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The color purple analysis
The color purple analysis
The color purple movie analysis
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Introduction
The movie I have chosen for this assignment is “The Color Purple.” In this film, we follow the story of a young black woman, Celie, as she endures racial profiling and gender expectations during the early nineteen hundreds. This is a film, based off a novel written by Alice Walker, that portrays not only the oppression of one group, but also three (women, blacks, and black women). I have seen the workings of status, gender stereotypes, body image, and sexuality within this film as I watched this woman mature in mind as well as spirit.
Movie Summary
Raised in an abusive household with her mother and stepfather, Celie gives birth to two children fathered by her stepfather and each is taken away from her soon after their births.
If women behaved like men did sexually, instead of a possessing charm or beauty, they were trashy and classless. By Shug being a jazz singer, deeply entwined in the world of blues and booze, she lost the respect of her father who was the local preacher that took care of her illegitimate children. Although Celie is married to her husband, Mister, for what seems like a few days, she is still viewed as a child who needs to be trained with punishments (regardless of how absurd his request may be). When asked to silence his daughter as she combed her hair, she tells him that she can’t, only to be slapped for “talking back” to him.
Body Image
Celie is a skinny, dark-skinned black woman with a wide smile. Her clothes fit her frame like a child, largely proportioned to hide any womanly features (waistline, hips, or breast). Another means of keeping her easier to dominate is by keeping her childish and treating her like one of the children.
When we see Shug enter Harpo’s jut-joint, she is dressed in a bright red, sequined dress that shimmy’s as she shimmy’s. Every move she makes as she sings is strong, sexual, and accentuating the curves of the body as she gyrates.
Sophia is a larger woman who is comfortable with how she looks and thinks that she has nothing to be ashamed of as a full figured
The film that I decided to watch for this assignment was the show Jane the Virgin. The film is about a working and religious young Latina virgin, who becomes pregnant after being unintentionally artificially impregnated. The program humorously mocks commonly used figures and plans in Latin telenovelas. The show has never shied away from getting into political topics, which is why it is one of the most advanced shows on TV right now. The intersectionality aspect in Jane the Virgin is how the show gives us a lesson about abortion, teen pregnancy, and the institutional racism that Latino people face.
Her movements a very angular and repeated. She continuously rocked from side to side and had very sudden, sporadic movements. Grief isn’t an easy thing to experience so making her movements like that had a purpose. The movements play a big role in making people feel sadness and grief. The movements are very unusual and abnormal, people don’t think of Lamentation when they hear the word “dance”, dance usually flows beautifully but this dance doesn’t. The angular shapes create an uncomfortable feeling just like grief does. At one point in the dance she has her hands pressed together as she looks up as if she is begging, then she suddenly drops her weight towards the ground just an inch as if she is weak and can’t hold herself up. The feeling you get when this happens makes you feel the grief she
When Shug enters Celie’s life it becomes a pivotal moment in the movie Color Purple. Shug enters Celie life at a time when all Celie is, is a shell of who she should be. Celie is looking for some way meaning to life. Some way to escape the life she lives in. Shug becomes her escape. Unknown to Celie, they are similar. They are both facing struggles and challenges. Celie found a reason to fight. She realized that world held wonderful things...
The relationship between Shug and Celie cuts very deep. Both of them help each other become what they really need to be. Both Celie and Shug were very oppressed people. Celie was oppressed by her lack of caring, and by her lack of self esteem. Shug is caught in other people's image of her. She is not free to become what she really wants to be, which is a loving member of a loving family, which she never really had. This is shown by the quote on page 125-6. "(Mama) never love to do nothing had to do with touching nobody, she say. I try to kiss her, she turn her mouth away. Say, Cut that out, Lillie." Celie freed Shug from the role that everybody wanted her to fit into, and Shug freed Celie from the psychological bonds that were keeping her from making of her life what she wanted it to be, by being a mixture of friend, idol, lover, and teacher.
