Neo Realism Of Pather Panchali Film Studies Essay

Neo Realism Of Pather Panchali Film Studies Essay The Bengali feature film Pather Panchali or Song of The Road in English was directed by Satyajit Ray and released in 1955. It was considered a landmark in the field of Indian as well as world cinema. Although it was director Rays debut effort it went on to win critical and popular acclaim from all around the world. The path breaking movie was also instrumental in winning the Best Human Document award at the Cannes Film Festival of 1956. Satyajit Ray had his first truck with neo-realism as far back as 1949, when Jean Renoir the famous director from France came to Calcutta to make the film The River. The neo-realistic influence that is apparent in most of his movies came from this association with the famed movie maker as also from the neo-realistic propensities of the then prevailing Italian cinema (Ruberto. L, Wilson. E Kristi. M 2007). Ray happened to take the famous director to various potential locations in the Bengal countryside. Later he went to London on official business. During the short time he was in London, Ray saw myriads of movies and seeing the film Bicycle Thieves made so profound an impression on him that he decided to be a movie maker, then and there (Robinson, 2003). Pather Panchali is considered to be neo-realist in its implications. The main reason for describing the movie as neo-realistic was the fact that it was filmed not long after the II World War when neo-realism held sway in most of Europe. What made the critics tack the label of neo-realism to Rays movie? Ray chose mostly natural locations while shooting Pather Panchali. He wanted the backdrop of each shot to speak for itself. Also, he totally refrained from the artificially exaggerated practices and gestures of the popular cinema prevailing in India. The movie is said to have amply demonstrated some affiliations with the traditions narration, representation as well as musical address prevailing in earlier times in an effort to articulate in an Indian identity of the day following independence (Vasudevan, 2000). In an attempt to dissociate himself and his creations from the commercial movies emanating from Bollywood, Satyajit Ray stated, The differences appear to emerge from evaluating the status of the narrative form through which the real would be articulated, through what means of representation, styles of acting, aesthetic strategies the real would be invoked. Here the popular compendium studio shooting, melodramatic, externalized forms for the representation of character psychol ogy, non- or intermittently continuous forms of cutting, diversionary story lines, performance sequences was not acceptable within the emergent artistic canon, for they undermined plausibility and a desirable regime of verisimilitude (Ray, 1976). Pather Panchali possessed all the essential characteristics of neo-realism as proposed by the great Italian movie maker Zabattini. The neo-realistic theory lays down the dictum that the filmmaker should not ever impose his own individual interpretation on the movie that he is making and should always remain a passive observer of the reality that he happens to be creating. It does not matter whether he is depicting misery or prosperity, the movie maker should always uphold the utmost objectivity, by subordinating logic to action at all times. Although, even the staunchest of the neo-realists were utterly unable to attain such total objectivity for the simple reason that the subjective element always had a tendency to creep into any artistic creation, they never stopped from trying to achieve it. The same thing holds true for Satyajit Ray when he made his debut film Pather Panchali. In fact Ray was virtually unable to keep the subjective element out of his movie. But he never made comments on his actions, characters or situations. He never pitches hints at his audience and never tells them just what to think and feel. At the same time he was not at all apprehensive about taking the appropriate stances. This is because he was predisposed not to his characters but to the drama of life itself. He had his own ways to suffuse life on to the screen in order to impart a shimmer of hope to all his characters. Pather Panchali and Bollywood movies : A contrast Bollywood movies are a far cry from the realism and objectivity of Rays movies When comparing and contrasting a Satyajit Ray movie to any Bollywood movie, there is nothing much to compare but there is a lot to contrast. The only factor a movie like Pather Panchali has in common with a Bollywood movie is that both are shot in India and is about life in India. The similarity ends there. While Rays movies are predominantly realistic, there is nothing even remotely realistic about Bollywood films. To make matters worse, Satyajit Rays art films received their due recognition from the cognoscenti and welcomed with open hands within the ambit of world cinema. Evidently, Rays movies were in stark contrast to the populist fare dished out to the masses. This further discouraged any scholarly discussion of Bollywood movies within cinematic and media study circles. Madhava Prasad (2003) a film scholar wonders about the significance of the term Bollywood (2003). It might be that being imitative Bollywood cinema needs to be rechristened to emphasize this derivativeness. In another context, Gokulsingh et al states that whereas Hollywood filmmakers strove to conceal the constructed nature of their work so that the realistic narrative was wholly dominant, Indian filmmakers made no attempt to conceal the fact that what was shown on the screen was a creation, an illusion, a fiction. Genre While movies like Pather Panchali comes under the genre of art cinema or parallel cinema, Bollywood movies come under the genre of Masala meaning a mixture of hot spices. The main characteristic of the Masala genre is the song and dance sequences, a critical factor in defining the particular genre. But audiences that invest social realism into cinema find it difficult to accept the genre as they are extraneous constructions of the real (Dudrah, 2002). It might be interesting to note that the term Bollywood does not signify Indian cinema as a whole but is confined to those movies emanating from Mumbai, the erstwhile Bombay (Corliss, 1996). Budget Any film begins with a budget which in turn necessitates financial backing. Another factor that delineates Pather Panchali and Bollywood movies is the matter of budgeting. Pather Panchali was shot with the meager budget of $3000 while Bollywood spends incredible amounts to make musical extravaganzas. Even a single dance scene from a Bollywood movie costs tens of thousands of dollars. Satyajit Ray could not afford even what to a Bollywood producer is an insignificant sum. The government of Rays home state contributed the lions share of the production costs of Pather Panchali. This never happens with Bollywood films. Film distributors around India are standing ready to advance princely amounts of cash to a masala movie emanating from Bolllywood. Monroe Wheeler, the then head of the prestigious Museum of Modern Art was greatly impressed with high levels of quality prevalent in Pather Panchali although what he saw at the time of his visit to Calcutta in 1954 was an incomplete footage. La ter Wheeler asked John Huston, the American movie director who was on a visit to Calcutta to look into the progress Rays debut movie. At Hustons favorable feedback, the Museum of Modern Art provided Ray with additional funds. Still three years had elapsed before the movie went into post-production (Mehta, 1998). Screenplay The screenplay for Pather Panchali was based on the Bengali novel of the same title by the popular novelist Bibhutibhushan Bandopadhyay. The novel was about the simple lives of people inhabiting the Bengal countryside of the period. Such a theme is generally anathema to Bollywood directors. Again, the scripts of Bollywood movies tend to be involved, complicated and resemble the pieces of a jigsaw puzzle that somehow come together at the very end. In contrast Pather Panchali did not have even a whole script (Robinson, 2003) as it was solely based on Rays notes and drawings. His theme was simple enough with seemingly random sequences of trivial as well as significant sequences pieced together, a practice that is foreign to the mindset of Bollywood movie directors. Rather than dishing out a fare to assist the moviegoers to escape from the harsh realities of life even it is for a few hours as is the case with Bollywood movies, Ray wanted the script à ¢Ã¢â€š ¬Ã‚ ¦to retain some of the ra mbling quality of the novel because that in itself contained a clue to the feel of authenticity: life in a poor Bengali village does ramble (Ray, 1976). Quite unlike a Satyajit Ray movie, a bollywood film is replete with a plot that is