Wait a second!
More handpicked essays just for you.
More handpicked essays just for you.
Women with curves movie essay
Real women have curves culture essay
Real Women have curves movie analysis
Don’t take our word for it - see why 10 million students trust us with their essay needs.
In the film Real Women Have Curves, Ana’s mother Carmen plays an interesting role as that of an unrepentant mother. She hugs the line between being supportive of Ana and wanting what’s best for her while also struggling with letting her go. Due to her inability to compromise, ultimately there is a rift left between the two women, whether Carmen realized that this would happen or not. Carmen and Ana struggle with two main issues in this film, Ana’s education and body acceptance. Carmen embodies old fashioned ideals regarding women, that women should look thin and desirable for a man, and that they need to learn how to do cooking and housework to please him. She believes that housework skills are more important that an education, as she refuses to allow Ana to go even with a scholarship. It’s also interesting to note how Carmen insists that if Ana were to go to college the family would be torn apart. She says to Guzman that they’re a family and are going to stay that way. I find it odd that Carmen would believe that her family would fall apart without Ana, as if her leaving would make them cease being a family. Would Carmen say the same thing if Ana were to move in with a husband? I don’t believe so, and in fact I think that Carmen is particular about saying anything she can to keep Ana at home so she can have more time to try to push Ana …show more content…
towards her ideals of a woman. The other major issue the film deals with is body acceptance. Ana in particular is happy with her body the way it is, while Carmen doesn’t like her own body and projects these ideals of thinness towards others. These clashing of ideals come to a head during the scene in the sweat shop where everyone except Carmen strips down. During this scene, Ana discovers a scar on her mother’s stomach, with Carmen telling her that it was from giving birth to Ana. Karlyn notes that this scene in particular emphasizes how one can’t be a mother without suffering. I agree with this statement, and also believe that there is a way in which her suffering is linked with the shame of her body. In class we discussed how there was perhaps an element of Carmen being jealous of Ana and the opportunities she has. Even though Carmen loves her daughters, there is a sense of shame in her body and of her scar. Perhaps there is a mixing of jealousy that the other women have the confidence to display their bodies proudly and exclaim how beautiful they are while she is unable to, and an embarrassment of what being a mother does to one’s body. Carmen covers up the scar, the physical manifestation of the suffering and trials she’s overcome in raising to children, almost as if she doesn’t feel as though she is allowed to be proud of this accomplishment. Carmen sees motherhood as something to suffer in silence, rather than a celebration. There is also an interesting contrast to consider when looking at how Carmen views Ana to how she views Estelle.
Throughout the film, even though she is supportive of Estelle and her business, she sees her as a failure because she did not get married. This is seen when Carmen tries to take down Estelle’s statue and says that she needs to focus on Ana now. To Carmen, Estelle is what Ana will become without her help. She takes it as a personal loss that Estelle didn’t succeed in accordance to her principals, as it can be assumed that Carmen spent just as much time and effort in trying to push Estelle as she currently is with
Ana. I believe many of reasons why Carmen acts the way she does is that she feels failure as a mother if her daughters don’t succeed as per her expectations. This is partially why Carmen desperately wants to be pregnant, as she worries constantly that her daughters won’t succeed in life and hopes to keep trying until she gets it right. Karlyn notes how Carmen is genuinely surprised when she is told she isn’t pregnant and that she’d beginning to go through menopause. Having children is something that is seen as a traditional role for a wife, and the fact that Carmen now can’t have children leaves an impact on her that signifies the end of that chapter of her life. This impresses on her further that she needs to make Ana succeed, because if Carmen can’t continue her previous roles as a mother then she needs to pass the torch onto the next generation. As Ana slips away from her, Carmen loses this hope, and struggles to even say goodbye to her daughter at the end of the film because of it. Carmen’s character in Real Women Have Curves is a complex one. On one hand she loves her children and wants the best for them, and on the other hand she expects them to live up to her standards of what she believes is best for them. By the end of this film she enters a phase in her life in which she has to come to terms with how she’s unable to control Ana, and fears that Ana will be lost without her guidance. Along with her entry into menopause, Carmen feels like she’ll be forgotten if Ana leaves, and that is something she can’t stand to bear.