Lister, Rachel . "Gender and Sexuality in The Color Purple ." Alice Walker: The Color Purple. : Palgrave Macmillan, 2010. . Print.
In fact, Celie nearly struggled for her happiness her entire life. When she was only a little girl, her stepfather sexually abused her. He then sold her to a man named
There are numerous works of literature that recount a story- a story from which inspiration flourishes, providing a source of liberating motivation to its audience, or a story that simply aspires to touch the hearts and souls of all of those who read it. One of the most prevalent themes in historical types of these kinds of literature is racism. In America specifically, African Americans endured racism heavily, especially in the South, and did not gain equal rights until the 1960s. In her renowned book The Color Purple, Alice Walker narrates the journey of an African American woman, Celie Johnson (Harris), who experiences racism, sexism, and enduring hardships throughout the course of her life; nonetheless, through the help of friends and family, she is able to overcome her obstacles and grow into a stronger, more self-assured individual. While there are numerous themes transpiring throughout the course of the novel, the symbolism is one of the strongest prospects for instigating the plot. In The Color Purple by Alice Walker, numerous symbols influence and drive the plot of the novel.
The concept of physical appearance as a virtue is the center of the social problems portrayed in the novel. Thus the novel unfolds with the most logical responses to this overpowering impression of beauty: acceptance, adjustment, and rejection (Samuels 10). Through Pecola Breedlove, Morrison presents reactions to the worth of physical criteria. The beauty standard that Pecola feels she must live up to causes her to have an identity crisis. Society's standard has no place for Pecola, unlike her "high yellow dream child" classmate, Maureen Peals, who fits the mold (Morrison 62).
He only values women for sex and their ability to take care of his home. Alfonso remains an abuser until his death. From these early diary entries, we see that Celie is wary of men in general, even scared of them, not just of her father. She is so distressed by the idea of men that she cannot see them in a potentially martial way. When Celie first marries Albert, she reacts in a similarly passive manner with the abuse she received. Albert initially treats Celie as no more than an object. He beats her like an animal and shows no human connection, even during sex. She is not even open enough with him to use his given name and he makes little effort to get to know her at all until their mutual attraction to Shug Avery which forces them to acknowledge their tolerance for one another. In the early days of the marriage, Albert is callous and exploitative; carrying on his affair with Shug Avery under the same roof and making no attempt to treat Celie as anything other than a household chattel. Sexist for the majority of the book, Albert saw women as stupid, in need of beatings and constant direction from men, and useful only as sexual objects and
Celie approach is much more accepting and doesn’t always fight back. In the novel she says “He beat me today cause he say I winked at a boy in church. I may have got something in my eye but I didn’t wink: I don’t look at mens. That’s the truth. I look at women, tho, cause I’m not scared of them.” (32). In Celie’s mind men are mean because of her treatment from Pa and Mr.???. Celie is always reminded that men are in power because she keeps get beaten. When this happens she doesn’t fight back and just lets it happen. Rather than sticking up for herself or leaving Mr.???, she is willingly beaten. Celie is used to the beatings so she doesn’t see the need to fight back. Anyone can see the oppressive state that Celie has to deal with when Mr.??? says “Who do you think you is? He say. You can’t ¬curse nobody. Look at you. You black, you poor, you ugly, you a woman. Goddam, he say, you nothing at all.” (76). Mr.??? says these things so that he can maintain power over Celie. He belittles her to nothing and makes sure that she knows it. He believes that women are worthless and doesn’t treat them with any respect. Celie accepts her role as a black woman during this time period. Their role is to be maid’s for a job and to cook and clean for their family. They have no freedom and often are on the receiving end of physical abuse by a male person. This happens to Celie from her father and
