Jump The Gun Patriarchy

patriarchy and power played a pivotal role in apartheid, and now having to shift powers and diversity amongst the people of South Africa.
Through his journey in Johannesburg, we begin to understand Clint and his resounding efforts to fall in love with the city of gold, Johannesburg, and potentially fall in love with someone special. Here in the next scene which starts earlier, but carefully considered for analyse, we are introduced to a mysterious, new female character that goes by the name of Minnie in the film, Jump the Gun. This quest for love is influenced by what he has been told about love, and the pressure of falling in love by his mother. He is quoted saying in the film that, ‘I’ve got no one else to fall in love with’ (Jump the Gun,

Another powerful scene that is in within relation to this concept, is the scene where we see Clint in a secondhand gun store, and himself and fellow white men experimenting with the use of holding the firearm weapons. Marx then highlights important quotes from the film that can assist in elaborating the point of Clint in pursuit of finding love. Lines read as follows, ‘A gun is like a marriage. I’ve had many guns and many marriages.’ This equation is in keeping with the metaphorization of the gun as woman practised by the army in training its young soldiers.’ Continuing to say that it, ‘displaces sexual with murderous desire and this has its own diabolical repercussions.’ (Marx, 2000). Clint is viewing women as somewhat of a commodity, and not as equals in society. Through patriarchy, women are not seen as equals but rather nothing more than sexual pleasers and “toys” and “weapons” to be played with. Clint in a man who is lost throughout the film, and does not seem to find placement in Johannesburg. This feeds to the racial identities experienced

She is an Afrikaans prostitute who has lost visitation rights to see her child. Although her life is not as glamourous as most people, especially white South Africans who benefited from the apartheid system, she longs to reunite with her child who was taken away from her. She is a woman very comfortable with her sexuality, and that is seen when she is converting with Clint at the bar, over a cigarette, and decides to undress in front of the people who are also occupying the space that is the bar scene. She is seen in her bra, removing her top and is seen dressing up again, revealing her breasts (Jump the Gun, 1996). As stated in Twiggs article, ‘The evocation of the masculinized, sexualized, and incestuous woman in Mini’s words, “Oh, go suck your mother’s balls!” adds something deeper than the castration threated mentioned above.’(Twiggs, 2003), Twiggs highlights the fact that Mini is not a woman who is dependent on men, even if her profession requires her to be, but she is a very strong woman who does not want to entertain the male ego and chooses to continue to own her sexuality without it being the topic of conversation. In many ways, her personality is a complete contrast to her profession, although she does not live for the approval of men, she is dependent on them to make a living and be able to sustain herself. However, on the other side of being a