Anthropological Feminism in The Piano
There is a moment in The Piano when the crazed husband takes an axe and chops off his wife's finger. We do not see the awful blow, but both times I watched the film the audience gasped and a few women hurried from the theater. It is a disturbing but crucial scene, the culmination of a sado-masochistic screenplay which has been condemned by some as harmful to women and welcomed by others as an important feminist work. Critics have been more nearly unanimous in their praise for The Piano, and for writer and director Jane Campion. A New Zealander, Campion made two previous low budget films with relatively unknown actors which attracted little notice and small audiences. But their quirky originality
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Though still working on "clinical" material, Campion demonstrated impressive cinematic talents -- among them an almost uncanny ability to involve an adult audience in the world as seen through the eyes of a growing girl. The girl is enormously appealing, though the child who plays her would have been quite unacceptable by Hollywood's anorexic casting standards. Her total vulnerability invites us to identify with her as we could not with Sweetie. Campion shows the child packed into one bed with her sisters, stealing coins from her father's pocket to buy candy to buy friends, listening in terror to her parents quarrel, being shamed in the "rite of passage" that comes with the tell-tale blood of menarche, experiencing the barrier-reef of adolescent self-consciousness that in her case is never overcome, and discovering the psychological salvation that can be found in a talent -- for her, writing. The fat, red-headed child looked like one of a kind; but then Campion paired her with an adult actress who was entirely convincing as the little girl grown up. It was already evident in Angel and Sweetie that casting is one of the most remarkable gifts of this extraordinary …show more content…
The awkward but appealing child grows up to be a psychotic adult and spends eight years in a mental hospital. Subjected to more than 200 electro-shock treatments, she is spared a lobotomy only because her short stories are belatedly published, winning her a prize. She goes on as a survivor, forever fragile. Campion's anthropological background is still in the directorial foreground as it was in Sweetie and it keeps this film from being a remake of Cuckoo's Nest. Campion's ethnography gives us less of the '60s romantic/political stereotype of madness as social/political oppression and more of its subtle human complexity. True, the psychiatrists mis-diagnose the heroine (schizophrenia instead of depression) and the mental hospital is not user-friendly. But she is never simply a victim. Indeed, the always vulnerable Janet Frame seems to keep throwing herself in harm's
Described within the vignette is a nineteen year old teenager named Brandy. Similar to girls her age, Brandy has difficulties dealing with her body image and self-esteem. For instance, she experiences hopelessness, isolation, sadness, and anxiety that all contribute to Brandy’s acknowledgement of her physical appearance. She completely overestimates her body size to the point of taking dieting pills then defaulting to purging. During the typical day, the meals are scarce but healthy compared to a bad day full of unhealthy snacking. Lastly, her family predicament is not a supportive one at that. Her mother was obese so she constantly dieted while Brandy’s father illustrated signs of sexual interest although he never physically touched her.
Jitterbug Perfume is a story of epic proportions, spanning a time-frame of almost one thousand years. The protagonist, Alobar, is first encountered sometime in the eleventh century as a king in Bohemia. Alobar rebels against the custom of his tribe that condemns their ruler to death upon the appearance of his first grey hair. He escapes this premature and arbitrary demise, and much of the novel follows Alobar's adventures over the next ten centuries as he continues to avoid death. On the way, he encounters Kudra, the love of his life, the god Pan, and, eventually, the other important, modern-day characters in the novel. Their stories all converge in the twentieth century in a series of chance meetings. These present-day encounters revolve around the search for the secret ingredient to the perfect perfume, and involve the presence of a vegetable, the beet.
From the beginning, Lynn Peril illustrates situations in which women have to deal with a bunch of admonitions to become more feminine and good-natured. And these tips are not just some other normal tips; they become famous and being rulers to evaluate the dignity of women. Then, the author goes on to relate her real “Pink Think” experience throughout her life and express her strong feelings, “I formed an early aversion to all things pink and girly” (Peril, 280). She also fleer some girls who feign innocence and pretend to look as if butter would not melt in their mouth.