They have their hair up due to the immense heat and are sweating. Carmen and Pancha are older than the other women while Ana is the youngest with an elder sister (Estela since she owns the factory). Since Carmen is the mom, she would sound strict and would voice her opinion on all matters. Meanwhile Ana can sound like the regular teenager that is stubborn and doesn’t care of other people’s thoughts. Estela is mature and sounds hopeless of one day meeting the man that will like her for her intelligence in the same for Rosali, who is truly insecure with her appearance and has curves. Pancha would sound similar to Carmen and be blunt. All the actors must be capable of speaking the Spanish language and sound with imperfect
While most movies of the 2000s somehow spoke about sex among young adults, for the first time the emphasis is on the virginity of a Mexican American female. In part this topic is not discussed openly, it is only discussed awkwardly in a mother to daughter conversation. This movie opens the eye to many families conservative other this matter, Ana’s mother openly shames her daughter to losing her virginity to a random person which was not the case. In this scene, rather than have a heartwarming conversation with her daughter she is angry possibly at her daughter but possibly at herself for not knowing what her daughter was doing. Ana is prepared to lose her virginity and is responsible to purchase contraceptives something also talked about but mostly whispered in the chicano community. Ana states that women get pregnant not because they are having sex but because they are having it unprotected or don’t know how to use different methods of contraceptive. The talk among Mexican American families is not how to use contraceptives rather it is do not get pregnant or “ELSE”. Real Women Have Curves shows that the real problem is not getting pregnant it is the lack of communication Mexican American women have with their
Both Dumas and Cordero are growing up in a culture that is different from their parents’; this difference is one reason why both girls have a feeling of ‘otherness.’ Even though both girls feel a struggle between their heritage and the American culture they live in, they deal with this struggle in dissimilar ways. Although Cordero does love her family, she feels as though she is trapped by her Mexican heritage. She is surrounded by Mexican-American females who are oppressed, unsatisfied, and often longing for a different life. We get many stories of her grandmother, cousins, and neighbors who are stuck in a place of discontent with no way out; and she does not be part of an endless loop of females who are under the control of men.
Esperanza finally comes to the conclusion that she does not need to fit into the mold of Mango Street. She also realizes that by making her own world, she can do bigger and better things and come back to help others on Mango Street. Not everybody can fit into the same mold and Esperanza made her own. . Esperanza leaving shows that she is a leader and hopefully she will have the others from Mango Street follow in her path. Maybe other people will fit into Esperanza’s mold or they will use her as an example. Esperanza used the other women as an example to make something of herself so all of the negative people she meets and has in her life, they made her the person she wanted to be.
Before Cleófilas got married, to Juan Pedro and moved across the border, she was more of a free woman. There are times where Cleófilas would remember her past, back when she lived in Mexico with her family. As she describes her life there we can see a difference in her setting in Cleófilas hometown, where she grew up we can see how happy and comfortable she was here. Mexico is a place that she knew well, she had people to talk, and there were things for her to do, she as well has her family there for. Cleófilas had the warmth of her family, even with not having a mother, she still grown up with her father and six brothers; these were the men she had in her life before her husband. Even if, Cleófilas had never ending chores, putting up with her father’s complaining and her brothers, she still had them they were family. Her father took over the mothering role of Cleófilas 's deceased mother, he was a kind-hearted person who cared for his daughter, treats her like a princess, "I am your father, I will never abandon you," (Cisneros, 246) his promise to Cleófilas. Back in Mexico Cleófilas had many women around her, from her aunts, godmothers, and girlfriends; they
Class, gender, race, and ethnicity play important roles in the film “Real Women Have Curves” by Patricia Cardoso. Ana is the main character and is portrayed as a Hispanic/Latino teenager finishing her senior year of high school. Having grown up in a Roman Catholic house hold, her family expects her to stay home and take care of the family and eventually get married and start a family of her own soon. However, Ana has different plans for herself and does not want to follow traditions and beliefs that her mother tries to force against her.
