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Portrayal of women in movies
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One of the most important and illuminating plot points of the movie is the idea that they had sex with each other’s girlfriends. It is through the various scenes that involve it that we see not just the aggressive side of machismo as they physically attack each other as well as hurl both homophobic a classist insults as one another. Following their initial argument about Julio sleeping with Tenoche’s girlfriend Julio and Luisa have sex in the car in the view of Tenoche. Upon his return he reveals that he too has slept with his friends’ girlfriend. It is here where the boys not only get into a physical altercation but start yelling homophobic slurs as well as ridiculing one another’s social class. It is also in this crucial moment that Luisa exasperated at both boys and their behavior accuses them of “just wanting to fuck each other.” It is here that we clearly see the boys trying to cover up their true homoerotic desires with a thinly veiled masculine façade. At the conclusion of the film we finally see the bits and pieces of the movie come together. Upon reaching Boca del Cielo the trio is finally in their idea of heaven. It is here while the boys and Luisa are drunk and toasting to life (Luisa) and sex (Julio and Tenoche) …show more content…
Because of the its machista imagery Mexican cinema has customarily placed women in a specific role as well as paint them in a very restrictive image. This is the virgin/whore dichotomy or the idea that female characters are painted as one dimensional either being good, pure, and virginal or evil, manipulative, and promiscuous. In the early 2000s movies like Amores Perros and Y Tu Mamá También had begun to challenge this kind of narrative. “The movie continues the revisionist a revisionist trend that questions the position of women in vis-à-vis narrative in contemporary Mexican
Through the study of the Peruvian society using articles like “The “Problem of the Indian...” and the Problem of the Land” by Jose Carlos Mariátegui and the Peruvian film La Boca del Lobo directed by Francisco Lombardi, it is learned that the identity of Peru is expressed through the Spanish descendants that live in cities or urban areas of Peru. In his essay, Mariátegui expresses that the creation of modern Peru was due to the tenure system in Peru and its Indigenous population. With the analyzation of La Boca del Lobo we will describe the native identity in Peru due to the Spanish treatment of Indians, power in the tenure system of Peru, the Indian Problem expressed by Mariátegui, and the implementation of Benedict Andersons “Imagined Communities”.
The first people introduced are a couple, Agustin and Marcelo, that has been well established in Chicago, Illinois. Marcelo explained his struggle of being both gay and staying catholic because as a kid he prayed to god for a miracle to change him to be “normal”. Marcelo has accepted himself and continues to practice the religion even though Catholicism prohibits being gay. Another man named David described being teased in his school career for kissing another boy in the third grade because of his sexuality. He moved to New York City to get away from his childhood and to finally be happy in a place where he isn’t judged. This homophobia from young kids instigates violence in school that is learned from parents and from the community of others. The last person introduced in the film was a man who transitioned to be a woman that was rejected by her family and had to move out of her home for coming home with hair extensions. This form of violence caused Gabriela to abuse drugs and alcohol to deal with the pain of rejection. These three examples show how people have overcome the cultural normality, but have experienced all sorts of different
As showed in the film, Latino American often misrepresented and underrepresented both in front of and under the camera. American Hispanic often portrayed as lazy, unintelligent, greasy and criminal. Hispanic women often pictured comfortable sexuality as prostitution in film production; while Hispanic actors limit to criminal characters such as drug dealers, gangster, and provide the power for the white American. Audiences have less interaction with Latino in their real world might be easily framed by media images regarding the race and ethnicity. The lack of Hispanic history and culture understanding allows these media portrayals to change and form unfavorable behavior and attitude against Latino communities.
Grande introduces to the audience various characters that cross Juana 's path to either alter or assist her on her journey to find her father. Through those individuals, Grande offers a strong comparison of female characters who follow the norms, versus those that challenge gender roles that
Azuela shows these impacts by the progression of Camila, from a sweet innocent woman, to joining the rebel forces, and lastly to being killed. Symbolically, Azuela kills off Camila almost immediately upon her rise to power and drops her from the novel’s plot. This shows the how insignificant of an impact that women had on the battles, and how easily they were forgotten after death. Women still struggle today with gaining equal rights and treatment within the Mexican culture. It has taken nearly 70 years for women to gain equality with men in the workforce, gaining rights such as voting, and having a shared family responsibility with the male figure (Global). Unfortunately, many women within the working-class household still suffer from the traditional norms and values regarding the roles of men and women. In addition, these women were often subjected to control, domination, and violence by men” (Global). This validates Azuela’s stance on how women should stay within their traditional roles because fighting for equality has been ineffective even still
Junot Diaz’s novel The Brief Wondrous Life of Oscar Wao is focused on the hyper-masculine culture of the Dominican, and many argue that his portrayal of the slew of women in the novel is misogynistic because they are often silenced by the plot and kept out of the narration (Matsui). However, Diaz crafts strong women, and it is society that views them as objects. The novel recognizes the masculine lens of the culture while still examining the lives of resilient women. In this way, the novel showcases a feminist stance and critiques the misogynist culture it is set in by showcasing the strength and depth of these women that help to shape the narrative while acknowledging that it is the limits society places on them because of their sexuality
Arredondo exposed Luisa as a dynamic character because during the story the readers can see the changes that her personality had over the time. At the beginning of the story the reader can see how Luisa takes care of her uncle with devotion and love, but after they married she considered it as a disgusting duty. Ines Arredondo described Luisa as woman who has the power of “purify everything” (81), but after suffering the physical abuse of her uncle, all her innocence disappear. She was an innocent girl that was reserving herself for marriage. However, after married her uncle, she started seen the things in a different way. Now, she thinks of herself as “the vilest of harlot” (87). The way that the author exposes Luisa is like happy young lady that thanks to the circumstances enter to a deep depression that changes her life and she “was not able to go back to who I [she] was”
Although it is ultimately revealed that Oscar and Yunior are close with each other, Yunior’s pure embodiment of the Dominican masculine is the complete antithesis of Oscar’s character, who is the opposite of anything that could describe Yunior. One good analogy to the hyper masculine identity of Yunior is to that of the personality of Trujillo, the repressive dictator of the Dominican Republic who oversaw the Haitian parsley massacre. Trujillo had a strong lust for women and a rather apparent tendency for violence, and as some sources (i.e. Masculinity after Trujillo, by Maja Horn) argue, the modern conception of masculinity in the country came to full bloom after his rein. Interestingly this was the period of time that Beli grew up in, and a substantial part of her childhood experience was suffering at the behest of Trujillo’s suppressive regime, and consequentially this contributed to her hefty and dominant
The role of strong female roles in literature is both frightening to some and enlightening to others. Although times have changed, Sandra Cisneros’ stories about Mexican-American women provide a cultural division within itself that reflects in a recent time. The cultural themes in Cisneros’s stories highlight the struggle of women who identify with Mexican-American heritage and the struggle in terms of living up to Mexican culture – as a separate ethnic body. The women in Sandra Cisneros’ stories are struggling with living up to identities assigned to them, while trying to create their own as women without an ethnic landscape. In Sandra Cisneros’ stories “Woman Hollering Creek: and “Never Marry a Mexican” the role of female identities that are conflicted are highlighted, in that they have to straddle two worlds at once as Mexican-American women.
