Movie Mama Essay

“Mama might be better off dead: The failure of healthcare in urban America”, was written by an investigative reporter Laurie Kaye Abraham in 1993. This is a disturbing and profound look at the human side of the health care and how government health care policies work when they hit the streets. This is a story of an impoverished African-American family dealing with devastating illnesses and how they end up in a miserable dilemma.

A psychological disorder can be defined as patterns of behavior or mental processes that affect a person’s capability to carry out every day routines and interactions with others. These psychological disorders can be characterized as personality disorders or mood and anxiety disorders. Many people experience these disorders and struggles within their life. Today approximately 1 in every 5 adults live with a psychological disorder in the United States alone. With that being said, even the most prestigious can have mental illness. For example, Joan Crawford, American film and television actress regularly struggled with several types of personality disorders shown in the movie Mommie Dearest. This movie, based on a book written by her daughter, Christina Crawford, depicts the several scenarios in which Joan shows signs of multiple psychological disorders. Movies similar to Mommie Dearest are a great way to help students understand disorders and the symptoms associated with them. Within this movie Joan Crawford demonstrates signs of having bipolar disorder, obsessive-compulsive disorder, histrionic disorder, and Narcissistic disorder.

Mama, the narrator of this story, is stronger than most men, and soft tempered. There is a quiet sincerity that Mama gets her respect from the reader at the beginning of her story. She loves, forgives, she is independent and frank.

Mama is an exquisite character, she is the head of the house and has also shared some very strong and powerful thoughts with Walter. For example, “If you a son of mine, tell her! You…. you are a disgrace to your father’s memory. Somebody get me my hat!” This quote is an example of Mama being an exquisite character because this is the most vivid thing Mama said. Mama was saying this to Walter, showing her humiliation towards hi actions, and the man he is starting to become. Additionally, “Mama absorbs this speech, studies her daughter and rises slowly and crosses at Beneatha and slaps her powerfully across the face. After…. her” These are stage direction of Mama, and this is showing that Mama has a line and the way Beneatha

Mama resembles an individual who has high hopes for her children no matter what they have given to her in return. Mama is a “large, big-boned woman with rough, man-working hands” (109). In addition, Mama “can kill and clean a hog as mercilessly as a man” (109). Mama’s other house was burned to the ground and she can sometimes she can “still hear the flames” (110). In addition, Mama goes through many hard times, but she always stays strong so she can be a wonderful mother to her kids. Mama is a strong, loving mother who is willing to do anything for her children.

Mama was a person that was upfront but she was also person that Liesel could rely on when everything looked to be going downhill. Rising action: in the rising action of the story liesel

Mama, a member of the oldest generation of the family, reveals that the suffering encountered throughout the story is nothing new, and rather has been part of Harlem for as far back as we can trace. Mama realized the inevitability of suffering in Harlem, knowing all too well of "the darkness outside", yet aimed to have a full and meaningful life despite this suffering (131). In order to do this, she turned to the suffering of her family, particularly her husband’s suffering over the death of his brother. Mama reveals just how much she did to prevent suffering within her home in her last conversation with the narrator. One thing that she did in particular was that she gave her husband a shoulder to cry on: “I know you never saw your Daddy

Grace Miyamoto Journal Act 1 The first impression of someone, even a character in a play, is what you will always remember. About half of the characters are in the first act including: Mama (Lena) Younger, Walter Lee Younger, Ruth Younger, Beneatha Younger, Travis Younger and Asagai. In the first act, there isn’t as much development of the character, only introduction.

Mothers are the people who protect us and care for us most in this world. They will do whatever they can for their children. The character of Mama in A Raisin in the Sun by Lorraine Hansberry is no exception to the multitude of mothers that would sacrifice everything for their child. Even in the midst of gaining $10,000 from which Mama can spend however she’d like she sees her family begin to fall apart before her and puts them first when spending any of the money. Mama acts as a leader of the household and acts with only their well-being in mind; she does this by buying a house for the family, giving the remaining money to her son Walter after buying the house, and allowing Beneatha to see Asagai instead of George.

Mama concerns herself only with the fact that she and her family will own the house, and not have to dwell in the tired, old apartment on Chicago's Southside. In a sense, Mama's dream has "crust[ed] and sugar[ed] over like a sugary sweet" (Hughes Lines 7-8). Her dream has changed to fit the circumstances she must cope with. The character of Mama represents those who do not shrivel up and die just because their dream does.

     What a loving mother! Lena Younger, or Mama, is nurturing and supportive when it comes to raising and maintaining a family. Personally speaking, being nurturing means to love, care for, and show concern over someone. Analyzing Mama’s relationships with family members can show us her view on parenting and ultimately show us her devotion to her family. In A Raisin in the Sun, by Lorraine Hansberry, Mama is a nurturing mother who cares for and protects her family in her struggle to keep them unified.

Mama is the heart and soul of the Younger family that keeps everyone together and interact with each other. She keeps everyone in check awaits for the 10,000 dollar to come through, since it can really help the family change their lives in a positive way. Lena Younger (Mama)

Mama, however, is strong, spiritual and eager to help her children in any way she can. She values family above and beyond all else, but has the deep insight into the other character's motivations even when she doesn't agree. In the middle of the play (at the fuse for the final conflict), she recognizes that Walter is miserable because no one believes in him and his dreams. She gives him a large chunk of the insurance check to invest in a liquor store even thought she doesn't agree with it. She trusts him with it and, when he loses the money to a "trusted friend," she becomes enraged and begins to physically attack him. However, by the next scene she has forgiven him and tells her daughter that she should do the same; "There is always something to love: when do you think the time is to love somebody the most? It's when he's at his lowest and can't believe in hisself 'cause the world done whipped him so!" With those words, Mama seems to symbolize all that is good, solid and peaceful in the world.

Imagine browsing your Netflix or Amazon Prime account looking for a good horror flick before settle on something that vaguely sounds interesting as you plop onto your chair waiting for chills and spine tingling excitement. The opening scenes pops up, a man in a peter pan hat is running through the forest pursued by legions of little evil looking creatures wielding fake plastic spears. Soon, the man collapses out of breath, when suddenly a beautiful woman appears, holding a bowl of green goop. The man wordlessly eats the chlorophyll looking soup and, as the woman laughs manically, the man is transformed into a radish and devoured by the little creatures. At this point you might be inclined to check to see if this movie is a horror film or a

When a woman becomes a mother she takes on the expected responsibility of bonding with her child. In The Flats the "mama" is the women who "raises" the child, usually for life (Stack, 1974, p.48). The "mama" may raise the child and the natural