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Sexuality presented in pop culture
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Love, Death and Transformation in Ginger Snaps On the surface, Ginger Snaps can be easily dismissed by critics as a typical B-rated teen-turned-werewolf movie. What distinguishes this movie from other horror films, however, is its subversion of the traditional perspective of its genre. The transformation in the film is suffered by Ginger Fitzgerald, a sixteen-year-old girl. This lycanthropy coincides with Ginger's first menstrual period, making the subject matter metaphorical for the often fearful transition into the sexuality and identity formation of adulthood. Moreover, the relationship between Ginger and her sister Brigitte deteriorates in such a way that is also emblematic of the human psyche's conflicts. As their paths diverge in the film, each sister is confronted with the instincts of love and death or aggression; Eros and Thanatos in Freud's terms. The focus here will be to view these salient themes in Ginger Snaps through the lens of Freudian analysis. More specifically, this paper will analyze the psychical conflict due to complications of the instinct toward love or aggression, as represented in the metaphorical transition into adolescence and the relationship between the two sisters. The Sisters Ginger and Brigitte Fitzgerald share a close relationship that becomes challenged as the narrative progresses. Ginger, who is a year older, is the more dominant, while Brigitte takes a more subordinate role. Both girls are late bloomers, and in Freudian terms, their outlooks and relationship with one another can be seen as the result of an extension of their latency periods. The girls do not deal well with their transition into adolescence—they recognize the budding sexuality of their peers and are th... ... middle of paper ... ...emale sexuality or the "castration" undertones. Female viewers, on the other hand, could be angered by the characterization of female sexuality as being something monstrous and almost inhuman. This is the kind of response, however, that can bring into a dialogue contemporary society's prevailing notions of sexuality. BIBLIOGRAPHY Class Reader, Glossary. "Freud and the Literary Imagination." Compiled by Professor Richard Gray, 2006. Freud, Sigmund. The Ego and the Id. The Freud Reader. Ed. Peter Gay. New York: W.W. Norton & Company, Inc. 1989. Freud, Sigmund. Civilization and its Discontents. The Freud Reader. Ed. Peter Gay. New York: W.W. Norton & Company, Inc. 1989. Ginger Snaps. Dir. John Fawcett. Story: Karen Walton & John Fawcett. Perf. Emily Perkins, Katharine Isabelle. Lions Gate International, 2000.
The reading by Barbara Creed titled “Horror and the Monstrous-Feminine: An Imaginary Abjection”, is an in-depth examination on the role of women in horror films. Creed challenges the commanding patriarchal view, which frequently puts the woman in the position of the helpless victim. She argues that when the feminine is constructed as monstrous, it is frequently done in conjunction with its mothering role and function. Creed’s main thesis supports that the prototype of all cinematic definitions of monstrosity related to the feminine is linked to the woman’s reproductive body. Creed elects to use the term “monstrous feminine” instead of female monster, because for Creed it is the “femininity itself that is monstrous” (41). It has been unfairly
Teenage rebellion is typically portrayed in stories, films, and other genres as a testosterone-based phenomenon. There is an overplayed need for one to acknowledge a boy’s rebellion against his father, his life direction, the “system,” in an effort to become a man, or rather an adult. However, rarely is the female addressed in such a scenario. What happens when little girls grow up? Do they rebel? Do they, in a sudden overpowering rush of estrogen, deny what has been taught to them from birth and shed their former youthful façades? Do they turn on their mothers? In Sharon Olds’ poem, “The Possessive,” the reader is finally introduced to the female version of the popular coming-of-age theme as a simple haircut becomes a symbol for the growing breach between mother and daughter through the use of striking images and specific word choice.
ADLER, Mortimer J. Editor in Chief. Great Books of the Western World. The Major Works of Sigmund Freud. Chicago: Encyclopaedia Britannica, Inc., 1996.
The female characters in Young Frankenstein and One Flew over the Cuckoo’s Nest are, stereotypically, satiric and parodic renditions of oppressed or emotionally unstable feminine personalities. The theme of the treatment of women is not only played out in the external relationships the women interact within but also in the basic mentality and roles they embody within their personality. The women of Young Frankenstein add a comical element to the film which a direct contrast to the insignificance of the female in Mary Shelley’s novel. The women of One Flew over the Cuckoo’s Nest are either almost terrifying when thinking of the potential evil lurking just beneath the surface or effectual props in the healing of those who need it.
Diamant’s magic enables a romance to flower from violence and the formulation of a “voiceless cipher” into an ingenious being transpire (1). She forces the reader see that in the eyes of trial and tragedy, happiness and love, we find reflections of ourselves no matter the age gap. She emphasizes that such a task could not happen if not for the “scolding, teaching, cherishing, giving, and cursing one with different fears (2),” that “summon up the innumerable smiles, tears, sighs and dreams of human life” (321). All this, Diament reminds all females, can be sequestered in the red tent.