Jane was an intelligent woman who began her adulthood as a secretary at the University of Oxford. She then became more fascinated with films. She was hired to be a music director in a filmmaking business. This led her to meet some incredible ...
In Laura Mulvey’s “Visual Pleasure and Narrative Cinema”, she presents a number of very interesting facts regarding the ways that the sexual imagery of men and women respectively are used in the world of film. One such fact is that of the man as the looker and the female as the looked upon, she argues that the woman is always the object of reifying gaze, not the bearer if it. And “[t]he determining male gaze projects its fantasy onto the female figure, which is styled accordingly. In their traditional exhibitionist role women are simultaneously looked at and displayed, with their appearance coded for strong visual and erotic impact so that they can be said to be connote to-be-looked-at-ness” (487). Mulvey makes the claim that women are presented and primped into this role of “to-be-looked-at-ness”. They are put into films for this purpose and for very little other purposes. However, this argument cannot be incorporated with The Treasure of the Sierra Madre; the existence of women in the film is extremely insignificant to an extent that could be considered absent. “In a world ordered by sexual imbalance,” male serves as the dominant figures with which the viewer can identify, women only appear in the film for a very short moment of time. For instance, the appearance of women is only shown when Howard rescues the ill child in the village and his return to the village for hospitality reception...
Maureen, her nanny, whose face is riddled with defects, still inspires Coralie to think that, “she [is] beautiful, despite her scars” (10), despite the imperfections she, herself, posses. Then I realized: Isn’t this the true nature of life? Don’t we often look at ourselves, picking out the flaws that we think others will notice? I do this too often, never once thinking that, in reality, people often don’t notice these imperfections or look down on us for them. For instance, Dove had created a commercial that placed women in a position where they had to describe themselves in front of an artist. Accordingly, other women with whom they had met previously were asked to describe them. Of course, the outcome is completely different, yet many women can’t see that. Due to this blind nature, people often try to remove their faults, alike to Coralie, who “attempted to rid herself of the webbing with a sharp knife…” (19), which seems extreme, however many nowadays go through cosmetic procedures to ‘fix’ themselves too. This struggle of accepting ourselves is by no means new—it is an eternal static that doesn’t seem to
The controversy began around 1972 and shaped off after 1980.After many years of subjugation, it seemed irrational to evaluate blacks by the same standards as whites. In 1990s there was renaissance of the discussion which led to the USA Supreme Court's verdict in 2003 to uphold definite types of affirmative action. The first debates involved gender and racial inclinations since affirmative action was mostly about the factory, corporate and college grounds. Later the controversy became all about ethnicity and race. This is because at the start of the 21st century African-Americans and Hispanics needed help in admission to certain colleges. The fundamental principle of affirmative action was fairness. Examples of affirmative action presented by the United States Department of Labor con...
The Christianization of the Norse took place between the 8th and the 12th centuries. It was a gradual process that took considerable effort converting the Norse, as they did not wish to convert and in many cases conversion was by force. The traditional religion of the Norse people wasn't just a form of worship, it was apart of their culture and way of life. A belief system that was deeply rooted that made the concept of the original sin and other Christian beliefs just too hard for the Norse people to understand or believe.
The American Cancer Society is a volunteer-based organization that is present across the United States. Its main purpose is to raise money and awareness about the severity and prevalence of cancer. Cancer education and research is where most of the focus and monetary donations are used for. The American Cancer Society strives to fulfill their goal of “less cancer and more birthdays” across all generations and populations (ACS Inc., 2011).
