En La Sierra Y La China Analysis

Common stereotypes about women in the Mexican-American culture include that women are uneducated, good housewives, and very fertile. Many parents still believe it’s the woman’s job to stay home and be the homemaker. The concept of gender, which is socially constructed, is reinforced since birth. (Sociology Lecture 08/24/2015) Ana was caught in the middle of gender politics. Her mother oppressed her daughter so she can become a grandmother. The film “Real Women Have Curves” deals with gender stereotypes and struggles of poor women living in East LA. Carmen was trying to have Ana chained to the notion of women being inferior to men. Carmen believed men to be superior, whereas Ana thought differently. However Ana strived to liberate herself from traditional cultural norms by pursuing her college education. Her mother’s negative influence only caused Ana to rebel.

Young Chicana women typical expectations are to follow the parents’ rules. In the films “Mosquita Y Mari” and “Real Women have curves”, the young Chicana women resist these gender cultural norms. The resistance of these gender norms is not a challenge to others but away to voice the opinion that I am my own person and not somebody else.

Whilst Mexican Americans were looked down upon as a whole minority, it could be said that female Mexican Americans were in an even worse position than their male counterparts, with little or no input permitted whatsoever. Female actresses in the film are demoted to supporting actresses or dancers in comparison to the heavily male orientated cast who have leading roles. According to Fregoso (1993: 659) ‘Chicanos and Chicanas became visible in public discourse as ‘social problems.’ Moreover, Chicanos became foreigners in their own country which led to the increase of so called ‘gang culture.’ In attempt to counter act the media and public perception of Chicano culture Fregoso (1993: 660) explains ‘Valdez deconstructs racist images of Chicano youth as ‘gangs’ or social problems, depicting the male members as victims of racist institutions… the male subjects are reversals of dominant depictions of Chicano masculinity.’

The up to date dying of Rosa Parks refocused countrywide attention on one of the crucial beloved figures of the civil rights movement. However without the heroism of hundreds of unsung grass-roots activists, the action would not ever have complete what it did. In "Freedom Riders," Raymond Arsenault, a professor of history at the university of South Florida, rescues from obscurity the guys and women who, at high-quality individual threat, rode public buses into the South as a way to venture segregation in interstate travel. Drawing on individual papers, F.B.I. Documents and interviews with more than 200 contributors within the rides, Arsenault brings vividly to life a defining moment in modern American history.

In “Lieutenant Nun: Memoir of a Transvestite in the New World” by Catalina de Erauso, a female-born transvestite conquers the Spanish World on her journey to disguise herself as a man and inflicts violence both on and off the battlefield. Catalina discovers her hidden role in society as she compares herself to her brothers advantage in life, as they are granted money and freedom in living their own lives. Erauso decides to take action of this act of inequality by forming a rebellion, as she pledges to threaten the social order.The gender roles allotted to both men and women in the Spanish world represent the significance of societal expectations in order to identify the importance of gender in determining one’s position in the social order in the Spanish World.

This essay will be discussing how gender is portrayed in the films Todo Sobre Mi Madre (All About My Mother) and Tacones Lejanos (High Heels), both directed by Pedro Almodóvar. The use of the theatre and performance, along with the audiences that come with it, enables these films to explore the manner in which gender is unstable. Gwynne Edwards writes that Almodóvar often pays tribute to the stage . Almodóvar dedicates All About My Mother “to all the actresses who have played actresses, to all women who act, to men who act and become women” , which is also relevant to High Heels. He uses the stage setting as a platform to show the instability of gender, not only on a physical stage but also in the characters’ lives: “The dialogue of his films has the cut and thrust, and very often wit, of stage plays. There are also soliloquies, and one of them – in All About My Mother – is even delivered to the audience from the stage of a theatre” . Russell Jackson suggests that this is done as a method for the characters to “find the sometimes onerous ability to deal with and describe their past, and to create a future in the face of death and desertion.” The character ‘La Agrado’ in All About My Mother as well High Heels’ Femme Letal (Letal), will be considered - both the manner in which they carry themselves throughout the film, as well as the their performances on stage. In the following paragraphs, I will illustrate how performance and the stage are vital in Almodóvar’s exploration

Wearing odd articles of clothing nowadays has nothing to do with the government. On the contrary, wearing odd articles of clothing in the midst of a world war can get you into a lot of trouble. All that you have to do is tune in on the pachuca crisis that occurred in Los Angeles. The term “pachuco” and “pachuca” was donned onto young Mexican men and women who wore attire unbefitting the American norm. In Escobedo’s article, “The Pachuca Panic: Sexual and Cultural Battlegrounds in World War II Los Angeles,” she thoroughly details the crisis of families and authorities who have had affiliations especially towards Mexican women presenting themselves in a way that resembles a pachuca. The rising problem that revolved around this issue which will be expanded further argues about the identity of what a pachuca is and its involvement to the “panic” of both the Anglo and first generation Mexican communities.