extremely melodramatic in its connotations. Most of such movies follow a regular formula with ingredients that is often mindblogging to a serious movie goer. Such formulae is replete with love triangles, family ties, irate parents, corrupt politicians, conniving villains, kidnappers, golden hearted prostitutes, siblings long lost, sudden reversals of fortune, impossible coincidences and what not. Musical score The musical score consisting of Pather Panchali was prepared by the sitar maestro Ravi Shankar who at that time was at the initial stage of his musical development (Lavezzoli 2006). The background score, in the best tradition of Indian classical music, was something that was truly plaintive and exhilarating (Hoberman, 1995). A sound track that was based on the ragas of classical music and did not contain any songs to portray dance sequences was singularly at variance with the inane capers of Bollywood and something that was happening for the first time in the annals of Indian cinema. A Bollywood movie is an epitome of mediocrity with nothing to relate it with life as lived in India. The main emphasis is on musicals consisting of catchy tunes and words accompanied by a series of song-and-dance sequences. Even the theatricl trailers made to promote a movie have their emphasis on song and dance scenes The standard of a movie is based on mainly on the quality of the songs it features. In fact one major factor of movie promotion with Indian commercial movies in general is to release the songs that a movie contains far ahead of its release. A Satyajit Ray movie appeals to the filmgoer for the aesethetic sense it imparts. To see Pather Panchali was to have what MSN Carta defined as a cerebral experience (MSN Encarta).To understand such films the audience should have a sound notion of what a true movie should be as also expect them to be of a high standard. But it is not at all so in the case of Bollywood movies. Plagiarism in Bollywood Movies Bollywood script writers and music composers have a tendency to plagiarize from western sources and from Bengali and Malayalam movies of India which are of a comparatively high standard. Plot lines, ideas, tunes as well as riffs are fair game for Bollywood (Ayres Oldenburg, 2005). In the past Bollywood could get away with impunity as the movies were largely unknown to non-Indian viewers with the result that none had the faintest notion that ones materials was beeing plagiarized (Dudrah, 2002). Well known Bollywood Director Vikram Bhatt put it succinctly when he remarked Financially, I would be more secure knowing that a particular piece of work has already done well at the box office. Copying is endemic everywhere in India. Our TV shows are adaptations of American programmes. We want their films, their cars, their planes, their diet cokes and also their attitude. The American way of life is creeping into our culture. and also If you hide the source, youre a genius. Theres no such th ing as originality in the creative sphere. However some copyright violations were indeed resulted in litigation. For instance the Bollywood movies Zinda in 2005 and Partner in 2007 were taken to court for having plagiarized from the Hollywood movies Oldboy and Hitch respectively. Accolades Another point to note is that Rays films remains an important part of world cinema and he has received more accolade than any other Indian moviemaker. Noted critic Basil Wright made this comment after viewing Pather Panchali for the first time: I have never forgotten the private projection room at the British Film Institute during which I experienced the shock of recognition and excitement when, unexpectedly, one is suddenly exposed to a new and incontrovertible work of art (Chapman, 2003). For instance the noted film critic Constantine Santas opined that Ray developed a distinctive style of film-making (Santas, 2002). Moti Gokulsing and Wimal Dissanayake stated that the basis of Rays works is comprised of strong humanism and visual lyricism (Gokulsing Dissanayake, 2004). Roy had the singular honor of establishing himself as an auteur of cinema with his very first movie (Santas 2002). In contrast no Bollywood film has ever won an international award, won any critical claim or even special mention from anywhere in the world except in those pulp magazines singing paeans to the movie moguls of Bollywood and their mediocre creations; this in spite of the fact that Bollywood churns out more movies per annum than any other country in the world. Although Bollywood movies are immensely popular with India and Indians living abroad, many South Asians eye them with derision labeling them as maudlin and unrealistic. To quote Edward Johnsons aside as he was commenting on the film posters of Bollywood movies, Indian cinema has a reputation in the West founded more on myth than reality. Art directors such as Satyajit Ray are given fulsome praise whilst the majority of commercial cinema receives nothing but ridicule and the entire industry is pilloried as specious drossà ¢Ã¢â€š ¬Ã‚ ¦(Johnson, 1987:2). Even scholarship in India which, at times, was dismissive of popular films as Technicolor fantasies catering to the masses. To them Bollywood movies were characterized by dance and music, melodramatic content, lavish production procedures and over emphasis on spectacles and stars. And this is why Bollywood films have attained box-office success and raving audiences within India as also globally and not because of aesthetic excellence or on any grounds of merit. . The evolution of Bollywood Cinema with its constant interruptions of dance and song sequences is cited as a critical feature distinguishing it from other cinemas (Gopalan 2002); it is often also cited as an impediment to serious cinema as well Bollywood apologists complain that their movies are evaluated in the glum shadow of European cinematic forms, epistemologies and aesthetics and that in the confines of these rubrics Bollywood movies become poor imitations of art, exhibiting a total lack of realism of any sort and so remain shallow spectacles of fanatastic settings and music. Conclusion In the latter half of the 20th century filmmakers as well as screen writers of a serious mien became frustrated with the then prevailing musical movies. They wanted to reverse this trend and take the Indian movie to a higher and saner realm. They wanted to develop an altogether new genre of movies that portrayed reality from an aesthetic perspective (Roy, 2008) and not mediocre escapist fare. The pioneering efforts of Satyajit Roy gave birth to a number of highly aesthetic and unforgettable movies from avant garde directors like Mrinal Sen, Adoor Gopalakrishnan, Shyam Benegal and Girish Kasaravalli. And while it lasted no good thing lasts for long it was a real relief from the artifice universally distributed from the gaudy sets of Bollywood.

Harvard case essay

Treasury bonds with the same maturity. The deference between selling TIPS and buying T-bonds will cover the Inflation risk losses thus effectively eliminates Inflation risk In the portfolio. The Harvard's Policy Portfolio Includes much of the university endowment, pension assets, working capital, and portfolio contains 1 1 wide asset classes, Including domestic equity, foreign equity, private equity, domestic bonds, foreign bonds, emerging markets, real estate, commodities, absolute return, high yield, and cash.This portfolio was determined by the board of the corporation for the long-run allocation, however, the manager can make short-run adjustment within the limits from the guideline. The reason that HAMS focus on real returns is HAMS want to exclude the influence of inflation and determine the return rate more precisely. As the formula nominal return = real return + inflation rate shows, choosing real return instead of nominal return can reveal the real purchasing power of the in vestment, thus help the manager to conduct more efficiently to prevent the evasion of the investment.As we can see from Exhibit land Exhibit 2, domestic and foreign equity constitute the biggest part of the portfolio, and these two asset classes have high real returns as well as latterly larger standard deviations. And we know that equity premium indicates the difference between the expected return on the market portfolio of common stocks and the risk-free interest rate, and higher risk often indicates higher equity premium.Based on Ham's assumption that the real growth rate of annual spending is 3% after inflation, and that gifts to the endowment are same as the historical average rate (1%), HIM has to maintain a real between 6% and 7% of the total investment In order achieve its preservation goal. Thus HIM has to invest a large portion in US and reign equity with higher premium, resulting in a short of cash. Yes, From inception in 1 997, TIPS had offered a real yield that ranged f rom. 2% to 4. 25%.

