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Essay on romantic relationships in films compared to real life
Essay on romantic relationships in films compared to real life
Interpersonal conflict movies
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In 1988, the film Mujeres al Borde de un Ataque de Nervios by Pedro Almodóvar was released into the theaters. The film shed a new light on feminism and postmodernism throughout the film by the different kind of love life shown through the two main characters Pepa and Ivan (Farrán, 2010). Instead of this film being another romantic love story with ending in the main couple being in love there were a few plot twists throughout the film. The movie centers around one main character named Pepa. Pepa was impacted throughout the story by the other main characters, her environment around her and the core issues throughout the story. The environment impacted Pepa in a few different ways. The first way was Pepa’s apartment. Pepa used to live in her apartment with her ex-boyfriend named Ivan. Ivan had decided that he …show more content…
Pepa tries to call and searches for Ivan to tell him. She feels that it might save her relationship and that way she is able to live happily ever after with Ivan and the baby. Another core issue is Pepa’s best friend Candela. Candela fell in love with a man who she later found out was a terrorist. The terrorist and a few of his friends planned to make an attack on the Stockholm flight leaving the Madrid airport (Slagle, 2014). Candela feels that the terrorists told the police about her and that they were going to come and arrest her. She goes to Pepa in search of help and guidance on what to do. Another issue is Pepa trying to sell her apartment. She wanted to get rid of it so that she could put the relationship of her and Ivan behind her. When she is selling the apartment she meets Ivan’s son Carlos and his fiance Marisa who are wanting to buy her apartment. She realized who Carlos was and felt a connection with him due to him being Ivan’s son and that Ivan did not really have a connection with Carlos or her. She also felt that with her knowing Carlos she could win Ivan back in a way (Slagle,
“Like Water for Chocolate” by Laura Esquivel, is a beautiful romantic tale of an impossible passionate love during the revolution in Mexico. The romance is followed by the sweet aroma of kitchen secrets and cooking, with a lot of imagination and creativity. The story is that of Tita De La Garza, the youngest of all daughters in Mama Elena’s house. According to the family tradition she is to watch after her mother till the day she does, and therefore cannot marry any men. Tita finds her comfort in cooking, and soon the kitchen becomes her world, affecting every emotion she experiences to the people who taste her food. Esquivel tells Titas story as she grows to be a mature, blooming women who eventually rebels against her mother, finds her true identity and reunites with her long lost love Pedro. The book became a huge success and was made to a movie directed by Alfonso Arau. Although they both share many similarities, I also found many distinct differences. The movie lost an integral part of the book, the sensual aspect of the cooking and love.
In conclusion, I liked this movie because it showed women of very different backgrounds coming together, accepting each other, and becoming close friends during a crisis moment. In reality of today’s society, I saw that women are jealous against each other instead of working together. This movie shows the joy of overcoming differences and forming bonds with diverse women. In a very simple term, the director reminds us of the unique book of life that we each have. The other message is how the older are separate from society, because of their limitations and age. The older ladies in this movie shows us and other older people how to bloom again, and relive. In this movie they share their life, their tales, and their lessons from the past with us to change our typical mentality about older people.
A student should never be denied the right to learn and become successful because of a different skin color, or because they speak a different language. “No saco nada de la escuela” by Luis Valdez is a play that discusses the racism in schools. The play starts with students going to elementary school and then ascending to middle school and college. At the beginning the students were not aware of what racism really was because of their innocence. However, the teacher that they had was very racist and bullied the students of color. That experience made the other kids realize that not everyone was the same and because of color or language they should be treated differently. There are five different students who take part of this play, two of those students were white, and there were two Chicanos and one black. That is great diversity of cultures. The teacher that the students have in elementary school was an example of the other professors they were going to have throughout their school years. Very arrogant and not understanding of the minority students. Their teachers were not really interested in teaching the minorities and always showed her discontent of having students of color. Their teachers didn’t believe that students who were part of a minority should be placed in the same classroom as the white students. Maybe that was because they didn’t know the potential a minority student could have. One Chicano student named Francisco never denied his roots and became very successful. He had many obstacles in his learning environment, but at the end he becomes a great example of perseverance. Francisco is the student who I think showed the greatest development in the play. He had to deal with racism all the time, but that didn't stop ...
Even though Pepita was much more understanding and polite to her caretaker, the Marquesa did not give Pepita quality time. The only happiness the Marquesa could find satisfying was the love and kindness from her beloved daughter, Doña Clara. Eventually, the Marquesa learned of her biological daughter’s pregnancy. She subsequently went into a mode of superstition and “became a mine of medical knowledge and suggestion” (p. 31). For instance, she “refused to allow a knot in the house” and “the stairs even steps were marked with red chalk and a maid who accidentally stepped upon an even step was driven from the house with tears and screams.” (p. 31). The Marquesa even made a pilgrimage to the shrine of Santa María de Cluxambuqua, where “The ground had been holy through three religions” (p. 32). As Pepita and the Marquesa crossed the Bridge of San Luis Rey for their pilgrimage to Cluxambuqua, Marquesa’s focal point was her love for her daughter. The Marquesa made her way to the shrine as she left Pepita alone for their stay at the inn. Meanwhile, as Pepita was alone, she began to write a loving letter to her former and loyal
Rosario was falling in love with her coworker, Paco, who worked as a security mam at the house where she worked as a house keeper. But she did not let herself to have those feelings while she was away from her son. She refused to get into a relationship with anyone because she first wanted to fix her immigration status by herself. She was determinated to reach her goals without the help of a man.
