dream’s malfunction in modern suburbia examines contemporary domestic life through a variety of socially realistic metaphors. No metaphor is a stronger critic of the dark domestic world she presents than the recurring theme of clothing as a mask which her characters use to hide their true identities. The novel focuses on the importance of “socially acceptable” clothing as an expression of each character’s overall desire to reach a state of normalcy, if not perfection. Yet irony arises out the representation of clothing as both filling its customary role as a cover-up, and simultaneously being used as a medium of exposure. This ironical situation of clothing as a literal and abstract costume to hide physical and mental disfigurement reinforces the assertion that the real desires of Homes’ characters are often shielded from themselves and from others, and yet are ultimately revealed through what they wear. The juxtaposition of the clothing motif is that clothing, or the lack thereof, serves as to conceal as well as reveal inner conflicts of sexuality, discontentment, or personal esteem.
The sacred and profane are slathered all over the characters of American Beauty and their motivations. Durkheim's (1912) idea of the scared is that it is ideal that society holds itself to, the “dream.” In this case, rather than a specific religion, the characters are cradled in the religion of the “American dream.” We know that the “American Dream” is a suitable source of the sacred because “Sacredness does not require a God. Flags, national holidays, and other markers of collective solidarity are sacred in the same way— and serve the same group- binding function—as crosses and holy days”(Graham and Haidt 2011). There are several manifestations of the sacred throughout the film, taking the forms of the beautiful Angela and the successful Buddy. While we see these manifestations of the sacred, it must be remembered that the power of the sacred is that is does not have any real existence in the world. Lester, and others like him, have the idea of something higher, more beautiful, more free, and greater than what he has. “In a word, above the real world where his profane life passes he has placed ...
Most love stories end with a man and woman happily in love with each other. This is not the case in F. Scott Fitzgerald’s short story, “Last Kiss”. Throughout the story, Jim longs for his childhood sweetheart and Pamela seeks out someone who will make her a star actress in Hollywood. Jim holds fast to his position of power and does not give in to Pamela’s beauty and charm until later in the story. Strong will and determination of females pose as a threat to masculinity because females can entice, persuade and manipulate males. Fitzgerald’s story demonstrates the inability of femininity to surpass the power of masculinity. This is shown through reinforcement of femininity, masculinity and belief in social norms.
Throughout the film a focus on family and the dynamics is prominent. A traumatic event, the loss of a son, brother, and friend, has influenced the Jarrett greatly. Due to the circumstances in which Conrad, a severely depressed teenager and the main character, was present during the death of his brother, feelings of guilt had built up in this young man. A great deal of stress and tension is built between the family members because of this tragic accident. Here is where the concept of, change in one part of the familial system reverberates through out other parts. (Duty, 2010) The relationship between the Conrad and his mother become even more absent because, in the film it is presented to show that the mother blames and has not forgiven Conrad for the death of his brother Buck. Six months after the death of his brother Conrad attempts suicide with razors in the bathroom of his home. His parents commit him to a psychiatric hospital and eight months later, he is trying to resume his “old” life.
Going against the norm almost always brings trouble. Much more so when the norms relate to gender in our society. From our formative years straight up to adulthood, society upholds certain distinct expectations of behaviors both male and females. Young men and woman are thus expected to follow and fit into these gender roles that are meant to guide and govern their behavior. The theme of gender and gender roles can be examined in the short story, “A & P”, written by John Updike. Through examination it can be seen that various characters go against the expected gender roles of that time period. Specifically the main character and narrator of Sammy. It is through the analysis of Sammy’s behavior that we discover what happens when you go against
...he protagonist struggle with self esteem. In The Necklace, the protagonist is struggling with her social status, which is that, she middle class and not upper class. But at the end of the story the protagonist realizes social status is only for show and not real life. In The Secret Life of Walter Mitty, the protagonist is struggling with self esteem, because of masculine issues. He wants to be that dominant male but is henpecked to the point that he cannot do simple errands without being nagged by his wife. Guy de Maupassant and James Thurber used the techniques of irony and conflict to explore and view marital relationships.
A director is successful when they take the audience away from comfort and security. In the film American Beauty, director Sam Mendes effectively achieves this. Creating a sense of discomfort and insecurity throughout the film allows the viewer to have a more in depth knowledge of the underlying themes within the film. Mendes strips viewers away from a sense of comfort and security through the portrayal of a dysfunctional family and the use of aggressive verbal slurs.
Society has changed a lot in the last couple of decades, though, at the time set in the play Who’s Afraid of Virginia Woolf?, the stereotype was very much alive. Even today echoes of this archaic family model still exist. Being normal, and adapting to society, can often lead a person to feel a sense of belonging in the short term. However, the penalty for conforming is that the individual can be lost. Giving up your personal goals, in the pursuit of those passed down from your family can lead to a lifetime of regrets. Basing decisions on societal norms can also have devastating consequences, leading the individual to become lost in a mundane life that is not of their choosing. Martha and George created a fictional son for their private needs to take away from the failure they felt as married individuals by not being able to conceive a child. Nick and Honey started their marriage to fill their roles as future parents in the expected family dynamic. Confronting each couple is a personal failure resulting in an unrealized future. Neither couple has a desire to admit their shortcomings for fear of judgment from the other couple. The play, Who’s Afraid of Virginia Woolf? displays how the desire to be normal and successful, in the eyes of our peers, impacts our life