Term Paper Proposal Example

A term paper is a regular assignment for students to research a specific topic of interest. The purpose of the term paper proposal is to outline the structure of the future term paper, providing the key elements that will support the research. The main feature of the term paper proposal is the necessity to constrict the overall area of interest to a very detailed or specific topic. The writer should have the defined intention for discovering the topic, basing the decision on the opportunity of making a change, improving the condition of the matter or advancing scholarly knowledge regarding the issue. To write a term paper proposal one should select the most significant parts of the paper and put them together in a unified outline. Further, it is necessary to provide a short description of each section and tie the content to the chosen topic. Title: Impact of the Reverse Discrimination on the Societal Well-being in the US. Objectives: To examine the issue of the reverse discrimination in the United States; To analyze the impact of the reverse discrimination on the societal well-being; To provide the solutions on the possible means of conquering the issue. Research Question: Does reverse discrimination pose an issue for compliance, feeling of belonging, and inclusiveness in the society? Thesis Statement: Reverse discrimination has become a major social issue in the United States by influencing negatively the majority of people in terms of their freedom and opportunities, deteriorating the social well-being of the nation, forcing people to feel emotionally weak and alienated from the society. In the process of fighting discrimination against minorities, the nation has reached an unprecedented level of injustice and immorality towards the majority. There is a burning need to look for the new ways of renovating the social clay in order to maintain the society safe and comfortable for all people involved. Methodology: The majority of information will be taken from scholarly databases, such as Google scholar, JSTOR, Ebscohost, and others. However, this will not be only a scholarly discussion but rather a research, which provides the empirical evidence to the topic addressed. In order to attain such goal, the range of practices will be involved, including quantitative analysis though the survey of the chosen sample of people in the particular town in the United States. The amount of literature on the topic is vast to present a valid and credible term paper on the topic of the reverse discrimination in the United States. Outline: Introduction. Theoretical background on the concept of the reverse discrimination. The reverse discrimination as a negative social phenomenon in the United States: 3.1. The history of the reverse discrimination at the workplace; 3.2. The legislative base that outlines the reasons for the existence of the reverse discrimination in the US; 3.3. The impact of the reverse discrimination on the social inclusiveness. The recommendations to solve the issue of the reverse discrimination: 4.1. The international experience of tackling the issue; 4.2. The update of the social policies to solve the reverse discrimination problem across the country. Conclusion.

Biography of Henri Rousseau, Self-Taught Post-Impressionist

Henri Rousseau (May 21, 1844 – September 2, 1910) was a French painter in the post-impressionist era. He started painting late in life and was roundly mocked in his own time, but was later recognized as a genius and became an influence on later avant-garde artists. Fast Facts: Henri Rousseau Full Name:  Henri Julien Fà ©lix RousseauOccupation: Artist; tax/toll collectorBorn: May 21, 1844 in Laval, FranceDied: September 2, 1910 in Paris, FranceKnown For: Almost entirely self-taught and rarely praised in his lifetime, Rousseaus naive style of painting inspired many future artists and has come to be widely respected in more contemporary times.Spouses:  Clà ©mence Boitard  (m. 1869–1888), Josephine Noury  (m. 1898–1910)Children: Julia Rousseau (only daughter that survived infancy) Working Class Origins Henri Julien Fà ©lix Rousseau was born in Laval, the capital of the Mayenne region of France. His father was a tinsmith, and he had to work alongside his father from the time he was a young boy. As a youth, he attended the local Laval High School, where he was mediocre in some subjects but excelled in creative disciplines such as music and drawing, even winning awards. Eventually, his father went into debt and the family was forced to give up their house; at this time, Rousseau began boarding at the school full-time. After high school, Rousseau attempted to start a career in law. He worked for a lawyer and began his studies, but when he was involved in an incident of perjury, he had to abandon that career path. Instead, he enlisted in the army, serving four years from 1863 to 1867. In 1868, his father died, leaving Rousseau to support his widowed mother. He left the army, moved to Paris, and instead took up a government post, working as a toll and tax collector. Rousseau was known as Le Douanier (the Customs Officer) after his place of work. Essentially self-taught, Rousseaus naive primitive style of painting was widely ridiculed during his lifetime although he later came to be seen as an artist of considerable significance. Print Collector  /  Getty Images That same year, Rousseau married his first wife, Clà ©mence Boitard. She was his landlord’s daughter and, being only fifteen years old, was nine years his junior. The couple had six children together, but only one survived, their daughter Julia Rousseau (born 1876). A few years into their marriage, in 1871, Rousseau took on a new post, collecting taxes on goods coming into Paris (a specific tax called the octroi). Early Exhibits Starting in 1886, Rousseau began exhibiting artwork in the Salon des Indà ©pendants, a Paris salon founded in 1884 that counted Georges Seurat among its founders. The salon was formed as a response to the rigidity of the government-sponsored Salon, which focused heavily on traditionalism and was less than welcoming to artistic innovations. This was a perfect fit for Rousseau, although his work was not displayed in places of prominence within the exhibitions. Rousseau was almost entirely self-taught, although he admitted to having received some â€Å"advice† from Fà ©lix Auguste Clà ©ment and Jean-Là ©on Gà ©rà ´me, a pair of painters from the Academic style. For the most part, though, his artwork came all from his own self-training. He painted nature scenes, as well as developing a particular take on the portrait landscape, in which he would paint a particular scene, then place a person in the foreground. His style lacked some of the polished technique of other artists of the time, leading to him being labeled as a â€Å"naà ¯ve† painter and often disdained by critics. Painting by Henri Rousseau. Surprise, 1891. Buyenlarge  /  Getty Images In 1888, Rousseau’s wife Clà ©mence died, and he spent the next ten years single. His art slowly began to grow a following, and in 1891, Tiger in a Tropical Storm (Surprised!) was exhibited and earned his first major review with serious praise from fellow artist Felix Vallotton. In 1893, Rousseau moved to a studio in the art-centric neighborhood of Montparnasse, where he would live for the rest of his life. Ongoing Career in Paris Rousseau formally retired from his government job in 1893, ahead of his fiftieth birthday, and devoted himself to his artistic pursuits. One of Rousseau’s most famous works, The Sleeping Gypsy, was first seen in 1897. The following year, Rousseau remarried, a decade after losing his first wife. His new wife, Josephine Noury, was, like him, on her second marriage—her first husband had died. The couple had no children, and Josephine died only four years later, in 1892. Painting by Henri Rousseau. Sleeping Gypsy, 1897.   Buyenlarge / Getty Images In 1905, Rousseau returned to his earlier themes with another large-scale jungle painting. This one, titled The Hungry Lion Throws Itself on the Antelope, was exhibited once again at the Salon des Indà ©pendants. It was placed near works by a group of younger artists who were leaning more and more avant-garde; one of the future stars whose work was shown near Rousseau’s was Henri Matisse. In retrospect, the grouping was considered the first showing of Fauvism. The group, â€Å"the Fauves,† may have even gotten the inspiration for their name from his painting: the name â€Å"les fauves† is French for â€Å"the wild beasts.† Rousseau’s reputation continued to climb within the artistic community, although he never quite made it to the uppermost echelons. In 1907, however, he received a commission from Berthe, Comtesse de Delauney—the mother of fellow artist Robert Delauney—to paint a work that ended up being The Snake Charmer. His inspirations for the jungle scenes were not, contrary to rumors, from seeing Mexico during his time in the army; he never went to Mexico. The Snake Charmer, 1907. Artist: Rousseau.   Heritage Images / Getty Images In 1908, Pablo Picasso discovered one of Rousseau’s paintings being sold on the street. He was struck by the painting and immediately went to find and meet Rousseau. Delighted with the artist and the art, Picasso proceeded to throw a half-serious, half-parody banquet in Rousseau’s honor, called Le Banquet Rousseau. The evening featured many of the prominent figures in the creative community of the time, not for a glittering celebration, but more of a meeting of the creative minds with one another in celebration of their art. In hindsight, it was considered one of the most significant social events of its time. Declining Health and Legacy Rousseau’s final painting, The Dream, was exhibited in 1910 by the Salon des Indà ©pendants. That month, he suffered from an abscess on his leg, but ignored the inflammation until it became too far gone. He was not admitted to the hospital until August, and by then, his leg had become gangrenous. After having surgery for his leg, he developed a blood clot and died from it on September 2, 1910. The Dream (1910). Museum of Modern Art, New York. Fine Art  /  Getty Images Despite being criticized during his life, Rousseau’s style was hugely influential on the next generation of avant-garde artists, such as Picasso, Fernand Leger, Max Beckmann, and the whole surrealist movement. Poets Wallace Stevens and Sylvia Plath also drew inspiration from Rousseau’s paintings, as did songwriter Joni Mitchell. In perhaps the most unexpected connection: one of Rousseau’s paintings inspired the visual world of the animated film Madagascar. His work continues to be displayed to this day, where it is studied and admired much more than it ever was during his own life. Sources â€Å"Henri Rousseau.† Biography, 12 April 2019, https://www.biography.com/artist/henri-rousseau.â€Å"Henri Rousseau.† Guggenheim, https://www.guggenheim.org/artwork/artist/henri-rousseau.Vallier, Dora. â€Å"Henri Rousseau: French Painter.† Encyclopaedia Britannica, https://www.britannica.com/biography/Henri-Rousseau.