Relating to Alvarez and her struggle is very easy and well known in every generation. Society puts a ridiculous high standard on outer appearances, especially for girls and women. Women grasp the perspective of the standards that are set and put them into drive. Women become stressed, emotional, and nutcases because they want to please others instead of pleasing themselves. In some cases, women have died trying to live up to these customaries, if not becoming dangerously ill. As a young lady, knowing what could happen, frightens but doesn’t phase me. Wi...
There is an abundant amount of movies that are inspiring to people, and throughout the years there have been empowering messages for some women. In Real Women Have Curves produced by Effie Lavoo and George brown, there is an empowering message for women of all types. The film is about a Spanish 18-year-old girl who struggles with a life of a regular Spanish woman. While this movie applies more towards Spanish woman it can also empower women of all types. Ana the main character wants to attend college, and she is a bright girl. The problem is she cannot attend college ,because, of the nature of the Spanish community she comes from. The mother constantly puts her down for her weight and not being marriage material. Ana is also expected to help the family with earning money, which is one of the reasons she is not being allowed to go to college. As the mother says, “I have worked since I was 13 years old now it is her turn” (). Ana’s mother believes Ana need to work for the family since she has become of age, and that she needs to get married because that is what women are supposed to do.
Juan Rubio was not feeling the same about his wife anymore, Richard and his sisters had to deal with the separation of his parents, and Consuelo no longer wanted to be submissive to her husband. After the move, Consuelo was exposed to a different lifestyle for women and how they handled certain situations in America. Her American friends often questioned her level of importance. Once she married Juan Rubio, Consuelo knew she would become “the anchor” of her husband and the house. Because of this, she is stuck in an internal battle with herself. She wants to be the support system her husband demands while living up to Mexican values, but desires to have the new freedoms American women have. Juan’s infidelity and the downfall of their marriage was the push that helped change Consuelo. Although she did not want to lose the affection of her husband and children, she did not want to fall victim of the stereotypical housewife. Consuelo was not finding joy in merely serving her family but wanted recognition for who she is as a woman. “But all such scenes did not end with laughter, for Richard’s mother was a different person altogether now, and constantly interfered when her husband was in the act of disciplining a child, and these interferences grew until they flared into violent quarrels” (Villarreal 134). At this point, Counselo shows us she has developed a voice of her own. She was acting and saying
Azuela portrays Camila as an easily manipulated character who is forced to become Demetrio’s woman and to bed with him. She eventually accepts her fate and plays her role as Demetrio’s wife. Eventually Cervantes convinces Camila to join him in going back to the rebel forces encampment. Azuela depicts Camila undergoing different struggles for her decision to join the rebels.
