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Gender stereotypes in literature for women
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Thelma and Louise, released in 1991, directed and produced by Ridley Scott, is described by Allmovie as “An enduring tribute to friendship and the open road”. Thelma and Louise is a gender-stereotype flipping roadshow drama. Focusing on an enduring friendship and strong bond between two middle-aged women than the more commonly portrayed relationship between a couple or men on the road. It proves to be one of the most thought-provoking and insightful movies about women's friendships and the journeys of self-discovery ever made.
Thelma and Louise decide to escape their less than satisfying relationships with their significant others to go on a weekend getaway to the mountains. Along the way, they get into trouble when Thelma nearly gets raped outside a bar at a truck stop and Louise shoots him. A series of unforunate events leads them on a crime spree which concludes in the duo driving off of a cliff in the Grand Canyon to avoid prosecution.
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Thelma comes across as the more docile, feminine of the two. Seemingly over-dependent on her over-controlling husband and a complete pushover, she’s unable to see the consequence of her innocent but foolish decisions. Louise appears to be the stronger of the two, more adept at taking care of herself, more assertive, more of the “modern” woman. Initially, it is clear that Thelma leans more on Louise for strength and guidance, but, eventually, their roles will reverse. Louise will be taking instruction and looking for support from Thelma, as is the teeter-totter of any lasting
Annie [played by Aileen Quinn] is a story written by Martin Charnin about a little girl who was left for the doorstep of an orphanage when she was extremely little and goes on to live a miserable life of working at the orphanage. Until one day a person named Grace Farrel [played by Ann Reinking] came along and invited one orphan to stay with her and Oliver Warbucks [played by Albert Finney]. During Annie’s stay Mr. Warbucks realizes how much he likes Annie and wants her to stay. In a way to tell her he gives her a new locket. Without knowing, Annie doesn't accept the locket in result of her own was given to her by her parents before she had been given up. With this knowledge a search is sent out with a reward of $50,000. With
Later on as they were driving the two motorcyclists tormented their vehicle throwing bottles and shooting their guns. Eventually they crashed their car and had to run to the woods and hide out from the rowdy boys. They chose to hide under a dock. The dog would not be quiet so the Grandma had to drown him. The boys never found the girl and Grandma. The frightening experience strengthened the bond between the Grandma and girl ( Hood 121- 129).
The setting is filmed in the desert near Mexico, Thelma and Louise have been running from their secret and finally have been cornered at the edge of the cliff looking over the wide open Canyon. A loud hum interrupts their gaze into the distance as a police helicopter appears in front of their car. Instantly frighten, they throw the car into reverse franticly driving away from the cliff and helicopter. Unfortunately for Thelma and Louise a line of police cars arrive behind them armed and ready to fire. Switching camera angles to the police and back to Thelma and Louise you listen to dialogue of the cops asking the women to surrender and come forward. When the camera frame returns to a close up on Thelma she expresses that she doesn't want to give up or fight but just drive off the edge of the cliff. Louise is surprised however agrees to this decision and throws the shifter into drive and goes off the edge. Similar to Butch Cassidy and the Sundance Kid, the last moment is a still shot of the car in the air, the director of this movie also decides to keep the actual death out of the movie and let the viewer draw their own conclusion to the
" Hollywood producers influenced by the backlash trend in the media, created a series of movies that pitted the angry career woman against the domestic maternal "Good woman"."
movies are about men’s lives, and the few movies about women’s lives, at their core, still
Early in the novel, the roots of Louise’s issues are easy to trace to her resentment of her sister and the attention she commanded, resulting in my initial disregard for her as, to use a colloquialism, a whiner. Indeed, I did not at all identify with this other than my experience with younger siblings (I am the oldest.) whining in much the same way about me. This certainly made it easy for me to create an objective distance from Louise and in fact, made it possible for me to tolerate listening to her since I could see nothing in her like me -- she was no threat and even though I didn‘t like her, it was more a matter of taste than sensibility.