Obama's one mistake during his early political career (he later called it "an ill-considered race" in which he got "spanked" by the voters. Barack directed the Illinois Project Vote, which was a voter registration drive aimed at increasing black turnout in the 1992 election. Directing this project, Obama accepted positions such as attorney with the civil rights law firm of Miner, Barnhill and Galland and a lecturer at the University Of Chicago Law School. The Illinois Project Vote helped Carol Moseley Braun become the first black woman ever elected to the Senate. He gain up a staff of from 10 to 700 volunteers that reached their goal of getting 400,000 registered African Americans in the state. This made Barack into the Crain's Chicago Business list "40 under Forty" powers to be. Although, Barack didn’t need to fundraise for the position he was offered, he started an ongoing campaign to raise money for the project. Sandy Newman, who work side by side with Barack Obama for the Project Vote, said Obama "raised more money than any of our state directors had ever done. He did a great job of enlisting a broad spectrum of organizations and people, including many who did not get along well with one another. “During the times of 1992–1996 Obama was teaching constitutional law at the University of Chicago Law School for about 12 years, as a Lecturer for four years (1992–1996), and as a Senior Lecturer for eight years (1996–2004). While teaching those 12 years he taught courses about the process and equal protection, voting rights, and racism and law. He published no legal scholarship, and turned down tenured positions, but served eight years in the Illinois Senate during his twelve years at the university. Being that he was te...
Black Women’s Studies is not a twentieth century creation. On the contrary, black women have had a liberationist consciousness since the 1800s. At that time, black women began to develop “intellectual and activist traditions” which produced works that represent early black feminist ideals. It is important to acknowledge these early works, as they are antecedents to the field of Black Women’s Studies. In order to understand the trajectory of the field, we must start at the
Based on common law and precedent, the English law of contract has been formulated and developed over a number of years with it’s primary purpose to provide a regulated framework within which individuals can contract freely. In order to ensure a contract is enforceable there are certain elements which must be satisfied, one of which is the doctrine of consideration. Lord Denning famously professed; “the doctrine of consideration is too firmly fixed to be overthrown by a side wind” . This is a crucial indication that consideration has long been regarded as the cardinal ‘badge of enforceability’ in the formulation and variation of contracts in English common law.
Catherine Deneuve is famed for not only her acting credentials but her beauty too, having once been the flawless face of Chanel. She has appeared in various films that exploit her sexuality and desirability, but one could claim that her characters are never one-dimensional. Hartman’s assertion that Catherine Deneuve’s characters display both passion and inviolability supports a conception of her roles as multifaceted yet sometimes contradictory; Deneuve has certainly shown passion in her films (as the strong businesswoman of Potiche) and her inviolability cannot be denied (as the inaccessible ice maiden of Repulsion who degenerates into an ‘angel-faced schizophrenic murderess’ to protect herself from men’s advances), but does she demonstrate these two qualities simultaneously through any of her characters? This essay will discuss the validity of Hartman’s argument referring to Deneuve’s performance in Luis Buñuel’s Belle de Jour, with some supporting references to other films in which Deneuve starred.
Ruth Handler and her two young children, Barbara and Ken, were merely sightseeing in Lucerne, Switzerland, when Mrs. Handler first saw the doll she herself had been trying to create (Lord 29). In the window of a small gift shop was an eleven and one-half-inch tall plastic doll with a slender woman’s body and a long blond ponytail. Her name was Lilli (“Bad Girl” 1). She had been created from a cartoon character in a West German tabloid similar to the National Inquirer (Lord 8). Dressed provocatively, and with a seductive look in her eye, Lilli had become a “popular pornographic gag gift for men” (“Bad Girl” 1). Excited to see her long-time idea a reality, Mrs. Handler bought three of the dolls and hurried home to begin work on her own doll (“Bad Girl” 2). It was 1956, and within three years, Mattel Creations began marketing the “teenage fashion model” as “a new kind of doll from real life” (Tosa 30). The new doll, deemed “Barbie”, was named after her own daughter Barbara, who’s many years of play with paper dolls had actually inspired her to begin designing the three-dimensional adult doll (Lord 30).