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Losing someone you love can be hard. In the novel, Out of the Dust by Karen Hesse, the main character, Billie Jo, lives motherless through the tragic Dust Bowl. Billie Jo’s responses to hardship contributed to her transformation. Two hardships Billie Jo responded to include her mother passing and her dad drinking. One hardship Billie Jo faced was her ma passing, and that hardship then lead to her avoiding the piano.
Donald Worster is an environmental historian and his book Dust Bowl: The Southern Plains in the 1930s helped to define the environmental history movement as it was the first environmental history book published. He breaks the stereotype of how the Dust Bowl was viewed by writing it from an environmental standpoint instead of writing a social history by focusing solely on the people and their experiences. How it helped to define the environmental history movement is that it opened up this avenue for others to write about environmental issues. He is also an anti-capitalist and this book combines his interest in the environment with the effect that capitalism has on the environment.
Thesis- Characters in this film attempt to manipulate in order for their own agenda to succeed. The objectification of women in a man populated occupation working towards her dreams. Key Concepts- Diegesis: Refers
Characters Help Establish a Theme Characters are used to help develop a theme and create a more relatable story. In the book, “Out of the Dust” by Karen Hesse, Billie Jo and her father stay strong through the dust bowl and the death of their family members. Billie Jo and daddy, from “Out of the Dust”, helped to develop the theme that when you’re at the end of the rope, tie a knot and hold on because of how they persevere through their hardships. Daddy shows persistence in how he never lets his sadness overcome him. First, even though his wife was gone, he never stopped digging the pond.
Besides the film Daughters of the Dust, Dash wrote a book Daughters of the Dust: A Novel (1997), “a sequel set 20 years after the passage explored in the film”. As you say, the film Daughters of the Dust was the first feature film directed by an African-American woman, and it has feature that the way the film tells the story is absolutely fresh. Dash has directed a few television film, including SUBWAYStories: Tales from the Underground (1997), Incognito (1999), Love Song (2000), and The Rosa Parks Story (2002). These television film get high rating on imdb.com.
This is suggested by Helen Simpson who stated that Carter centralises ‘latent content of fairy-tale’ is that women are objects of male desire hence patriarchal discourse establishes male supremacy to which Carter does this to challenge contemporary perspectives on the place of women by revealing the oppression that society inflicted. The Marquis is an overt example of male ownership of female bodies. Similarly, where Atwood exposes the harsh realities of oppressive patriarchy through the female body, Carter utilises the construct of the Marquis in the eponymous story ‘The Bloody Chamber’ as a grotesque embodiment of patriarchal control. In her essay ‘Visual Pleasure and Narrative Cinema’ Laura Mulvey coined the feminist term ‘male gaze.’ She argues that men are the audience and women are to embody the male perspective of women as objects of satisfaction.
This analysis will focus on questions of gender and notions of femininity existing during the Great Depression in US Culture, which are reproduced through the film itself. To support my thesis, I will analyze the most important key scenes
In Laura Mulvey’s article, “Visual Pleasure and Narrative Cinema,” she writes about the relationship between voyeurism, cinema, and gender. She begins by describing the concept of scopophilia, which means to gain pleasure from looking. She writes that scopophilia is inherently active/masculine, and that pleasure is derived from looking at other people as mere objects. On the other hand, the passive/feminine is derived from the experience of being looked at (pg.188). Mulvey sees this binary relationship between viewer and object being viewed as a part of our culture, and the greatest example of this is found in cinema.
Cultural theories by Kathleen Rowe, Laura Mulvey and Stuart Hall can help the audience seek an explanation to how these stereotypical gender roles are portrayed in the movie and how it can create power for the specific
Ridley Scott’s ‘female buddy movie’ Thelma and Louise centres around issues of male dominance and the freedom of release from society. Thelma (Geena Davis) and Louise (Susan Sarandon) are women suppressed by the men in their lives. They take a vacation to escape for a few days and after an attempted rape and murder they end up fugitives on the run for their lives. This unintended event ends up being for them the best adventure of their lives, as they are able to divest from the rules of society and become the independent women they are. By subverting the traditional role of gender in the genre, the film shows how feminism impacted the film industry by challenging Hollywood and the gendered myths and social patriarchy, providing women with a voice, and changing how spectators view how women are looked at through women’s eyes and their experiences.
What are body genres? Body genres allude to sorts that affect the audience's body. These genres create a physical impact, getting the body in the grasp of an extraordinary sensation or feeling, influencing the body to show a physical response. In the article "Film Bodies: Gender, Genre, and Excess," Linda William evaluates the three genres of films with the crucial components of sex, brutality, and feeling.
Exposing Foundations: Psychoanalysis and Gender in Mulvey and Butler Woman… stands in patriarchal culture as signifier for the male other, bound by a symbolic order in which man can live out his phantasies and obsessions through linguistic command by imposing them on the image of woman still tied in her place as bearer of meaning, not maker of meaning. 6 In “Visual Pleasure and Narrative Cinema” (1975), Laura Mulvey points out that psychoanalytic theory can “advance our understanding of the status quo, of the patriarchal order in which we are caught” (2). To understand why woman is only “the bearer of meaning, not the maker of meaning” in this order, I will turn to a very small fraction of Lacan’s psychoanalytic philosophy. Here we find that
The construction of a self-conscious female gaze is the prime objective of feminist theatres everywhere. British feminist theatre practice as elsewhere is an attempt made by women to claim their rightful space in the creative realm of theatre that was deliberately denied to them by patriarchy. The public gaze on women was always the male gaze, one that always wished to see women as objects. It was an ideological position that patriarchy sanctioned as the normal way of looking at women. Women were always the secondary sexual objects for the gratification of male sexual fantasies.
Which came first, the chicken or the egg? This question has been hotly debated for centuries with no hardline conclusion. The question “do films shape culture, or does culture shape films?” has the same cyclical, unanswerable nature. Films cannot change culture without in some way reflecting it, and films cannot reflect culture without in some way affecting it. Film is inextricably intertwined in today’s culture, both as a means and as an outcome.
Abstract: In most parts of the world, females have always been the victim of oppressive patriarchy and male chauvinism since ages. This problem has been represented by many people through various forms of creations be it art, literature or films. Films are the most popular visual mediums of entertainment through which a large segment of people can be approached. Like literature, a film is also a work of art which mirrors the society, it also depicts the reality of the society though it has some fictionality in it.