...a car accident, and her father is woken up. After the horrendous trip to Mexico, Maya and her father return home to find his girlfriend enraged. In an outburst, the girlfriend calls Maya’s mother a whore. Maya slaps her, which provokes Dolores, the girlfriend, to attack her. After that situation, Maya goes and lives with children in a junkyard. After living in the junkyard, she returns home to her mother. Later on after that, she gets pregnant.
Matty and Victoria are partners throughout the senior trip, and it is very obvious that Jenna has an issue with Matty's new girl. Victoria pesters with Sadie and Jenna, and Sadie retaliates making her lose her privelage to the senior trip. While the seniors are on there way to Northern California, Sadie stumbles on Victoria's real name and her secret room full of image of Matty, Jenna, Sadie, and all the other friends. Sadie then drives to the cabins they are taying at and needs the aid of Jenna to locate and convince Matty of this manipulative liar. They find them both in a cabin that Victoria claims i her rich uncle's, but while Jenna rantss on how she new ffrom the start how Victoria is not who she says she is; Victoria comes out saying
Louise is said to "not hear the story as many women have heard the same." Rather, she accepts it and goes to her room to be alone. Now the reader starts to see the world through Louise's eyes, a world full of new and pure life.
Louise has turned into a little girl that must depend on man to take care of her. Louise pleads with Brently to go to the gardens of Paris. She begs like a child begging for something that is impossible to give. Brently must lock her up in their home to protect her from her curiosity and need to see the world. The filmmakers do not give her the commonsense to realize the dangers she would face in seeing Paris and all the other places she would like to visit. Louise remains the little girl in the flashbacks and Brently has replaced her dead father as the soul keeper of her world. Brently must protect her from the world and herself. She is made to be completely dependent on him from her everyday needs to being her only window into the outside world. There are no female positions of authority in her life. Aunt Joe is left in the background and Marjorie must ultimately answer to Brently. Louise is left to see men as the only authority in her life. She herself as a woman must feel powerless to the will of men. Brently even chooses the destinations of their daily visits to far off and exotic places. These excursions are Louise's only escape. Brently is made to be her captor and savior at the same time. Her fate is completely dependent in his yet she is given no control of either.
Upon seeing her husband alive and well Louise realizes that the life she has imagined is not to be. The return of Brently signals a return of the patriarchal oppression in her life, and after imagining herself as an individual and then to be denied the chance to live freely is a punishment far worse than the crime. Louise loses her identity and once again becomes "his wife." Richards once more tries to protect her, a helpless woman, by attempting to block her view from her husband, because of the fragile state of her heart. Mrs. Mallard's strengths are gone, never to be acknowledged by the men in her life. For one, brief hour she was an individual. Now she finds herself bound by masculine oppression with no end in sight, and the result is death.
Louise’s fate was tragic. But still I think that it’s better to live an hour of freedom and happiness than to spend an entire lifetime in the shadow of the “gray cloud”. Louise experienced real freedom that meant the absence of her husband’s domination. The irony of life killed her too early, but it seems to me that there is no need to feel pity for her. Even if it was a short hour, it was the time when all her dreams came true. She found the freedom from her husband that her lonely soul was searching for, and just for this we can consider her as a really happy woman.
In the beginning of "The Story of an Hour," Mrs. Mallard is viewed as a normal wife. It’s not until she hears about her husband's death that she is referred to as Louise. Now she is an individual and isn’t dominated by her husband. Society in the 1900s, women didn’t have rights and were expected to get married and have kids and if not they weren’t considered as women. All women were stereotyped as housewives, “married women whose main occupation is caring for her family, managing household affairs, and doing housework”(Webster Dictionary). Women were just married off like they weren’t humans who had dreams or their own identity. When these wom...
Louise found she felt the same way as Thelma, she wanted to improve her career situation; she discovered that she found her current situation very disappointing as she studied for years but ended up working in a job that she receives no pleasure from and works “hideous” hours. Louise was attracted to the idea of having more time just like Thelma and how she can be financially stable whilst looking for another career in the
...tedly, but instead the idea that she no longer will have her husbands will forcing her to have no self-assertion, which was common of that time. By the last 3 paragraphs of the story Louise has come to full realization of what is to come.