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Identity in the media
Cultural diversity in media
Identity in the media
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The Sundance Film Associations luncheon celebrating Women in Film in January of 2017 was covered by various news outlets, but with headlines that were not praising the speeches made there. Rather The Los Angeles Times characterized it as a triggered and heated debate, Mashable as uncomfortable, and Indiewire as actresses speaking over one another and thoughts going to sets of deaf ears. The main women in the debate were actresses Shirley MacLaine, Salma Hayek, and Jessica Williams, who are incredibly different from the others in many aspects, but most notably, in age, race and their stances on identity and victimhood. The debate began with how to handle maintaining and promoting a woman’s voice and identity in the face of the often sexist …show more content…
Anzaldua’s Mestiza Consciousness can be seen through “racial, ideological, cultural and biological cross-pollinization,” she calls it “an “alien” consciousness…a new mestiza consciousness…a consciousness of the borderlands” (quoted in Bizzell and Herzberg 1597). This consciousness, according to Anzaldua, is born out of the areas (or ‘borders’) through which a person diverges from a perceived norm, and experiences adversity. The Mestiza Consciousness aims to embrace these aspects of our identities, which are shaped by the ‘twin skins’ of language and ethnicity, that are reflected in how we perceive and process the world; “she communicates…documents the struggle. She reinterprets history and, using new symbols, she shapes new myths. She adopts new perspectives.” (quoted in Bizzell and Herzberg 1600). However, this quote from Anzaldua’s Borderlands/La Frontera parallels, and most clearly displays, how the Sundance Film Associations luncheon is the Mestiza Consciousness in action, is “cradled in one culture, sandwiched between two cultures, straddling all three cultures and their value systems…a struggle of borders, an inner war” (quoted in Bizzell and Herzberg
When Gloria Anzaldua writes in The Homeland Aztlan “this land was Mexican once, was Indian always and is and will be again” one can assume or conclude that she recognizes that the land was taken away from the Indians by Americans. Therefore, you can say that she catecterize the border as Indian Land. To my way of thinking,Gloria Anzaldua blends poetry, personal narrative and history to present the view and experiences of people affected by living in the borderlands and to establish credibility to the poem. On the other hand, this chapter and the two poems present a connection because the three of them express the drwabacks of being Mexican- American.
Every writer has the ability to make their writing remarkable, beautiful, and complex by using elements like genre, discourse, and code. Borderlands/ La Frontera: The New Mestiza is a semi-autobiographical work by Gloria Anzaldúa. She examines the relations of her lands, languages, and herself overall. She defines the borders she has around herself in the preface of the book: “The actual physical borderland that I’m dealing with in this book is the Texas-U.S. Southwest/Mexican border. The psychological borderlands, the sexual borderlands and the spiritual borderlands…the Borderlands are physically present wherever two or more cultures edge each other, where people of different races occupy the same territory, where under, lower, middle and upper classes touch, where the space between two individuals shrinks with intimacy” (Anzaldúa: Preface). The book is broken into two main sections. The semi-autobiographical section composed of seven smaller sections and the poetry section that is both in Spanish and English.
