Mira Nair's Marsala Summary

In Anita & Me, Meena seems to experience a clash of both Eastern and Western cultures. She is a young girl trapped between growing up in the Western culture where she has been born and brought up, however her parents still want her to adapt to her Eastern Cullture although she is a British Asian and expect her to follow

Monday morning, Sally, a twelve-year-old American girl, is woken up by her father. As she gets ready to go to school, her mother hands her a backpack and lunch with a quick kiss goodbye. Meanwhile, Zarina, a twelve-year-old Sierra Leone girl, wakes herself up to get ready for work. Her aunt says good morning as they both head from their home to the cassava fields. Both of these girls have a traditional family setting. In America children in a traditional family grow up with both biological parents and any siblings they have. In Sierra Leone, the setting for both The Bite of the Mango and A Long Way Gone, children of traditional families live with aunts and uncles as well as many children from different parents. These different views of

In How the Garcia Girls Lost Their Accents, cultural displacement has a lasting effect on the Garcia family, particularly the Garcia daughters. Their acculturation to American life sparks an identity crisis in the face of racism, language, and relationships. This struggle is exemplified through Yolanda. Yolanda’s journey is an impassioned search for belonging – for immersion in her Dominican heritage, or in the surrogacy of America. In trying to forge her identity, however, she discovers that she is an amalgam of both cultures and never fully assimilates into one.

Marchetta uses her Italian heritage to capture the effects of ethnicity, pressure, family issues and growing up on Josie throughout her journey. The realistic, relatable and relevant use of racism and ethnic separation as Josie is caught between two cultures. As she fights her culture and her oppressive, deceptive and traditional grandmother. Her search for freedom and acceptance carries through the end as she matures. As she changes her perception of her grandmother from having “no respect for…

In the motion picture, Mississippi Masala, Nair (1992) presents the story of a family from India who was residing in Uganda and whom was forced to leave the country because the government of that country did not want individuals from foreign heritage living in Uganda. This family was forced to move because of their heritage and skin color. In the effort to find a new life, the family sets roots in the United States, in the state of Mississippi, where their only daughter Meena fell in love with Demetrius, a self-employed African American carpet cleaner. When the family discovered that Meena and Demetrius had fallen in love, the family members from both sides were devastated. In Meena’s case, her reputation as an Indian was being questioned, and in Demetrius case, his business was being jeopardized for falling in love with someone from a different culture. Jay, Meena’s dad decided that it was time to move back to Uganda so his daughter would not be married to a black person. However, Meena decided to stay with Demetrius, even without her parents’ consent (Nair, 1992).

Mukherjee uses contrasting diction to emphasize the difference of experiences the sisters had on immigration and the sacrifices they had along the way when faced with the American culture. For example, Mukherjee’s use of “maintain” and “self-invention” are contradictory to each other, but in the context “maintain” refers to her sister Mira and “self-invention” is directed to Mukherjee herself. In Mira’s case, she is very attached to her Indian culture and stresses about not letting the American culture take that away from her. The author’s purpose was to highlight the tenacious mentality Mira has on her culture. In contrast, Mukherjee's use of “self-invention” regards to her loosening her strict hold of Indian culture; the exact opposite

Davis portrays the characters of Gran and Milly as the matriarch of the family, consolidating the rules and regulations within the Millimurra-Munday family, acting as the peacemaker. This is evident in ‘She charges at them, grabbing both by the hair and pulling viciously. They separate and she falls on her backside. Milly laughs’ (Act 1, Scene 3). Gran’s ability to control both his boys insinuates the power distribution between the household of the Millimurra-Munday, whereby the power resides among the women. The fact that the Millimurra-Munday values the power of women challenges the stereotyped notion of the white culture that’s apparent within the context. The 1930s often

Introduction: The movie Mississippi Masala revolves around a young Indian woman named Mina, who was born and raised in Uganda. She Her family and other Indians were forced to leave their home in Uganda by General Idi Amin. She and her family lived in a comfortable life in Uganda, and they have a home they can call their own. Mina and her family relocated in Greenwood, Mississippi to start a new life and they live in a motel owned by their relatives. She also works in the motel, while her mom runs a liquor store. Her father is a lawyer in Uganda, but now busy fighting the Ugandan government for their lost property. Mina then met Demetrius, an African American man who has a rug cleaning business. The two eventually fall in love with each other.