The story illustrates the overlapping influences of women’s status and roles in Mexican culture, and the social institutions of family, religion, economics, education, and politics. In addition, issues of physical and mental/emotional health, social deviance and crime, and social and personal identity are

Machismo, or male chauvinism, is a concept that characterizes many Latin American male behaviors, most importantly those associated with masculinity and pride. This concept, most likely introduced to New Spain by Spanish conquistadors who embodied these traits, was then adopted and integrated as a part of Mexican culture going forward. Because of male masculinity prevailing over feminine traits during the 17th century, misogyny and the oppression of women became a norm in Mexican culture. Struggling to be valued in Mexico, women turned to literature and art to voice their opinions and expose the machismo in Mexican culture. Through literature and art, is where feminism in Mexico arose and is continually strengthen in. This paper will discuss the ways in which Mexican feminist literature and art over time have exposed and challenged machismo, misogyny, and the Mexican patriarchy since the Spanish Conquest.

This highlights that Chicanas prefer Chicanos more than they prefer each other; they perpetuate gender hierarchy by constantly placing males above females. Chicanas fear the criticism they will endure if they defy gender boundaries. Joan Riviere addresses this phenomenon in her essay “Womanliness as a Masquerade. Her essay explores the discomfort that woman feel when they act outside of the boundaries established by a male dominated society. In one example, she describes a

The racist connotation that Miss Jimenez associates with who she thinks would “fit in” society’s box is a definite reflection of the hardships Valdez witnessed in his community. For example, the Zoot Suit Riots that occurred in 1944 was rooted by a reaction by young Mexican-American males against a culture that did not want them to be a part of it. Stuart Cosgrove examines this issue when he states, "In the most obvious ways they had been stripped of their customs, beliefs and language.” (*Vargas 317) These youths were going through an identity crisis because they did not know which culture they could identify with. Miss Jimenez is a character that embodies that repression Valdez explains in “Los Vendidos.”

The building standard and subjugation of gender construct has widely evolved throughout centuries, and has touched upon the personal obstacles Tita and Pecola face in their own racial, familial and feministic manner. As portrayed in ‘Like Water for Chocolate’, tradition in Mexico, outline that Tita is forbidden to marry because of her placement in

“Beautiful and Cruel” marks the beginning of Esperanza’s “own quiet war” against machismo (Hispanic culture powered by men). She refuses to neither tame herself nor wait for a husband, and this rebellion is reflected in her leaving the “table like a man, without putting back the chair or picking up the plate (Cisneros 89).” Cisneros gives Esperanza a self-empowered voice and a desire for personal possessions, thing that she can call her own: Esperanza’s “power is her own (Cisneros 89).” Cisneros discusses two important themes: maintaining one’s own power and challenging the cultural and social expectations one is supposed to fulfill. Esperanza’s mission to create her own identity is manifest by her decision to not “lay (her) neck on the threshold waiting for the ball and chain (Cisneros 88).” Cisneros’ rough language and violent images of self-bondage reveal the contempt with which Esperanza views many of her peers whose only goal is to become a wife. To learn how to guard her power

As a woman, Angela Vicario is the epitome of a traditional Colombian woman. A traditional Colombian woman is expected to be virgins when they get married; but Vicario defys this social custom causing Vicario to get “softly pushed his wife into [her house] without speaking,” (46). These details emphasize the idea that women are given different standards than men. The details help highlight Marquez’s criticism of how the traditional Colombian woman is treated as and thought of as. From a very young age Vicario and her sisters were taught “how to do screen embroidery, sew by machine, weave bone lace, wash and iron, make artificial flowers and fancy candy, and write engagement announcements,” (31). These skills were taught to better prepare the girls for marriage; displaying the difference in gender roles. Marquez uses parallel structure to emphasize the amount of skills one has to learn before they can be considered as good and pure. Many years after Bayardo San Román returns Vicario she still does “machine embroidery with her friends just as before she had made cloth tulips and paper birds, but when her mother went to bed she would stay in her room until dawn writing letters with no future,” (93). The diction of the words “no future” and “still” suggest that Vicario’s life is stuck in

Throughout Spain’s history, the role and image of women have been shaped by the ideals set forth by the traditional and devout Catholic political authority. After the changes that followed the death of dictator Francisco Franco, the female role in Spain has been just as much in transition as the nation’s political system. This time of transition would serve as an opportunity where Spanish women could reclaim their identity and show that they were just as deserving of their individual rights as men. This change would go beyond the political sphere and mainstream pop culture would also begin to show clear depictions of Spanish women transitioning into their new, independent role in society. Carmen Maura is a Spanish actress that was heavily involved in portraying the transitioning Spanish woman during the later stages of the transitional period and beyond. Particularly, her roles as Pepa in Women on the Verge of a Nervous Breakdown (1988) and Julia in Common Wealth (2000) would prove to be two of her most acclaimed performances while also being two performances that portray the idea of the transitioning Spanish woman on the viewers. The two movies were made twelve years apart from each other, which is a considerable amount of time where the Spanish women continued to change. So, the two characters that Carmen Maura portrays can be interpreted as visual examples of a transforming Spain, where its women faced radical changes in two different, post-Franco time periods.