The genre of horror films is one that is vast and continually growing. So many different elements have been known to appear in horror films that it is often times difficult to define what is explicitly a horror film and what is not. Due to this ambiguous definition of horror the genre is often times divided into subgenres. Each subgenre of horror has a more readily identifiable list of classifications that make it easier to cast a film to a subgenre, rather than the entire horror genre. One such subgenre that is particularly interesting is that of the stalker film. The stalker film can be categorized as a member of the horror genre in two ways. First, the stalker film can be identified within the horror genre due to its connection with the easily recognizable subgenre of horror, the slasher film. Though many elements of the stalker film differ from those of the slasher film, the use of non-mechanical weapons and obvious sexual plot points can be used to categorize the stalker film as a subgenre of the slasher film. Secondly, the stalker film can be considered a member of the horror genre using Robin Wood’s discussion regarding horror as that which society represses. The films Fatal Attraction, The Fan, and The Crush will be discussed in support of this argument. (Need some connector sentence here to finish out the intro)
Freud S et al, 1995 The Complete Correspondence of Sigmund Freud and Ernest Jones, 1908-1939., Belknap Press, Harvard University Press,ISBN 067415424X
Freud, S., & Strachey, J. (19621960). The Ego and the Super-ego. The ego and the id (pp. 19-20). New York: Norton.
Contemporary Psychology, 36, 575-577. Freud, S. (1961). The Species of the World. The Complete Works of Sigmund Freud. London: The Hogarths.
Throughout time, many psychologists have had their own views about different theories. Theories direct and guide our perception of thinking. The similarities and differences can be broken down through different forms of development by Erik Erikson, Sigmund Freud, and Albert Bandura. Sigmund Freud emphasized the influence of the id, believing that the ego acts only out of borrowed energy and acts best as a commander. Sigmund Freud perceived aggression as a universal human behavior. According to Freud, we, humans are unaware of its presence because we are suppressed by the superego. In Erikson’s theory, he explains how the ego is the part of the mind that gives coherence to experiences, conscious or unconscious. Erikson agreed with Freud that the ego is responsible for human behavior and aggression. On the other hand, social learning theorist Albert Bandura suggests that behavior is learned through observation either accidentally or on purpose. This paper examines how Erikson’s psychoanalytic theory of the Ego compares and contrast to Bandura’s social learning theory.
Sigmund Freud is best known for his development and use of psychoanalysis. The theory of psychoanalysis focuses on the concept of how our unconscious thoughts, feelings, and emotions play an active role in our daily lives. The id, ego, and superego are the three mental zones that encompass our psyche. Each zone has a specific function: The id functions on the pleasure principle; the ego on the protection of the individual; and the superego on protection of society. The degree of which each zone has been developed can be broken down and then analyzed. These three zones can be visualized by imagining a pie cut into three slices.
Sigmund Freud believes the id is innate in a child, it acts on pure immediate pleasure. As the child grows older, it develops the regulatory ego which confronts the self-indulgent id with logical choices. As some people age, their ego might not develop as expected. Lorelai Gilmore is Freud’s idea of the id, embodied. When she makes choices, logic is usually an afterthought as she generally thinks only of her happiness. Throughout ...
“Psychological - or more strictly speaking, psychoanalytic -investigation shows that the deepest essence of human nature, which are similar in all men and which aim at the satisfaction of certain needs... [are] self-preservation, aggression, need for love, and the impulse to attain pleasure and avoid pain...” At its simplest form, this quote perfectly explains Sigmund Freud’s theory on human nature. Human beings, according to Freud, are in a constant state of conflict within themselves; trying to satisfy their animalistic instincts, while also maintaining a socially appropriate life. Freud termed these animalistic tendencies that we have, the Id. The Id is essentially our unconscious mind, it is the part of us that has been there since the day we were born and is what drives our life’s needs and desires. The Id simply aims to satisfy our sexual or aggressive urges immediately, without taking into account any further implications. On the other hand, Freud used the term, the Superego, to describe man’s conscience and sense of morality. It is the Superego’s job to keep the Id in check by combatting the desire to satisfy urges with the feeling of guilt or anxiety. Finally, the Ego, is the conscious representation of the constant battle between the Superego and the Id. It must work to satisfy human’s instinctual tendencies while taking into account their conscience and doing what is rational and acceptable. Freud argues that these internal process that are constantly at work in our mind are what shape humans to do the things that they do. Thus, he believes, the goal of human nature is to satisfy our basic aggressive and sexual desires while adhering to cultural and social standards.
To give some suggestion of a background to this piece, The Bluest Eye is told from the perspectives of two reflective women, Claudia and Frieda MacTeer, as they reminisce about their childhood, and the images of their friend, Pecola Breedlove as they all grew up through the years at hand in this book. Is this a coming of age story? Quite literally, but it is a dissonant one, apart from so many others-- and serves to further the message as stated above. If only to compliment it, then, puberty and growing into sexual prowess are developed by the same things that make up one’s moral sophistication– parents, one’s school environment, and their social environment. Pecola’s parents, her home life; none of it is the least bit welcoming, the least bit inviting. She cannot express herself as she grows into her body because she will be beaten for it. Her mother thinks her a liar, and her father is too plagued by his own mental images to care much for anyone apart from himself. He takes out his stresses on Pecola, as the reader will see in the last leg of the book; Spring respectively. This environment that Pecola grows up in is indefinitely “not the right way.” She is denied too much of herself, and this is why she goes insane, partially.
...f women & individuality, the sense of fashion, and the passion in a sexual act distinct it from being sexually objectifying. Similarly, this type of film also needs a higher cognitive skill that could reason and reflect upon the tricky features in the entire picture.