Psychodynamic And Humanistic Theories Of Psychology

Psychodynamic and Humanistic Personality Theories The study of the human mind is an interesting topic to discuss about, we have many theorists that have come up with many different ideas or theories, in how to evaluate the mind of humans, two main ways to study the mind in psychology are psychodynamic approach and humanistic approach. Even though these theories are to evaluate human minds they have different views in how the mind works. In psychodynamic approach, the way the mind is viewed is that our behaviors and feelings are from deep unconscious thoughts that lead to aggression and sexuality problems. On the other hand, humanistic therapist has a different perspective of how the mind is viewed. The humanistic approach is studying a†¦show more content†¦The ego is that personality that is shown to the real world and is also the mediator between the Id and the superego. Finally, the superego is built by the morality and belief of society for example growing up with parents and caregivers are the main source to mold the su perego in individuals. To be psychologically healthy, we must successfully complete each stage. (McLeod, S, 2013). Most of the psychosexual stages are molded during childhood. Freud believed that not having a balance between the superego, ego and Id could emerged to have an imbalanced personality. Freud not only composed a theory, he also did a therapy to help individuals with mental issues. During therapy sessions, the patient or individual have permission to say what comes into their mind this approach is defined as free association. In the session is expected repressed memories to emerge from the patient. Freud reported that his free associating patients occasionally experienced such an emotionally intense and vivid memory that they almost relived the experience. (McLeod, S. 2007). After the vivid memory in the session the individual feels relieved and depending per individual the number of session given are from two to five sessions per week for a few months or even years. Rogers Humanistic Approach Summary On the other hand, humanistic approach is another theory of psychology. Carl Roger was a humanistic theorist and created a personality theory between 1902 and 1987. Roger’s believed that everyShow MoreRelatedPsychodynamic approach: the basics1202 Words   |  5 Pagesunderstand behaviour They are many theories in psychology that can be used to â€Å"understand† behaviour, two theories I am going to look at are; Psychodynamic approach and the humanistic approach. I will discuss these 2 psychological theories of development and explain how it accounts for the psychological development, health and behaviour of the individual. Sigmund Freud (1856-1939) was considered the founding father of the psychodynamic approach. Psychodynamic theory is a view that explains personalityRead MorePersonalities Theories Paper785 Words   |  4 PagesRUNNING HEAD: PERSONALITIES THEORIES PAPER Personality Theories Paper Izine Harris University of Phoenix Kurtis Armstrong October 14, 2012 Personality Theories Paper Personality is derived from of many different theories and genres. Personality typically can be reference to as many diverse arrays of thoughts, feelings and behaviors that sets each individual apart in a unique way. Theorist has concluded that an individual external influence can inspire how certain traits are articulatedRead MorePersonality Analysis Paper1521 Words   |  7 Pagesideas and theories from wide variety of scholars. Personality is also something people can share and relate to with one another. According to Allport, â€Å"Personality is about what is unique to the individual, but it is also about what is shared across people† (Allport, 1962). Although there are several approaches to the personality analysis, this paper will specifically focus on the psychodynamic, humanistic and existential approaches. This paper will compare and contrast these theories, explore theRead MoreFour Major Approaches to Clinical Psychology1803 Words   |  7 Pagesmany approaches to clinical psychology; the four major approaches are in psychodynamic, cognitive-behavioral, humanistic, and family systems. Using the four major approaches contributes to the effectiveness in treatment by identifying the goals of each approach. The paper will break down the approaches, goals, techniques, and the overall approaches used. Philosophical Origins of Clinical Psychology ApproachesAs Thomas Plante (2005) cleverly suggested, clinical psychology is both a science and an artRead Moremodels and approaches relate to client need, therapeutic context and aims and objectives of the therapy.1106 Words   |  5 Pageslook to condition new behaviours, or through the idea of internal behaviour, such as the Psychodynamic approach and believing the unconscious needs to be divulged, the aim of all approaches is to enable the client to lead a positive and prosperous life, in the words of Carl Rogers, as a â€Å"Fully functioning person†. The models have introduced the idea of the individual being central to psychology. The Psychodynamic approach believes that (R. Gross (Hodder, 2010 ) â€Å"Much of our behaviour is determinedRead MoreThe Psychological Approaches Of Psychology885 Words   |  4 PagesThere are different psychological approaches in psychology. I mentioned these in great detail in my previous assignment; I will now discuss the different psychological approaches to health practice. The psychological approaches are; Behaviourist, Psychodynamic, Humanistic. The behaviourist theory is all about teaching behaviour whether it is appropriate of not when you can see the changes in behaviour is when you know it has worked. The behavioural learning technique is the result of conditioningRead MoreThe Philosophy Of Psychology Is Defined As The Scientific Study Of The Human Mind And Behavior1281 Words   |  6 PagesPsychology is defined as the scientific study of the human mind and behavior. It was established as a separate discipline during the late 1800s and can be taken back to the time of the ancient Greeks. From around 500BC to 322 BC, Greek philosophers suggested a theory of â€Å"psyche† that is where the word psychology comes from. This meaning the mind, soul and spirit. The Pythagoras, Hippocrates, Socrates, Plato and Aristotle were some of the most influential philosophers of their time. However, due toRead MoreTheories Of Classical Conditioning, Psychodynamic, Cognitive And Humanistic1224 Words   |  5 PagesThere are four theoretical approaches in Psychology. In this essay I will evaluate and analyse the four main approaches which are: Behaviourist, Psychodynamic, Cognitive and Humanistic. Behaviourists believe that everyone is born as a ‘blank slate’ and that all behaviours are learned through interaction with the environment around you. They believe that we learn new behaviour through classical conditioning, operant conditioning and social learning theory. Classical conditioning occurs when twoRead MoreA Summary of the Psychodynamic Theory and Sigmund Freuds Ideas1826 Words   |  7 PagesIt is difficult to summarize psychodynamic theory without a brief discussion of Freud. 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Of the one-hundred, Edward Titchener returned to

The Host Chapter 59 Remembered Free Essays

