Betty Lou

In conclusion, gender is represented well and often in this extract in order for the audience to understand how difficult it is for Helen Mirren’s character to function well in this world. It is depicted particularly well through the use of camera movement and proximity between

She was born in 1925 in The Sooner State Oklahoma. Betty Marie Tallchief was girl that listen to the stories of fire spirits told to her grandmother. Her granny told her about the Osage heritage. She was shy like most Indian girl as she said which I didn’t know they were shy. The girl of the Tallchief.

Twyla is faced with the struggles of being a young woman whose mother is constantly out partying and possibly abusing drugs and abandons her at the group home. Twyla has to be the mother, and takes care of herself even at the group home. She grows to face the struggles of a poor waitress who marries into a loving family, struggling with stability. As she and Roberta age and grow apart and run into each other, their main source of contention has been Maggie. Maggie is mute and possibly deaf, and is of undetermined race, but is a mostly functional adult who is abused by the girls (Morrison 1405). How they treat her is reflective of their feelings towards their mothers, Twyla minimizing and repressing, and Roberta blames the “other” of hurting her. They can’t reconcile their past, and so they go their separate ways. She struggles to find her voice when she encounters Roberta, as their racial differences and accusations keep her from speaking out. Attempting to reconcile her memory with Roberta’s tale is too difficult, until the end of the story, as they’ve both had time to heal and realize neither was right- they didn’t assault her, but they both wanted to, picturing their mothers in her place. Twyla wanted “the right mother” one who “wasn’t deaf and dumb to her needs” (Stanley). As she comes full circle, raising a good, healthy child, and her mother long gone, Twyla can finally heal herself.

The film’s treatment of gender and sexuality connects to course readings that are studied in our class. Elizabeth Lunbeck’s essay, Hysteria: The Revolt of the “Good Girl”, there are two main themes that correspond with Grease. The first theme is that women are hypersexual creatures that seduce men. This theme is only considered normal to men

The classic films, Rear Window (1954) and Stella Dallas (1937), both tell different stories involving women in the classic caregiver role. However, both movies do this in different ways for each female character and the reactions given by both society and their male counterpart within t that role also differs greatly in each film. While in both films women are depicting in the classic caregiving, beauty obsessed, somehow nagging sense as greatly stereotypes within the film world, the status of each woman differs leading to a different cause and effect. The film makers utilize different filming techniques to convey their messages and evoke different reactions and emotions from their audience. I will be comparing and contrasting Stella Dallas to Rear Window in order to examine how each film both formally and narratively constructs the female identity, while making note on class and gender differences.

There were three major “waves” of feminist action that took place in the 1900’s. The most recent and most closely resembling the film is the “third wave” taking place in the early 1990’s. The “third wave” feminist mainly focused on micro politics but also sought after negotiating a space within feminist thought for deliberation of race-related subjectivities. In the film, a woman was brutally beaten by a man for laughing at his small penis. The girl’s friends found out what happened and sought to acquire revenge on the two men that committed this hurtful crime. The gang of vengeful women manage to scavenge one thousand dollars of their own savings as a reward for anyone who kills the two men. The gang of women acts as the feminist movement in the 1990’s but there is

5). The concept(s) we need to understand in this film are that as a society people should look at women as independent people equal as men.

Feminist ideas are used throughout this story in both explicit and implicit ways to help describe the gender roles placed upon females in the 1950s. “That figure was a garish blond showgirl, a Hollywood ‘sexpot’ of no interest to intellectuals”. (Page 79) The author explicitly includes the

Like most popular gender-bending films, Some Like It Hot calls us to critique constructions of sexuality and gender both within the context of historicized moment of the films production and from the perspective of later

Insights about gender are shown through the film’s plot and characters, where “doing gender” and hegemonic masculinity come into play. Furthermore, while Elle at first appears to be one-dimensional, her dynamic role expresses a feminist view on gendered institutions and controlling images. In the film there are moments when Elle falls victim to sexism and gendered institutions, but in the end she is able to surpass these limitations. Although the film does not present intersections of inequalities in the protagonist’s struggles, overall traditional views on gender are tested. In sum, Legally Blonde is a gendered cultural product, but has more to offer than surface level comedy, seen through Elle’s professional success and resilience, thus challenging controlling images and gender

The movie takes up a lot of subjects. One obvious is slavery. There is also discrimination of women and human trafficking.

Movie shows the betrayal or unfavorable depiction of the sisterhood, an important concept in feminist ideology, emphasizing that women are bound in a communal oneness. The movie

Josephine "Betty" Bull Clarke; my great grandmother. At first glance, when you saw her tiny frame, and cute wrinkly face, you would almost think she was just your average grandmother. A common mistake. Only when you heard her war stories and sat down with her to have her tea, will you really know why she was to me, granny. She was born in nineteen twenty-five, in Essex, London. When world war two started, she became a war nurse, and she met my grandfather. When she had her first child, she fearfully moved to the United States, never to see her parents again.

Throughout the movie, the inferiority of women is evident. Women are not allowed to communicate with men other than their husbands or father. This is shown in the movie by the scene where the lady is trying to treat

In a society that is so rapidly alternating by this very second, it remains a mystery to many as to what gender roles and relationships are truly apparent within current cultural backgrounds. The play ‘When One Door Closes’, written by Yaron Lifschitz and Libby McDonnell, is a production that encompasses a storyline involving Nora, Hedda Gabler and Miss Julie. The overarching objective was to place these well renowned characters in the same room and to examine the effects of doing so. Evidently, what is revealed in this play is the pure exposure of current gender roles in society that even daily individuals may not be aware of. This includes the ideology that women are now becoming dominant and that men, in this era, can potentially obtain female qualities. In order to support this concept, the lolly, underpants and male vocal scenes will be discussed.