Psychoanalysis of The Breakfast Club The Breakfast Club is a movie about five high school students who are forced to serve a Saturday detention, as well as write a lengthy essay about who they think they really are. I chose to psychoanalyze this particular film due to the sheer pleasure i receive when i watch it. The Breakfast Club epitomizes high school cliques and dramatizes each of the respective student’s need to belong. All of the main characters in the movie, Brian, Claire, Bender, Andrew, and Allison, have very distinct psychological issues that they are dealing with internally. In this paper, i will attempt to breakdown and analyze the schemas of each of the teens to better understand the emotional and physical plights that they undergo on a daily basis.
Once Shug Avery is introduced, Albert starts to try to cook for her but Celie is still the housebound housewife. Racism and discrimination are also major factors because, again, at th... ... middle of paper ... ... shown the anger and determination on her face, which was chosen to express her emotions. Another significant camera shot was where we are shown Albert’s neck with the razor close because it is showing that Celie is no longer the underdog and that she is now in control. This extract is significant because it shows how Celie is brought forward and has the loss of patience to kill Albert. She is portrayed as the underdog but then is brought into power.
In "The Breakfast Club" five disparate personalities, each secure in his identity and yet filled with insecurities, spend a lazy Saturday confined to Detention at Shermer High School in Shermer, Illinois, for various and sundry school violations. Yet each character has a troubled life as foreshadowed by his very presence in Detention. Families mold, intentionally or not, their children into little reflections of themselves. School, thru peer pressure, thru the various academic and social clubs, and thru the imaginary audience, serves to enhance the socialization process begun at home. Students are labeled and are not allowed to change "their worlds".
Yet, it is a very important part of the transition to adulthood. As it is seen in The Breakfast Club, when “the brain,” Brian, receives an ‘F’ on one of his shop assignments. The entire reason that he is in detention is because he brought a flare gun to school and it was discovered in his locker. He quotes, “I can't have an F, I can't have it and I know my parents can't have it. Even if I aced the rest of the semester, I'm still only a B.
Many have come to see black as a sign of moral pollution, “not because immoral things tend to be black, but because immorality” (Sherman & Clore 1020) contaminates much like dirtiness might taint a clean mind. Prejudice against the color black has established not only its negative connotation in language, but a deep resentment within America’s roots linked to its progression into a cultural identity. Though there appear to be no longer a “scientific justification for racial classification” (Banton 1111), there is an obvious “dualism in language” (Wilson 112) which links the color with its “cultural representations” (Wilson 112), i.e. Blacks, or African Americans. It has arrived to the point that the “achromatic hue[s]” (Wilson 113) has become defined “solely from the viewpoint of heritage” (Wilson 113).
Pecola Breedlove’s broken and abusive family is detrimental to her mental stability and well being. From the moment Pecola is born her mother Pauline immediately distinguishes her as ugly. Pauline recalls he first thought after Pecola’s birth as “Lord she was ugly” (Morrison 126). The Breedloves wore their “cloak of ugliness” and “accepted it without question” (39). The Breedloves acknowledge their appearance define them and outline who they are.
To continue, there are other sections where Kingston actually feels sorry for her aunt. For example, at the end of paragraph 25 Kingston says how her aunt is going through so much work to make herself look presentable, that she hoped the man she loved appreciated her and was not just a tits-and-ass man. Another example where Kingston feels sorry for her aunt is in paragraph 22. Kingston explains how she does not see herself like her aunt in anyway. Her aunt had two sides to her, a calm woman and a wild woman free with sex.
She watches this woman and in the end tries to free her by tearing down all the nasty looking wallpaper. I think that a theme behind this story is the feminist views of the time. This woman is pretty much held captive by John, his sister and the housekeeper. This is shown when she says, "He is very careful loving, and hardly lets me stir without special direction" (p. 12). She tries to make light of the situation by explaining how much John loves and cares about her but every time she tries to say something nice, it comes out making the situation seem worse.
Pecola's parents have both had difficult lives. Pauline always felt like an outsider in her family and constantly suffers through feelings of loneliness and ugliness. She wants to love her daughter but finds Pecola unattractive. Pauline works for a wealthy white family and finds her solace in their house and in movie theaters showing the glamorous white world. Cholly was abandoned by his parents and brought up by his aunt.
This notion of the family as the female sphere repeats especially in Bend it Like Beckham. The woman of the family seem to have a spy network of gossiping older women who actually make it their duty in life to learn about and derail inappropriate female behavior. Unfortunately for Jessie, this includes sports (or anything with her legs showing). Her mother teaches her to make a meal, and insists she learn other "wife" activities involving the home, but as with Monica, this casting of the old on the new never quite takes because of a complete difference in cultural upbringing and its significance for women. At the end of both these movies, all the women essentially compromise.