The initiation of her fight back is when Squeak finally speaks for herself, that day when Harpo say “I love you, Squeak”, and “kneel down and try to put his arm around her waist”. Squeak finally stands up and indicates “ my name is Mary Agnes” (letter 95). Although Nettie, Shug, and Sofia all shows Celie what she can do, Celie notice herself is not as smart as Nettie which and teach around the world, and is not as independent as Shug which she can be self-sufficient, definitely is not strong enough like Sofia who can use violation to speak for herself. However, Mary Agnes creates a shocking moment for Celie which proves to her that without being strong or independent, ones’ voice can be powerful enough to express someone as a person. This inspires Celie to become more self-confident and helps Celie finally stand up on the table and shouting out all her depression to her repressive husband, “ You a low down dog is what’s wrong. It’s time to leave you and enter into the creation. And your dead body just the welcome mat I need” (letter 134). This is the first time where Mr.__ has nothing to say in front of Celie, the first time where Celie know she can do whatever others can, and the first time understand she can be something which will change her life to be
In the past two centuries, western mainstream cultures have subscribed to the belief that crying is commonly associated with femininity, regardless of one’s gender (Warhol 182). A considerable amount of literature, including Alice Walker’s The Color Purple, has been considered by critics as effectively using “narrative techniques” to make readers cry (Warhol 183). Emphasizing on these matters, Robyn R. Warhol, the author of “Narration Produces Gender: Femininity as Affect and Effect in Alice Walker’s The Color Purple”, analyzes the usefulness of the novel’s narration approaches, focusing on the meaning of Nettie’s letters to Celie and especially the fairy-tale unity in Celie’s last letter. Using The Color Purple as illustrated example, refusing to consider the accounts of gender and sexuality, the author suggests that the applications of culture’s “feminine mythologies” in the novel give readers chances to experience the physical (openly weeping) and emotional (identify self with the character) effects of femininity (Warhol 186). Although Warhol’s interpretations have successfully carried out the novel’s sentimentality within the context of culture and other novels, there is still a general lack of comprehensive examples that illustrated after each of her arguments. In order to corroborate and extend on Warhol’s central argument, the surprising factors of the novel’s ending combines with the elements of foreshadowing in Celie’s first confrontation with Albert about Nettie’s letters, Celie’s relationship with Shug, and the ugly truths about racism and sexism showing through Nettie’s and Celie’s letters should be considered as significant in creating the novel’s sentimentality.
Alice Walker's use of characterization in her novel The Color Purple depicts her main theme of female empowerment and the importance of maintaining an assertive voice. The tyrannical male characters, the victimized female characters, and the development of the protagonist, Celie, express Walker's firm views of female independence in a male dominated society. Her feminist views have been influenced by her experiences with discrimination as an African-American woman as well as her involvement in the Civil Rights Movement. These experiences serve as an inspiration for developing the character Celie, a young black woman discovering her own sense of self while battling a male dependent environment. The progression of civil rights for black women that existed throughout the twentieth century mirrors the development Celie makes from a verbally debilitated girl to an adamant young woman. The expression of racism and sexism that evidenced itself during the postmodern era presented Walker with an opportunity to compose a novel that reveals her strong animosity toward discrimination. Without these outlets, Walker would not have had the ability to create a novel with such in-depth insights into the lifestyle of an immensely oppressed woman.
He ends up getting her pregnant two different times and he takes both babies and kills them or gives them to another family. “He took it. He took it while I was sleeping, Kilt it out there in the woods. Kill this one too, if he can,” (Walker, 12). He takes the baby while she is sleeping and it is unfair because the man who beat her and raped her takes her child. She is the one who beared the infant for nine months. It begins to change her because he not only physically abuses her but emotionally. It begins to change her thinking of herself, that she is worth nothing.The sexism is shown in this quote because a man is able to do whatever he wants, including getting his own child pregnant. He can take the kid without any notice or asking for permission. “Celie has also learned to speak up for herself, claiming her house when her stepfather dies,” (Color). This quote is telling the reader that Celie later on in the book is able to speak her mind and not worry about the male figures in the book. She takes her stepfather's house after he dies, the one who abuses her and rapes her. She becomes independent by living there on her
Walker's describes Celie's bonding, first with the biological mother of infancy and ranges from Celie's