American commercial cinema currently fuels many aspects of society. In the twenty-first century it has become available, active force in the perception of gender relations in the United States. In the earlier part of this century filmmakers, as well as the public, did not necessarily view the female“media image” as an infrastructure of sex inequality. Today, contemporary audiences and critics have become preoccupied with the role the cinema plays in shaping social values, institutions, and attitudes. American cinema has become narrowly focused on images of violent women, female sexuality, the portrayal of the “weaker sex” and subversively portraying women negatively in film. “Double Indemnity can be read in two ways. It is either a misogynist film about a terrifying, destroying woman, or it is a film that liberates the female character from the restrictive and oppressed melodramatic situation that render her helpless” (Kolker 124). There are arguably two extreme portrayals of the character of Phyllis Dietrichson in Double Indemnity; neither one is an accurate or fare portrayal.
The physical abuse between Ana and her boyfriend, Manny, enforce the acceptance of physical violence and misogyny in the Dominican world. As an outcast to the Dominican culture, Oscar stands up for Ana which emphasizes the normalcy of abusive relationships. However, as Oscar stands up for Ana he starts to become violent, which enforces the Dominican machismo. Even though Oscar has good intentions against the violence and misogyny, he embodies his Dominican culture by acting violently, which implies the culturally embedded machismo cycle of misogyny and violence. Another violent male character is the Gangster, who by his name creates a violent opinion of him. His relationship with Beli incites his Another act of male violence is developed through the relationship between the Gangster and Beli. First off, the character is named Gangster which automatically creates a violent appeal towards him. Gangster worked for Trujillo, the Dominican dictator, and eventually caused violent harm to Beli, despite their relationship. This further develops the machismo violence in the Dominican culture. The Dominican men and the white slave owners are fulfilling their societal norms, which suggest that the view of men in these cultures are as violent, powerful
The climax of the story has a few layers of drama that really bring out the problems between the characters. We see Santiago and his half brother Cheche battle about the future of the factory; this affects Santiago's relationship with his wife who doesn't know about all the debt and risks he has taken. Then there's Conchita and her husband Paloma, who are experiencing marital issues which become heightened by the seductive lector Juan Julian. Both couples have personal conflicts with one another as well as external issues that affect their lives. The play had interesting parts to it such as infidelity and abuse of sexual nature. some very sensual parts; like infidelity and sexual abuse but were carried out by the cast with immense care and genuineness. Gomez does a really good job of bringing out emotional performances from the actors. This really took me on an emotional/visual roller coaster. The characters moved from happy to angry and from night to day with great ease. Scenes were so realistic and I found myself really engrossed in the story. Gomez interpreted the script really well and I think he related to the story. The story felt natural and cohesive,like it was his
Lerner's words hold true for two women involved in the film I, the Worst of All. Both of them had to "reinvent the wheel" and show their male contemporaries that women can and will find their way out from under the control of patriarchy. Juana Ines de la Cruz and Maria Luisa Bemberg are separated by three centuries of continuous strife for feminists to affirm feminine subjectivity and feminine values. The struggle was/is doubly difficult because of what they have to face. At the time of making the film, Bemberg faced a mainstream cinema in which women were presented as a "function of male ambition" and as objects of possession, display, or currency (Bemberg in Pick 78). I, the Worst of All appeared in the 1990s, a time that we like to think is so different from the convent of 17th-centuryMexico. Bemberg shows us that it is not. Mainstream cinema never looks at women as "beings with ideas," as she says in an interview, but as empty shells, foils for the male characters, so that they can act and think (Pick 78). She had to fight a whole tradition of male filmmaking with her movie, and (re)assert her own feminist values in a film that challenges all the stereotypical filmic representation...
world. It is evident through her descriptions that she is more in favor of the androgynous
From birth, one's sexuality is shaped by society. Cultures institute behaviors that are to be seen as the societal norms, which work to constantly reinforce societal expectations of how genders should act in relation to one another. Although some may argue that one's sexuality is an innate characteristic resulting from genetic makeup, there is a large amount of evidence pointing to its social construction instead. Through the power differences between males and females, established gender roles, and drastic economic shifts, society establishes sexuality and reinforces the behaviors that are expected of its citizens.