The beginning would feel like the end. I’d been warned. But this time the end was a greater surprise than it had ever been. We will write a custom essay sample on The Host Chapter 59: Remembered or any similar topic only for you Order Now Greater than any end I’d remembered in nine lives. Greater than jumping down an elevator shaft. I had expected no more memories, no more thoughts. What end was this? The sun is setting-the colors are all rosy, and they make me think of my friend†¦ what would her name be here? Something about†¦ ruffles? Ruffles and more ruffles. She was a beautiful Flower. The flowers here are so lifeless and boring. They smell wonderful, though. Smells are the best part of this place. Footsteps behind me. Has Cloud Spinner followed me again? I don’t need a jacket. It’s warm here-finally!-and I want to feel the air on my skin. I won’t look at her. Maybe she’ll think I can’t hear and she’ll go home. She is so careful with me, but I’m almost grown now. She can’t mother me forever. â€Å"Excuse me?† someone says, and I don’t know the voice. I turn to look at her, and I don’t know the face, either. She’s pretty. The face in the memory jerked me back to myself. That was my face! But I didn’t remember this†¦ â€Å"Hi,† I say. â€Å"Hello. My name is Melanie.† She smiles at me. â€Å"I’m new in town and†¦ I think I’m lost.† â€Å"Oh! Where are you trying to go? I’ll take you. Our car is just back -â€Å" â€Å"No, it’s not far. I was going for a walk, but now I can’t find my way back to Becker Street.† She’s a new neighbor-how nice. I love new friends. â€Å"You’re very close,† I tell her. â€Å"It’s just around the second corner up that way, but you can cut right through this little alley here. It takes you straight there.† â€Å"Could you show me? I’m sorry, what’s your name?† â€Å"Of course! Come with me. I’m Petals Open to the Moon, but my family mostly calls me Pet. Where are you from, Melanie?† She laughs. â€Å"Do you mean San Diego or the Singing World, Pet?† â€Å"Either one.† I laugh, too. I like her smile. â€Å"There are two Bats on this street. They live in that yellow house with the pine trees.† â€Å"I’ll have to say hello,† she murmurs, but her voice has changed, tensed. She’s looking into the dusky alley as though she’s expecting to see something. And there is something there. Two people, a man and a boy. The boy drags his hand through his long black hair like he’s nervous. Maybe he is worried because he’s lost, too. His pretty eyes are wide and excited. The man is very still. Jamie. Jared. My heart thumped, but the feeling was peculiar, wrong. Too small and†¦ fluttery. â€Å"These are my friends, Pet,† Melanie tells me. â€Å"Oh! Oh, hello.† I stretch my hand out to the man-he’s the closest. He reaches for my hand, and his grip is so strong. He yanks me forward, right up to his body. I don’t understand. This feels wrong. I don’t like it. My heart beats faster, and I’m afraid. I’ve never been scared like this before. I don’t understand. His hand swings toward my face, and I gasp. I suck in the mist that comes from his hand. A silver cloud that tastes like raspberries. â€Å"Wha -† I want to ask, but I can’t see them anymore. I can’t see anything†¦ There was no more. â€Å"Wanda? Can you hear me, Wanda?† a familiar voice asked. That wasn’t the right name†¦ was it? My ears didn’t react to it, but something did. Wasn’t I Petals Open to the Moon? Pet? Was that it? That didn’t feel right, either. My heart beat faster, an echo of the fear in my memory. A vision of a woman with white-and-red-streaked hair and kind green eyes filled my head. Where was my mother? But†¦ she wasn’t my mother, was she? A sound, a low voice that echoed around me. â€Å"Wanda. Come back. We aren’t letting you go.† The voice was familiar, and it was also not. It sounded like†¦ me? Where was Petals Open to the Moon? I couldn’t find her. Just a thousand empty memories. A house full of pictures but no inhabitants. â€Å"Use the Awake,† a voice said. I didn’t recognize this one. Something brushed my face, light as the touch of fog. I knew that scent. It was the smell of grapefruit. I took a deeper breath, and my mind suddenly cleared. I could feel that I was lying down†¦ but this felt wrong, too. There wasn’t†¦ enough of me. I felt shrunken. My hands were warmer than the rest of me, and that was because they were being held. Held in big hands, hands that swallowed them right up. It smelled odd-stuffy and a little moldy. I remembered the smell†¦ but surely I’d never smelled it before in my life. I saw nothing but dull red-the insides of my eyelids. I wanted to open them, so I went searching for the right muscles to do that. â€Å"Wanderer? We’re all waiting for you, honey. Open your eyes.† This voice, this warm breath against my ear, was even more familiar. A strange feeling tickled through my veins at the sound. A feeling I’d never, ever felt before. The sound made my breath catch and my fingers tremble. I wanted to see the face that went with that voice. A color washed through my mind-a color that called to me from a faraway life-a brilliant, glowing blue. The whole universe was bright blue†¦ And finally I knew my name. Yes, that was right. Wanderer. I was Wanderer. Wanda, too. I remembered that now. A light touch on my face-a warm pressure on my lips, on my eyelids. Ah, that’s where they were. I could make them blink now that I’d found them. â€Å"She’s waking up!† someone crowed excitedly. Jamie. Jamie was here. My heart gave another fluttery little thump. It took a moment for my eyes to focus. The blue that stabbed my eyes was all wrong-too pale, too washed out. It wasn’t the blue I wanted. A hand touched my face. â€Å"Wanderer?† I looked to the sound. The movement of my head on my neck felt so odd. It didn’t feel like it used to, but at the same time it felt the way it had always felt. My searching eyes found the blue I’d been looking for. Sapphire, snow, and midnight. â€Å"Ian? Ian, where am I?† The sound of the voice coming out of my throat frightened me. So high and trilling. Familiar, but not mine. â€Å"Who am I?† â€Å"You’re you,† Ian told me. â€Å"And you’re right where you belong.† I pulled one of my hands free from the giant’s hand that held it. I meant to touch my face, but someone’s hand reached toward me, and I froze. The reaching hand also froze above me. I tried to move my hand again, to protect myself, but that moved the hand above me. I started shaking, and the hand trembled. Oh. I opened and closed the hand, looking at it carefully. Was this my hand, this tiny thing? It was a child’s hand, except for the long pink-and-white nails, filed into perfect, smooth curves. The skin was fair, with a strange silvery cast to it and, entirely incongruous, a scattering of golden freckles. It was the odd combination of silver and gold that brought the image back: I could see a face in my head, reflected in a mirror. The setting of the memory threw me off for a moment because I wasn’t used to so much civilization-at the same time, I knew nothing but civilization. A pretty dresser with all kinds of frilly and delicate things on top of it. A profusion of dainty glass bottles containing the scents I loved-I loved? Or she loved?-so much. A potted orchid. A set of silver combs. The big round mirror was framed in a wreath of metal roses. The face in the mirror was roundish, too, not quite oval. Small. The skin on the face had the same silver undertone-silver like moonlight-as the hand did, with another handful of the golden freckles across the bridge of the nose. Wide gray eyes, the silver of the soul shimmering faintly behind the soft color, framed by tangled golden lashes. Pale pink lips, full and almost round, like a baby’s. Small, even white teeth behind them. A dimple in the chin. And everywhere, everywhere, golden, waving hair that stood away from my face in a bright halo and fell below where the mirror showed. My face or her face? It was the perfect face for a Night Flower. Like an exact translation from Flower to human. â€Å"Where is she?