When Mexicans and Puerto Ricans moved to Chicago in the late 1900s, they encountered many issues without any help. Cases of domestic violence and lack of education and jobs emerged in the Latino community. Latino immigrants populated the Pilsen neighborhood and didn't have many services or resources available for them when they needed assistance. After no signs of improvement were apparent, 15 women stood up and decided to make a change of their own. Mujeres Latinas En Accion formed to help Latina women and their families by providing services, fighting for the better of Latinas and giving help to those who need it.
However, each work is special and focuses on a different aspect of life as compared to the other. In addition, the thematic ideas between the two works are often correlated and often overlap between the two. Moreover, the multiple thematic ideas in the novel and the movie can still apply to the people of today as they also go through many hard times much like Celie and Esperanza. The House on Mango Street is able to focus on abuse of women, and discrimination of the female gender much like The Color Purple. However, The House on Mango Street is able to elaborate on the topic of maturity especially through the various experiences of Esperanza. Nevertheless, many important lessons can be learned from both the novel and the movie, among these include treatment of women, discrimination, and maturity. The novel and the movie do a wonderful job at emphasizing and focusing on these relatable topics that are vital to the growth of
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
The novel brings to life their struggles, triumphs, and search for self. None of these are more evident than in the character Pilar Puente. Pilar begins the story as simply a child longing for home, but evolves into so much more. From the beginning, Pilar shows to be a girl who simply wants to belong. This desire for belonging is only strengthened by her deep love for her distant grandmother and resentment for her mother. However, by the end of the novel, Pilar is able to find her true self. Through her long sought-after trip to Cuba, Pilar finally realizes her identity. Her entire life had been leading her to the truth; Pilar was an American, one who would never let go of her Cuban
These movies allowed female characters to embody all the contradictions that could make them a woman. They were portrayed as the “femme fatale” and also “mother,” the “seductress” and at the same time the “saint,” (Newsom, 2011). Female characters were multi-faceted during this time and had much more complexity and interesting qualities than in the movies we watch today. Today, only 16% of protagonists in movies are female, and the portrayal of these women is one of sexualization and dependence rather than complexity (Newsom, 2011).
One of the issues that was raised is the idea of the relationship between femininty, technology and sexuality. The relationship between all of these qualities converse in one character, Maria. The real Maria has many roles thoughout the movie, including one who cares for the workers children, a preacher of peace for the workers, and one who loves Freder. The machi...
who aren’t blood related such as Honore and Trotsky, and Honore and Cuervo. On one hand, Honore feels he has an obligation with Trotsky because Trotsky saved his life; and on the other hand, Honore stays by Cuervo’s side because they grew up together and he is trying to convince Cuervo to stay out of trouble. In the film “Cartoneo Y Nopalitos” it is more of a whole family being close. In the beginning, Carla thinks they are only visiting Don Homero, but, Julio’s plans are to stay. Carla agrees to stay due to the possibility of her children having a better future. We see how Carla is very attached to her grandfather, Don Homero, since the beginning and wants to become a doctor to cure him from his sickness.
Esperanza explains how Mamacita “sits all day by the window and plays the Spanish country” (77). Esperanza expresses the emotions that Mamacita feels since she is homesick and doesn’t fit into the new society she was brought into. Instead of shaming Mamacita for the way she acts and the way she feels, Esperanza takes into consideration the hardship of being a person of color in an environment that doesn’t accept her for who she
Also, the film revealed women empowerment and how superior they can be compared to men. While demonstrating sexual objectification, empowerment, there was also sexual exploitation of the women, shown through the film. Throughout this essay, gender based issues that were associated with the film character will be demonstrated while connecting to the real world and popular culture.
!El que no corre, vuela! is part of a series of Mexican comedy films made by Maria Elena Velasco, from 1972 to 1999, that tells the life of Indigenous Maria in the city. The film uses comedy to approach the injustice that Indigenous people often face when moving to the cities, such as discrimination by the locals. The film does a great job in characterizing Maria as an honest, hardworking, and clever individual, regardless of how clumsy she might be. The character of Maria serves to give a voice to Indigenous people, who make up only 11 percent of the total population of Mexico and over 70% of whom live in poverty. The film follows the same formula, Maria vs. society, as many of Velasco's other films. The themes in her films vary from Maria vs conservative hometown (La presidenta municipal), to Maria vs American society (ni de aqui ni de aya and OK Mr. Pancho), and Maria vs urban Mexico, as is the case with !El que no corre, vuela! This particular film focuses on how Indigenous people struggle in the city, particularly with how they are treated by whites and Mestizos. From a comedic point of view, she is seen as a clumsy woman with no idea what she is