Having lost her “virginity and innocence”, Jasmine realizes she must abandon her old self and establish a new identity for survival (Mukherjee 153). She meets Lillian, the “facilitator” who helps Jasmine assimilate to American culture as Jazzy, who can “walk and talk American” to conceal her foreignness (Mukherjee 131,134). Both Half-Face and Lillian pave Jasmine’s new search for identity in America.

Their family life is always unsure of every day and they are forced to make a change to their culture. Told with honest emotion, director Philip Noyce creates a journey for these girls through the outback where we are captivated by the beauty of freedom. The natural sounds of animals, wind, rain and other music adds to the mystical feeling of the journey, carrying us with them. Along the way, we come across many generous humans and the openly opposite who are blind racists. This movie displays the diverse group of settlers in Australia, not all were ignorant, but most peoples were repressed and were forced to abide by the harsh cultured laws they had no choice

It serves as an analytical tool for understanding the process by which national legal and political institutions interact with local identity transformation, the concept of legalizing identity provides a framework that encompasses both black and Indian struggles for recognition and resources, while retaining the ability to understand their specific differences based in history and struggle. The contradictions in history informed and enabled the differences and legalization of Indian and black identities in a place where ethnoracial mixtures continues to be the operative assumption. Something that was interesting in the movie was that Dora decided to leave Josue behind with his half-brothers. I thought Dora would bring Josue back to Rio, but Dora sneaks out to go back to Rio and writes a letter to Josue telling him that when he thinks of her, he can look at the pictures they had taken to remember each

The separation of lovers works as a pendulum--the further the two travel, uncontrolled, universal circumstances inevitably bring them a to a far-longed return. Americanah by Chimamanda Ngozi Adichie is a tale that represents the main character's desire for return that is illustrated through racism, cultural-identity, and romance, all of which connect to the overarching umbrella theme of belonging and homesickness. Through these themes, the readers understand the significant role “home” plays for the protagonist, Ifemelu, as well as the continuing effects it has upon the development of her character as the novel gradually progresses. Although many characters

Director Agnes Merlet’s film, “Artemisia”, tells the story of the Italian Baroque painter Artemisia Gentileschi and her relationship with her teacher. Merlet’s take on the story is one that endorses the student-teacher romance; as well as promoting Gentileschi’s feminism and portraying her as a strong, individual character. The movie is successful in depicting both the intensity of student-teacher relationship, and Artemisia’s independent will. Nevertheless, at times the relationship between Tassi and Artemisia seems more Hollywood-like than realistic, which at times degrades Artemisia’s character by making her seem injudicious.

Every women in this film has her own life and they are all distinct. Women are not in the fashion of previous films such as in thief. the women here are dependent on no one and as Masha demonstrates when she leaves her controlling fiance. Even the girl that lives with Maxim moved out on her own accord. As with previous comments Masha isn't afraid to express her feelings and is in control with her

Mira Nair’s Monsoon Wedding is a movie that centers around a modern, Indian family in Delhi that comes together to celebrate the arranged marriage of one of their own. The movie has a very superficial joyful atmosphere there were many undertones that open up meaning to many ideas that are not explicitly discussed in the film. I believe the purpose of this film was to provide a lens to view globalization (specifically Westernization) in India, however, the movie sent various mixed messages towards the subjects of marriage, socioeconomic differences, sexual abuse, and personal identity that all carried within them a feeling of anti-progressivism.