† my high, reedy voice demanded. â€Å"Where is Pet?† Her absence frightened me. I’d never seen a more defenseless creature than this half-child with her moonlight face and sunlight hair. â€Å"She’s right here,† Doc assured me. â€Å"Tanked and ready to go. We thought you could tell us the best place to send her.† I looked toward his voice. When I saw him standing in the sunlight, a lit cryotank in his hands, a rush of memories from my former life came back to me. â€Å"Doc!† I gasped in the tiny, fragile voice. â€Å"Doc, you promised! You gave me your oath, Eustace! Why? Why did you break your word?† A dim recollection of misery and pain touched me. This body had never felt such agony before. It shied away from the sting. â€Å"Even an honest man sometimes caves to duress, Wanda.† â€Å"Duress,† another terribly familiar voice scoffed. â€Å"I’d say a knife to the throat counts as duress, Jared.† â€Å"You knew I wouldn’t really use it.† â€Å"That I did not. You were quite persuasive.† â€Å"A knife?† My body trembled. â€Å"Shh, it’s all okay,† Ian murmured. His breath blew strands of golden hair across my face, and I brushed them away-a routine gesture. â€Å"Did you really think you could leave us that way? Wanda!† He sighed, but the sigh was joyful. Ian was happy. This insight made my worry suddenly much lighter, easier to bear. â€Å"I told you I didn’t want to be a parasite,† I whispered. â€Å"Let me through,† my old voice ordered. And then I could see my face, the strong one, with the sun-brown skin, the straight black line of the eyebrows over the almond-shaped, hazel eyes, the high, sharp cheekbones†¦ See it backward, not as a reflection, the way I’d always seen it before. â€Å"Listen up, Wanda. I know exactly what you don’t want to be. But we’re human, and we’re selfish, and we don’t always do the right thing. We aren’t going to let you go. Deal with it.† The way she spoke, the cadence and the tone, not the voice, brought back all the silent conversations, the voice in my head, my sister. â€Å"Mel? Mel, you’re okay!† She smiled then and leaned over to hug my shoulders. She was bigger than I remembered being. â€Å"Of course I am. Wasn’t that the point of all the drama? And you’re going to be fine, too. We weren’t stupid about it. We didn’t just grab the first body we saw.† â€Å"Let me tell her, let me!† Jamie shoved in beside Mel. It was getting very crowded around the cot. It rocked, unstable. I took his hand and squeezed it. My hands felt so feeble. Could he even feel the pressure? â€Å"Jamie!† â€Å"Hey, Wanda! This is cool, isn’t it? You’re smaller than me now!† He grinned, triumphant. â€Å"But still older. I’m almost -† And then I stopped, changing my sentence abruptly. â€Å"My birthday is in two weeks.† I might have been disoriented and confused, but I wasn’t stupid. Melanie’s experiences had not gone to waste; I had learned from them. Ian was every bit as honorable as Jared, and I was not going to go through the frustration Melanie had. So I lied, giving myself an extra year. â€Å"I’ll be eighteen.† From the corner of my eye, I saw Melanie and Ian stiffen in surprise. This body looked much younger than her true age, hovering on the edge of seventeen. It was this little deception, this preemptive claiming of my partner, that made me realize I was staying here. That I would be with Ian and the rest of my family. My throat thickened, felt oddly swollen. Jamie patted my face, calling my attention back. I was surprised at how big his hand felt on my cheek. â€Å"They let me come on the raid to get you.† â€Å"I know,† I muttered. â€Å"I remember†¦ Well, Pet remembers seeing you there.† I glared at Mel, who shrugged. â€Å"We tried not to scare her,† Jamie said. â€Å"She’s so†¦ kind of fragile-looking, you know? And nice, too. We picked her out together, but I got to decide! See, Mel said we had to get someone young-someone who had a bigger percentage of life as a soul or something. But not too young, because she knew you wouldn’t want to be a child. And then Jared liked this face, because he said no one could ever dis†¦ distrust it. You don’t look dangerous at all. You look the opposite of dangerous. Jared said anyone who sees you would just naturally want to protect you, right, Jared? But then I got the final say, because I was looking for someone who looked like you. And I thought this looked like you. Because she sort of looks like an angel, and you’re good like that. And real pretty. I knew you would be pretty.† Jamie smiled hugely. â€Å"Ian didn’t come. He just sat here with you-he said he didn’t care what you looked like. He wouldn’t let anyone else put a finger on your tank at all, not even me or Mel. But Doc let me watch this time. It was way cool, Wanda. I don’t know why you wouldn’t let me watch before. They wouldn’t let me help, though. Ian wouldn’t let anyone touch you but him.† Ian squeezed my hand and leaned in to whisper through all the hair. His voice was so low that I was the only one who could hear. â€Å"I held you in my hand, Wanderer. And you were so beautiful.† My eyes got all wet, and I had to sniff. â€Å"You like it, don’t you?† Jamie asked, his voice worried now. â€Å"You’re not mad? There’s nobody in there with you, is there?† â€Å"I’m not mad, exactly,† I whispered. â€Å"And I-I can’t find anybody else. Just Pet’s memories. Pet’s been in here since†¦ I can’t remember when she wasn’t here. I can’t remember any other name.† â€Å"You’re not a parasite,† Melanie said firmly, touching my hair, pulling up a strand and letting the gold slide between her fingers. â€Å"This body didn’t belong to Pet, but there’s nobody else to claim it. We waited to make sure, Wanda. We tried to wake her up almost as long as we tried with Jodi.† â€Å"Jodi? What happened to Jodi?† I chirped, my little voice going higher, like a bird’s, with anxiety. I struggled to get up, and Ian pulled me-it took no effort, no strength to move my tiny new body-into a sitting position with his arm supporting me. I could see all the faces then. Doc, no more tears in his eyes. Jeb, peeking around Doc, his expression satisfied and burning with curiosity at the same time. Next, a woman I didn’t recognize for a second because her face was more animated than I’d ever seen it, and I hadn’t seen it much anyway-Mandy, the former Healer. Closer to me, Jamie, with his bright, excited smile, Melanie beside him, and Jared behind her, his hands around her waist. I knew that his hands would never feel right unless they were touching her body-my body!-now. That he would keep her as close as he could forever, hating any inch that came between them. This caused me a fierce, aching pain. The delicate heart in my thin chest shuddered. It had never been broken before, and it didn’t understand this memory. It made me sorry to realize that I still loved Jared. I wasn’t free of that, wasn’t free of jealousy for the body he loved. My glance flickered back to Mel. I saw the rueful twist of the mouth that used to be mine, and knew she understood. I continued quickly around the cluster of faces circling my bed, while Doc, after a pause, answered my question. Trudy and Geoffrey, Heath, Paige and Andy. Brandt, even†¦ â€Å"Jodi didn’t respond. We kept trying as long as we could.