Gloria Anzaldúa was a Chicana, lesbian feminist writer whose work exemplifies both the difficulties and beauty in living as one’s authentic self. She published her most prominent work in 1987, a book titled Borderlands/La Frontera: The New Mestiza. In Borderlands, she write of her own struggle with coming to terms with her identify as a Chicana, an identity that lies at the border between Mexican and American. For instance, she writes,“we are a synergy of two cultures with various degrees of Mexicanness or Angloness. I have so internalized the borderland conflict that sometimes I feel like one cancel out the other and we are zero” However, even as she details this struggle she asserts pride in her identity, declaring, “I will no longer be
Comparison Paper Borderlands vs. Always Running In Gloria Anzaldúa's novel Borderlands: The New Mestiza, she uses the ancient Aztec goddess Coatlicue as a gateway towards a new consciousness and identity for herself, as a Chicana. In a world full of opposites and polarity, a one sided view of life is often what is adopted in mainstream western thinking. In the chapter "The Coatlicue State", Gloria Anzaldúa describes her childhood of feeling abnormal. To come to a new state of consciousness, she describes how she must embrace Coatlicue, the ancient Aztec mother-goddess. The first metaphor Anzaldúa uses to bring about the new consciousness of the Coatlicue state is that of the mirror. In the section "Enfrentamientos con el alma" or "Confrontations With the Soul", she calls the mirror a gateway to the underworld, as mirrors were once believed to be a door to the other side. Because the Aztec goddess transcends both the underworld and our conscious minds, Anzaldua uses the figure of Coatlicue to show how she represents the subject and the object, the I and the self. Coatlicue is the part of one's self that becomes objectified. To find Coatlicue is to stare into the mirror, and see that part of you that is she. The part of ourselves that we do not call I, but rather it. To embrace Coatlicue, our hidden and painful parts, we must look at her in our own reflections. We must find the beauty in her hideousness, and realize that the parts of ourselves that we have always considered unacceptable, contain beauty and to acknowledge it, is to become one with those parts of ourselves. The author uses the needles of a cactus, or "Nopal de castillo" as a metaphor for the feelings of defense and the walls that we put up to distance ourselves from...
American commercial cinema currently fuels many aspects of society. In the twenty-first century it has become available, active force in the perception of gender relations in the United States. In the earlier part of this century filmmakers, as well as the public, did not necessarily view the female“media image” as an infrastructure of sex inequality. Today, contemporary audiences and critics have become preoccupied with the role the cinema plays in shaping social values, institutions, and attitudes. American cinema has become narrowly focused on images of violent women, female sexuality, the portrayal of the “weaker sex” and subversively portraying women negatively in film. “Double Indemnity can be read in two ways. It is either a misogynist film about a terrifying, destroying woman, or it is a film that liberates the female character from the restrictive and oppressed melodramatic situation that render her helpless” (Kolker 124). There are arguably two extreme portrayals of the character of Phyllis Dietrichson in Double Indemnity; neither one is an accurate or fare portrayal.
Riseman, Barbara. “Gender as a Social Structure: Theory Wrestling with Activism.” Multicultural Film: An Anthology. Spring/Summer 2014. Eds. Kathryn Karrh Cashin and Lauren Martilli. Boston, MA: Pearson, 2013.
Anzaldua grew up in the United States but spoke mostly Spanish, however, her essay discusses how the elements of language began to define her identity and culture. She was living in an English speaking environment, but was not White. She describes the difficulty of straddling the delicate changing language of Chicano Spanish. Chicano Spanish can even differ from state to state; these variations as well as and the whole Chicano language, is considered a lesser form of Spanish, which is where Anzaldua has a problem. The language a person speaks is a part...
The third chapter is quite a different spin from what I read in the previous chapters from author's Gloria. E. Anzaldua's book entitled Light In The Dark/Luz En Lo Oscuro. Chapter three is quite interesting. In this particular chapter on page 48, she reveals her identity as a jotitita (queer Chicana). Anzaldua goes to further states that this "mexicatjena-to enter a museum and look at indigenous objects that were once used by my ancestors"(48 Anzaldua). What is interesting to me is the she ponders on whether or not she finds her historical Indian identity at the museum. In addition, she also questions whether her identity could be found along the ancient artifacts and their as she puts it their mestizaje. I really
The objective of this essay will be to interpret the contradictions of identity produced in the movie Fresa y Chocolate and The Borderlands. When personal identity, is stifled and shaped by nationalistic discourse. By examining the polarised dichotomies of self-identity, juxtaposed against the internalised and dominant hegemonic discourse of imposed National and cultural identity. The paper will endeavour to expose how, the holding and wielded of power creates conflict and revolt between ones individual identity, when set against a dominant and oppressive structure. The paper will first examine the portrayal, in Fresa y Chocolate, of how the desire to express one’s own individuality and personal identity clashes with the widely accepted, but yet orchestrated and imposed, post-revolutionary Cuban national identity. By investigating, how the prescribed discourse from an autocratic Cuban regime, creates an emotional battleground for the expression of the individual. When pitched against the dogma surrounding what it means to be a good and contributing member of a socialist collective. The paper will reveal how, the intertwining personal journeys of Diego and David, creates a world of forced discovery and a transformed realisation of identity for both. Next, the paper will examine how internalised self-identity needs to be a dynamic and fluid battleground. Dominated by a pragmatic desire for survival. How this need for acceptance and existence manifests in a complex web of control and subjugation. Resulting in, what Anzaldua describes in The Borderlands as, creating a world of multiple forc...
