Relationship Between Masculinity And Femininity

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SHE’S THE (WO)MAN KAYLA PRIHODA HARRY BENSHOFF RTVF 3610.001 NOVEMBER 14, 2014 SHE’S THE (WO)MAN She’s the Man (2006) is a film about Viola Hastings, a girl whose passion is to simply play soccer. When her women’s team gets terminated due to lack of players, the discriminatory men’s soccer coach states, “It isn 't me talking, it’s scientific fact: girls can 't beat boys. It 's as simple as that.” Infuriated, Viola decides to impersonate her twin brother at another school in order to make the team and play soccer. She does this in order to prove that “she’s the man” and to demonstrate to the men’s coach that girls can play just as good as boys. This romantic comedy is noted for its contrasting elements between masculinity and…show more content…
She appears to be a sporty tomboy because she wears baggy pants, slouchy sweatshirts, a baseball hat, and carries a soccer ball. Even though her body is objectified through the male gaze during opening scene at the beach, her personality proclaims that she is not very ladylike at all. An example of this is when she yells at her mother that she, “hate(s) the dress” her mom got her and that she doesn’t “want to be a debutant girl”. This establishes that Viola does not identify with the female gender, nor does she fit into a stereotypical patriarchal female character stated previously. Her statements to her mother foreshadows her outlook of her soon to be reversed gender role. As Viola “transforms” into her brother via a wig and clothing, she realizes that biological differences are not the only things that distinguish her from her brother, and that she is more in touch with her feminine side than she thought. Though Viola has learned to do things in a “manly way” such as spit, walk, talk, and look like a man, she cannot deny her female feelings she has developed for her male roommate, Duke. She is forced to repress the habitual way she acts emotionally, physically, the way she talks, and daydreams. She has to completely alter her identity, but still finds herself retreating back to her feminine side. She sometimes experiences a Freudian slip and says, “you’re so hot” to Duke and then has to correct herself and say
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