† Was Jodi gone, then? I wondered, my inexperienced heart throbbing. I was giving the poor frail thing such a rough awakening. Heidi and Lily, Lily smiling a pained little smile-none the less sincere for the pain†¦ â€Å"We were able to keep her hydrated, but we had no way to feed her. We were worried about atrophy-her muscles, her brain†¦Ã¢â‚¬  While my new heart ached harder than it had ever ached-ached for a woman I’d never known-my eyes continued around the circle and then froze. Jodi, clinging to Kyle’s side, stared back at me. She smiled tentatively, and suddenly I recognized her. â€Å"Sunny!† â€Å"I got to stay,† she said, not quite smug but almost. â€Å"Just like you.† She glanced at Kyle’s face-which was more stoic than I was used to seeing it-and her voice turned sad. â€Å"I’m trying, though. I am looking for her. I will keep looking.† â€Å"Kyle had us put Sunny back when it looked like we would lose Jodi,† Doc continued quietly. I stared at Sunny and Kyle for a moment, stunned, and then finished the circle. Ian was watching me with a strange combination of joy and nervousness. His face was higher than it should have been, bigger than it used to be. But his eyes were still the blue I remembered. The anchor that held me to this planet. â€Å"You okay in there?† he asked. â€Å"I†¦ I don’t know,† I admitted. â€Å"This feels very†¦ weird. Every bit as weird as switching species. So much weirder than I would have thought. I†¦ I don’t know.† My heart fluttered again, looking into those eyes, and this was no memory of another lifetime’s love. My mouth felt dry, and my stomach quivered. The place where his arm touched my back felt more alive than the rest of my body. â€Å"You don’t mind staying here too much, do you, Wanda? Do you think that maybe you could tolerate it?† he murmured. Jamie squeezed my hand. Melanie put hers on top of his, then smiled when Jared added his to the pile. Trudy patted my foot. Geoffrey, Heath, Heidi, Andy, Paige, Brandt, and even Lily were beaming at me. Kyle had shuffled closer, a grin spreading across his face. Sunny’s smile was the smile of a coconspirator. How much No Pain had Doc given me? Everything was glowing. Ian brushed the cloud of golden hair back from my face and laid his hand on my cheek. His hand was so big just the palm covered from my jaw to my forehead; the contact sent a jolt of electricity through my silvery skin. It tingled after that first jolt, and the pit of my stomach tingled along with it. I could feel a warm flush pinking my cheeks. My heart had never been broken before, but it had also never flown. It made me shy; I had a hard time finding my voice. â€Å"I suppose I could do that,† I whispered. â€Å"If it makes you happy.† â€Å"That’s not good enough, actually,† Ian disagreed. â€Å"It has to make you happy, too.† I could only meet his gaze for a few seconds at a time; the shyness, so new and confusing to me, had my eyes dropping to my lap again and again. â€Å"I†¦ think it might,† I agreed. â€Å"I think it might make me very, very happy.† Happy and sad, elated and miserable, secure and afraid, loved and denied, patient and angry, peaceful and wild, complete and empty†¦ all of it. I would feel everything. It would all be mine. Ian coaxed my face up until I looked him in the eyes, my cheeks flushing darker. â€Å"Then you will stay.† He kissed me, right in front of everyone, but I forgot the audience quickly. This was easy and right, no division, no confusion, no objection, just Ian and me, the molten rock moving through this new body, melding it into the pact. â€Å"I will stay,† I agreed. And my tenth life began. How to cite The Host Chapter 59: Remembered, Essay examples

Gender Roles in Salt of the Earth, El Norte and Zoot Suit Essay Example For Students

Gender Roles in Salt of the Earth, El Norte and Zoot Suit Essay Throughout the history of Chicano film and literature, gender roles and gender specific stereotypes have played a monumental role, defining an entire generation of cinema. Whether it is the Latin lover and his irrepressible charm, the machismo who demonstrates extreme strength, the Dark Lady who invokes desire from men of every race, or the influential and hard working women who overcome insurmountable obstacles. In the film Salt of the Earth, directed by Herbert J. Biberman, the gender roles take a dramatic shift never seen before in Chicano film. The obvious differences in how society treats the men and the women of this mining town are quickly made clear; the men work and are part of the union while the women stay home and take care of the family. These men, and particularly those men from this generation with Mexican heritage, often saw women as weak and nearly useless in anything other than child rearing. This dependence seen in women of this time period was largely due in part to economics. The excessive gender distinction that created men as the working class prevented women from seeking means to become economically independent, thus never allowing them to act freely or to make key decisions regarding their position in life. In the early twentieth century, Mexican women adhered to strict gender roles; while Roman Quintero was forced to deal with increasingly poor work conditions, his wife Esperanza could only continue to run their home as she passively waited for change to come. Esperanza had literally no power within her home, or the wider community, so that the concerns she had for practical matters were almost completely ignored by the activities of the male Union activists. The women within the mining community were consistently treated with the same patronizing disdain that the Anglo workers displayed toward their Mexican counterparts. However, as time went on she and several of her peers found the strength and power of self-motivation to challenge and resist the limitations their gender had enforced upon them. I felt that if Johnny was going to be active in the union, why shouldnt I? Whats good for the goose is good for the gander. We felt that the union is not for the men only, its our union too. We felt that if our husbands were going to belong to the union, we should do something about it to. As the women shifted to a power position in union matters, married couples began fighting, as the men were hesitant to accept their wives interest in anything outside of their homes and relationships. Men like Ramon now had to confront the struggles of domestic life and the challenging feelings of emasculation that came along with taking a back seat to their wives. Aside from being the primary voice of the film, Esperanza is also the point of contact and empathy for viewers. Ultimately it is her strength of character and courage that brings the community together under a greater sense of social equality and solidarity. Whereas Ramon and the other men of the community are forced to submit to authority, becoming increasingly vulnerable to the repercussions from management. Esperanza and the other women of the community present a more convincing and disciplined front. Zoot Suit, directed and written by Luis Valdez was perhaps as meaningful and important of a film for its generation as Salt of the Earth, but presented the polar opposites in terms of gender roles. Valdez was influenced by the Chicano cultural nationalist movement in the 1960s and 1970s where the Chicanos sought to establish their identities as separate from that of the European influenced colonization of the Americas. In the Chicano cultural movement El Pachuco represents the Mayan mythological ideal of In LakEch, meaning that this alter ego embodies all Chicanos. .uc44e0141e6e1f9b1d674eeb6c67ec6a3 , .uc44e0141e6e1f9b1d674eeb6c67ec6a3 .postImageUrl , .uc44e0141e6e1f9b1d674eeb6c67ec6a3 .centered-text-area { min-height: 80px; position: relative; } .uc44e0141e6e1f9b1d674eeb6c67ec6a3 , .uc44e0141e6e1f9b1d674eeb6c67ec6a3:hover , .uc44e0141e6e1f9b1d674eeb6c67ec6a3:visited , .uc44e0141e6e1f9b1d674eeb6c67ec6a3:active { border:0!important; } .uc44e0141e6e1f9b1d674eeb6c67ec6a3 .clearfix:after { content: ""; display: table; clear: both; } .uc44e0141e6e1f9b1d674eeb6c67ec6a3 { display: block; transition: background-color 250ms; webkit-transition: background-color 250ms; width: 100%; opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #95A5A6; } .uc44e0141e6e1f9b1d674eeb6c67ec6a3:active , .uc44e0141e6e1f9b1d674eeb6c67ec6a3:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .uc44e0141e6e1f9b1d674eeb6c67ec6a3 .centered-text-area { width: 100%; position: relative ; } .uc44e0141e6e1f9b1d674eeb6c67ec6a3 .