|Type of paper:||Essay|
|Categories:||Women Racism Feminism Movie Stereotypes Human sexuality|
The Real film women have curves comprises of various scenes that provide a glance regarding a female gaze ought to contain. One of the particular feminine gaze aspect from this perspective entails the women having the control as well as enjoying their sexuality and bodies. This is demonstrated in great detail in regards to the element of dressmaking in Anna's family factory. It is apparent in the scene that the factory ends up being very hot to point where Anna takes off her shirt to the extent that is disapproved and dismayed by her mother. The mother of Anna remained adamant by regarding her expression that she does not undertake that women of different sizes need to brandish their bodies openly. Anna's mother as well gave a feeling that she alleged that an 'ideal" body type of a woman ought to be thin and no curves. At this particular scene, other factory workers after teaming up with Anna in getting rid of their shirts as well, thereby joking concerning the imperfections of their body (Gretchen p.46-267).
Towards the end of the scene, it is apparent to notice women found speaking regarding their immense love of their bodies. And all these happenings were taking place in front of the mother of Anna who still had adverse views. In response to that, it is worth noting that this scene stands as one of the glaring illustrations concerning how women have the potential of taking control in regards to their bodies thereby enjoying them to their full capacity. The reality that women managed to do the actions mentioned above under the mother of Anna judgmental scrutiny approves women's strength as well as their empowerment (Gretchen p.46-267).
When analyzing the concept of empowerment as well as the enjoyment of one's sexuality in the context of the female gaze, still one more scene come in mind from Real Women Have Curves. This scene includes the stage upon which Anna, together with Jimmy, is in the room of Jimmy to a point which things commence to get intimacy between the two. At this time, Anna makes Jimmy have the lights turn back on, thereby looking her body in the light. Again this demonstrates a pivotal point upon which Anna shows her personal empowerment, and in doing so, she is making sure Jimmy that knows what and how her body looks like, her body's representation and more to that the extent to which she adores her body. This scene puts how women, in particular, Anna, in this case, ought to be in control besides being satisfied with their bodies, sexuality, and themselves. The story of Anna deserves a counter-narrative that brings into light issues against oppression, domination as well as challenges deficit regarding people of colors besides rendering racisms' intersectionality with various forms of subordination (Gretchen p.46-267).
Regarding young women, (queer Latinas/ Jatas) together with working-class communities, it is worth to note that Selena remains an icon before a death. The fact remains that representation of Selena tends to rebound meaningfully in the context of Latino as well as Tejas imaginaries of American music that pushes them against the limits which are epitomized via heteronormative boundaries of gender, racialized hierarchy of feminists as well as blackness' marginalization.
It is worthy to note that Selena is a commanding presence in the Latin culture upon which her queer sonic circuit flows back as well as forth across the nation-state borders and timescales. The point is that her music still spins the imaginary of borderlands that consistently reverberate to cumbia moves of Selena, not forgetting that when such bodies move they symbolize extremely high stakes of the pleasure negotiated publicly, sexual agency as well as desire via configuration of the power grounded on race, class, gender, and sexuality. Selena, as a cultural worker, utilized cross-cultural influences concerning the sound of African diasporic, Chicano aesthetics working class, as well as self-fashioning skills that all-encompass imagery of borderlands via brown soul (BarvosaCarter p.179-278).
About ideologies of invisibility, the notion is that from the historical perspectives, companies of the motion pictures are said to have considered fewer Native American female actors when hiring as compared to their counterparts male. This is due to the politics of film's representation having American Indian plots as well as subplots privilege frontier as site imagined upon which warriors of the Native American have to be secured, surveilled as well as conquered particularly in westerns upon which male characters deserved to be more visible. In all aspects Dance being an act of visual sovereignty gives room for the recuperation of tragic red facing, series of traumatic performances in a non-indigenous circuitry of healing site of meaning because of the lives of numerous women that can be imagined differently (Ruiz p.141)
In case the lives of the Olson's grandmother and spotted Elk together with Minnie Ha Ha ought to be interpreted via yellow Robe's apparently words of prophetic. Then the "magic words concerning performance stand to open up space upon which Native American subject ought to "live forever" besides in regenerative dialogue with the modern indigenous artists in the process of trying to heal from the history. Spotted Elk's film together with Ha Ha performances create visible as a complicated history about red facing upon which violent together with unappreciated tales collected relating to Native American women get marked as well as mediated (Carrillo p.478-502).
Acting as a profession allowed both women to have access to the cultural spaces and geographical representational fields that were not available to Native American women following the turn of the twentieth century. It is imperative to note that via the lives of Olsen together with creative retelling of Miguel about Spotted Elk career, the point is that experiences of the early actors of Native American ended up being the stage upon which artists and scholars had to rethink communal memory and collective subjectivity in the histories of the film of North American
Reflecting on the gendered history, it is strongly advocated that "Chicanos are also women, Chicanas." This appeared as being an irony or a cosmic joke about the tradition considered to have negated half of the population. The new order, in this case, ought to be narratives, theories as well as a reversal of the methods, all which had to be revised, rewritten as well as rethought. Chicana studies/ history theorized, constructed, enunciated besides redirecting all questions probed by the historians in 1970s and 1980s (Carrillo p.478-502).
Lastly, Carrillo p.478-502 notes that as a methodological tool, feminism ought to have unleashed thought system from the categories of modernity, restrictive categories upon which the history of Chicana stand to have been trapped. Even if historians of women had questioned traditional account, it was the exclusion of the women and the way history was curved by gender. Women of color historians interrogated the aspect upon which feminism had its flaws considering that early studies had the fear that feminism would neglect race. Many women of color contemplated gendered history upon which one could not study women of color in the absence of reflecting on the race and class with gender intersections.
BarvosaCarter, E. "Perez, The Decolonial Imaginary: Writing Chicanas into History." JOURNAL OF AMERICAN HISTORY -BLOOMINGTON-, no. 1, 2001, p.179- 278. EBSCOhost, search.ebscohost.com/login.aspx?direct=true&db=edsbl&AN=RN097544979&site=eds-live.
Carrillo, Rosario, et al. "Cultural Production of a Decolonial Imaginary for a Young Chicana: Lessons from Mexican Immigrant Working-Class Woman's Culture." Educational Studies, vol. 46, no. 5, Sept. 2010, pp. 478-502. EBSCOhost, doi:10.1080/00131946.2010.496696.
Gretchen M. Bataille. "Reservation Reelism: Redfacing, Visual Sovereignty, and Representations of Native Americans in Film Michelle H. Raheja." The Journal of American History, vol. 98, no. 2, 2011, p. 46-267. EBSCOhost, doi:10.1093/jahist/jar257.
Ruiz, Ariana A. "Dissonant Divas in Chicana Music: The Limits of La Onda by Deborah R. Vargas." Latino Studies, vol. 12, no. 1, Spring 2014, p. 154. EBSCOhost, search.ebscohost.com/login.aspx?direct=true&db=edb&AN=95446051&site=eds-live.
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