At the opening of the book Borderlands, La Frontera, Gloria Anzaldua conceptualizes the borderlands as being a burden and a cause of her pain and hopelessness. Anzaldua expresses her feelings towards the boarder using physical traits, but also using non-material descriptions. Anzaldua then goes on to talk about the experiences of oppression and, violence and discrimination of those queer folks of color and how her metaphors used in this book help understand better the meaning of such experiences. She also examines how the queer bodies are marked as locations for all kinds of violence through the power of gender binaries. In the first chapter of her book, Anzaldua explores many aspects of the borderline, and she portrays strong feelings about this matter.
Mainstream movies are about men’s lives, and the few movies about women’s lives, at their core, still also revolve around men (Newsom, 2011). These female leads often have male love interests, looking to get married or get pregnant. Strong independent female leads are still exist for the male view, as they are hypersexualized, or the “fighting fuck toy,” (Newsom, 2011). This depiction has created a culture where women are insecure and waiting for a knight on a horse to come rescue and provide for her as well as the acceptance of women
In the month of March 2016, Women of the World Poetry Slam had Rachel Wiley, a poet and body-positive activist, present her now viral poem called “The Dozens” (Vagianos 2016). This poem was about slams white feminism as a clear indication of whiteness self-defense mechanism. In this poem Wiley included various kinds social events that have occurred in the past years and just to name two: Raven Symone on blackness and Miley Cyrus and Nicki Manji at the VMAs. White feminism continues to become more problematic as the media continues to allow it to be because whiteness makes money; however, intersectionality about race, public imagery, and actual feminism also continues to go viral as the diversity of American become more and more productive.
Led by Laura Mulvey, feminist film critics have discussed the difficulty presented to female spectators by the controlling male gaze and narrative generally found in mainstream film, creating for female spectators a position that forces them into limited choices: "bisexual" identification with active male characters; identification with the passive, often victimized, female characters; or on occasion, identification with a "masculinized" active female character, who is generally punished for her unhealthy behavior. Before discussing recent improvements, it is important to note that a group of Classic Hollywood films regularly offered female spectators positive, female characters who were active in controlling narrative, gazing and desiring: the screwball comedy.
The eternal endeavor of obtaining a realistic sense of selfhood is depicted for all struggling women of color in Gloria Anzaldua’s “Borderlands/La Frontera” (1987). Anzaldua illustrates the oppressing realities of her world – one that sets limitations for the minority. Albeit the obvious restraints against the white majority (the physical borderland between the U.S. and Mexico), there is a constant and overwhelming emotional battle against the psychological “borderlands” instilled in Anzaldua as she desperately seeks recognition as an openly queer Mestiza woman. With being a Mestiza comes a lot of cultural stereotypes that more than often try to define ones’ role in the world – especially if you are those whom have privilege above the “others”.
The media today is overflowing with idealistic representations of modern life; society’s hunger for excellence is reproduced in every detail of the media we consume. Reality, in contrast, is a poor substitute for the fairytale world of film, where good beats evil and stories end with a happily ever after. Arguably, women are often the “victims” of motion picture’s perfect perceptions, and feminism’s persistent test is to challenge these impractical representations. The female princess characters show an example of inaccurate feminine fulfillment.