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .uc44e0141e6e1f9b1d674eeb6c67ec6a3 .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .uc44e0141e6e1f9b1d674eeb6c67ec6a3 .ctaButton { background-color: #7F8C8D!important; color: #2980B9; border: none; border-radius: 3px; box-shadow: none; font-size: 14px; font-weight: bold; line-height: 26px; moz-border-radius: 3px; text-align: center; text-decoration: none; text-shadow: none; width: 80px; min-height: 80px; background: url(https://artscolumbia.org/wp-content/plugins/intelly-related-posts/assets/images/simple-arrow.png)no-repeat; position: absolute; right: 0; top: 0; } .uc44e0141e6e1f9b1d674eeb6c67ec6a3:hover .ctaButton { background-color: #34495E!important; } .uc44e0141e6e1f9b1d674eeb6c67ec6a3 .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .uc44e0141e6e1f9b1d674eeb6c67ec6a3 .uc44e0141e6e1f9b1d674eeb6c67ec6a3-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .uc44e0141e6e1f9b1d674eeb6c67ec6a3:after { content: ""; display: block; clear: both; } READ: Gender Inequality Still Exists EssayEssentially, the message the Chicano nationalists and subsequently Luis Valdez is trying to communicate through El Pachuco is that female desires are interrelated with male desires and do not stand alone. This leads to the women having little freedom to establish their cultural identity outside of and apart from their male counterparts. Pachuco is the ultimate male; his resolve, his confidence and his knowledge are everything this culture looked up to in an individual. By portraying Pachuco as the alter ego of Hank Reyna, Valdez is able to demonstrate how this myth would act in any given situation a normal man would find himself in. Yet having an embodied icon walking and talking amongst common men greatly increases the pressure for every male role in this film to constantly and consistently exude masculinity. El Norte, directed by Gregory Nava displays the brutal realities of immigration and the brother and sister combination of dual protagonists allows for an in depth demonstration of gender roles with immigrants looking for success in the United States. Rosas journey is not similar to Esperanzas in substance but she has to similarly fight several uphill battles throughout. Enrique is also faced with hardships as he is in a constant fight to follow his fathers dying wish and to not become just another strong arm to be used by others. No matter what country Rosa and Enrique are in, they fall victim to the same gender roles in the workforce. While in Guatemala Enrique is out in the fields and Rosa is at home cleaning clothes and cooking. Consequently, in the United States Rosa assumes the same roles by working for a commercial clothing manufacturer and cleaning houses. Whereas Enrique was clearly destined to work as a day laborer; a fate initially delayed by his momentary stroke of good fortune. It begs the question, is Gregory Nava trying to show the viewer that gender roles transcend cross cultural divides or is it simply coincidence that these characters fall into the same gender patterns that were prevalent in their home country? Either way, it seems as though no matter what situation they are in, they cant escape the stereotypes of their genders, even though Rosa has been able to do everything physically and emotionally that Enrique was capable of throughout their treacherous journey. Is Gregory Nava at this point also saying genders are equal and the only thing that causes inequality is society? Enrique did however find success; his job at the restaurant appeared to be his avenue to achievement in the United States. Yet all it took was one jealous coworker to destroy everything he had worked for. Thus, the actions of men (culture) impact the life of a man (Enrique). Competition amongst male immigrants was fierce, as Enrique was not the only one with a story to tell that was willing to work hard to create a name for himself. In conclusion, Salt of the Earth, Zoot Suit and El Norte, were each effective in their own right and each still stand as staples of Chicano film culture. Salt of the Earth was graced with a strong female lead in a portrayal of a true story, and unapologetically sought to redefine a womans role in Latin America. Zoot Suit captured an important movement in Mayan and Chicano history and the embodiment of the captivating yet subtle El Pachuco is a character that will not soon be forgotten. El Norte went to dramatic lengths and gave a realists perspective suggesting that no matter how strong the desire may be, breaking barriers will always come with a high risk of failure; whether it be that of a struggling immigrant or simply one confined by the expectations of their gender. .u032e1221119d2ba26536be36841a0f6b , .u032e1221119d2ba26536be36841a0f6b .postImageUrl , .u032e1221119d2ba26536be36841a0f6b .centered-text-area { min-height: 80px; position: relative; } .u032e1221119d2ba26536be36841a0f6b , .u032e1221119d2ba26536be36841a0f6b:hover , .u032e1221119d2ba26536be36841a0f6b:visited , .u032e1221119d2ba26536be36841a0f6b:active { border:0!important; } .u032e1221119d2ba26536be36841a0f6b .clearfix:after { content: ""; display: table; clear: both; } .u032e1221119d2ba26536be36841a0f6b { display: block; transition: background-color 250ms; webkit-transition: background-color 250ms; width: 100%; opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #95A5A6; } .u032e1221119d2ba26536be36841a0f6b:active , .u032e1221119d2ba26536be36841a0f6b:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .u032e1221119d2ba26536be36841a0f6b .centered-text-area { width: 100%; position: relative ; } .u032e1221119d2ba26536be36841a0f6b .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .u032e1221119d2ba26536be36841a0f6b .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .u032e1221119d2ba26536be36841a0f6b .ctaButton { background-color: #7F8C8D!important; color: #2980B9; border: none; border-radius: 3px; box-shadow: none; font-size: 14px; font-weight: bold; line-height: 26px; moz-border-radius: 3px; text-align: center; text-decoration: none; text-shadow: none; width: 80px; min-height: 80px; background: url(https://artscolumbia.org/wp-content/plugins/intelly-related-posts/assets/images/simple-arrow.png)no-repeat; position: absolute; right: 0; top: 0; } .u032e1221119d2ba26536be36841a0f6b:hover .ctaButton { background-color: #34495E!important; } .u032e1221119d2ba26536be36841a0f6b .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .u032e1221119d2ba26536be36841a0f6b .u032e1221119d2ba26536be36841a0f6b-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .u032e1221119d2ba26536be36841a0f6b:after { content: ""; display: block; clear: both; } READ: Gender Roles in the Renaissance EssayBibliography: Rosenfelt, Deborah Silverton, Salt of the Earth, Class Reader, 2014: 135-139. Fregoso, Rosa Linda, Zoot Suit: The Return to the Beginning, Class Reader, 2014: 269-278. Fregoso, Rosa Linda, Nepantla in Gendered Subjectivity, Class Reader, 2014:106-109.