By examining the narrative voice as well as the cultural restraints placed on them, readers can see the sexist culture in the novel and that the novel itself does not necessarily advocate this misogyny. Yunior, a Dominican man, is the overall narrator of the novel, so readers essentially see everything through his masculine eye. When discussing a brief fling with Lola, Oscar’s sister, Yunior says, “Even those nights after I got jumped she wouldn’t let me steal on her ass for nothing. So you can sleep in my bed but you can’t sleep with me?” (Diaz 169) His question suggests that it is his right to sleep with her, and his discussion of Lola herself objectifies her by noting only her body and her refusal to use it. This objectification is clearly sexist, but it is a reflection of the narrative voice, Yunior, not of Lola. Yunior will casually refer to a woman as “a bitch” (Diaz 183), which is clearly demeaning, but it is a man’s view and does not reflect on the substance of the women. It shows readers the culture he was raised in, not an actual portrayal of the women, illustrating a misogynist society but not a misogynistic novel. In the Dominican Republic, gender-based violence is the fourth leading cause of death, hinting at the overall problems caused by the hyper-sexualized nature of the country. Sociologist Denise Paiewonsky
Many are confined in a marriage in which they are unhappy with, and are reductant to make a change. Some are committed to make a change for themselves. Esperanza ponders each one of these women's lives. Through each role model Esperanza gains crucial life lessons on how to overcome different life hardships. Through some women like her great-grandmother and Ruthie, Esperanza learns she must take control her fate, to avoid marrying young, and not let a male figure dictate her future. Other women like Alicia, Esperanza learns to keep pursuing goals in life and to take control of her destiny no matter what obstruction may lay ahead. From Esperanza’s role models, the moral lesson that can be taken away is to be proactive about your life and to shape your own future. Everyone is a role model to somebody in their life. Strive to leave a positive message behind for the ones shadowing in your
Throughout The House on Mango Street Esperanza learns to resist the gender norms that are deeply imbedded in her community. The majority of the other female characters in the novel have internalized the male viewpoint and they believe that it is their husbands or fathers responsibility to care for them and make any crucial decisions for them. However, despite the influence of other female characters that are “immasculated”, according to Judith Fetterley, Esperanza’s experiences lead her to become a “resisting reader” in Fettereley’s terminology because she does not want to become like the women that she observes, stuck under a man’s authority. She desires to leave Mango Street and have a “home of her own” so that she will never be forced to depend on a man (Cisneros 108). During the course of the novel Esperanza eventually realizes that it is also her duty to go back to Mango Street “For the ones that cannot out”, or the women who do not challenge the norms (110). Esperanza eventually turns to her writing as a way to escape from her situation without having to marry a man that she would be forced to rely on like some of her friends do.
She is the one that refuses to oblige to societal orders. She is the “Shadow-Beast” (38) with “Chicana identity grounded in the Indian woman’s history of resistance” (43). Although alienated physically, Anzaldua is “immobilized” (43) mentally the more confined she becomes in a culture engulfed in pure oppression. She claims her “shadow-beast” as the depiction of her highly wanted independence as an individual human being, which eventually forces her to leave her family behind to find herself separately from the “intrinsic nature buried under the personality that had been imposed” (38) for people like Anzaldua for many years. Her push for rebellion sets a voice for the silenced anger and pure resistance against the ostracism of herself, her family, culture, and the white-washed society she has been born into. To be the only Chicana, lesbian, and rebellious woman in her family is considered sinful, as women, according to Anzaldua, in Mexico only have “three directions she could turn: to the church as a nun, to the streets as a prostitute, or to the home as a mother” (39). Noticing that women are culturally restricted to these roles, Anzaldua creates the opposite role for herself claiming to take the “fourth choice” by “entering the world by way of education and career and becoming self-autonomous persons,” (39), which she uses to her advantage to transform the prolonged oppression into her long awaited freedom to live as an openly queer woman
In Latin America, women are treated differently from men and children. They do lots of work for unexplainable reasons. Others for religious reasons and family orders and others because of the men involved. Women are like objects to men and have to obey their orders to either be rich or to live. Some have sex to get the men’s approval, others marry a rich man that they don’t even know very well, and become slaves. An important book called Chronicles of a Death Foretold is an example of how these women are treated. Purisima del Carmen, Angela Vicario's mother, has raised Angela and her sisters to be good wives. The girls do not marry until late in life, rarely socializing beyond the outsides of their own home. They spend their time sewing, weaving, washing and ironing. Other occupations include arranging flowers, cleaning up the house, and writing engagement letters to other men. They also keep the old traditions alive, such as helping the sick, comforting the dying, and covering the dead. While their mother believes they are perfect, men view them as too tied to their women's traditions. The men are afraid that the women would pay more attention to their job more than the men. Throughout the book, the women receive the respect they deserve from the men and others around them.