Tuesday, April 30, 2013
*Staying Healthy and Avoiding Germs*
If you are scared of getting that awful flu or stomach bug, then you need some rules to follow. Make sure that you always wash your hands. Always take your emergen-c or vitamin C as a precaution. Never forget to take care of yourself and attempt to stay away from visibly ill people. Always cover up when it's cold and keep cool when it's hot. Being sick is not fun! Fevers may always return, so it's important to keep taking antibiotics and take care of your body. In the end, it will all be worth it. Your health is the most important thing in your life!
Wednesday, April 24, 2013
"Where to Shop Designer Brands at Affordable Prices"
Many of us struggle with expenses and when it comes to shopping we only want the best. Unfortunately, it is not always affordable. Our smiles are often turned into frowns. Well, it's not officially over. Believe it or not, we can still get our juicy brands or Italian leather. It's brand new and half the price. TJMaxx and Marshall's allow us to experience the lavish lifestyle at more than half the price. I'm a bargain shopper and I love getting my shoes from Marshall's. You may think it's insane, but I get the most compliments from my TJ and Marshall's outfits. My guess and juicy shoes are my most prized possessions. Many of you may read this article and think these stores are icky. You're wrong! Take the leap and try the price. You won't be disappointed!
Tuesday, April 23, 2013
"What to Listen to, so Your Spirit Remains in Control"
There are many debates about what type of music is the most relaxing. In my opinion, classical opera music is the best way to go. It helps resolve any insecurities that initiate the day and creates a positive atmosphere. No matter what your issues are in the morning, they are forgotten once you put in your cd or plug in your iPod. My favorite performers are Il Volo and Andrea Bocelli. They reach a part of my inner soul with their voices that soothes me. I find peace in whatever issue that I face. Not only do those voices touch my soul, but they help children with ADHD. I am a firm believer that classical opera music can play a key role in maintaining a positive atmosphere with children that face disabilities. I've seen the music calm them down and catch their attention. It's the only thing that springs their curiosity. Time is a precious thing for many people and music is healing. Reach out and listen. In a weeks time, your life will be a little better and more inspirational.
Monday, April 22, 2013
"Shopping Addiction or Downtime Habit?"
Many of Americans struggle with addiction every day. It's not typical to believe that they can have an addiction to shopping, but we've seen it on many diverse television shows. A shopping addiction is a serious condition. People compulsively go to department stores, grocery stores, etc. and buy things that they don't need. It comforts their soul to make large purchases that lead to many financial issues. They don't think about the consequences until after the purchases are made. Most of these addicts are females who dream of living lavishly, but can't physically afford it. One television show introduced a housewife who hid her addiction from her husband. She had to break clean with him on the show. Not only did she destroy her credit, but her husbands as well. Sad part is, he had no idea. She did this because it comforted her to buy extra. Her husband was infuriated when he learned the truth. If she didn't stop, he threatened to take their infant daughter and divorce her. After much needed therapy, she was able to overcome the addiction. It's not easy to stop doing something that you've done all of your life, but it's worth it. Not only does addiction destroy your life, but everyone around you. It's important to know that there is help. We shouldn't lose ourselves in a habit. There are so many opportunities in the world that are better. Never lose your self worth or confidence. If you feel depressed, consult with a psychiatrist. Talking is soothing!
Friday, April 19, 2013
"Stereotyping in America- Destroying an Individuals Identity"
Shootings, bombings, stereotyping, and racial slurs. In America's past, there have been many movies made that insulted different cultures and religion. I'll never forget my introduction to mass media class in college. A video, which displayed many controversial movies that were made prior to 9/11 that insulted the Muslim culture. The Middle East was extremely infuriated. In many ways, they wanted revenge. Stereotyping hurt their feelings and rebellion seemed like a probable cause. Many Americans don't think prior to doing things. They unconsciously or consciously decide to insult cultures and religions. This is unacceptable in more ways than one. People should evaluate every fact before they pursue things in life. Controversial issues lead to uproar and retaliation, which should be taken into strong consideration. Think before you act, speak, etc. You could ruin a life.
Thursday, April 18, 2013
"Rape in Our Society- No Should Mean No"
Many women have found themselves in strenuous situations. They have screamed at the top of their lungs and tried to call for help. Some may have heard their pleas, many never did, attempted to give a hand, or ignored the situation. When I was in college I decided to take diverse psychology classes and an interesting article crossed my path. It was the story of Catherine "Kitty" Susan Genovese. She was a young Italian American woman in New York in the 60's. Her story touched my heart in many ways. Not only because she was a victim of rape, but because she faced the same struggles that my family did as Italian Americans living in this country. Genovese was inspirational in many ways because she chose to take care of herself and live on her own. She was an independent woman in all senses of the word. The night of her attack, she was leaving work. Many people heard her screams that night and no one did anything about it. Imagine thirty eight witnesses and no one decided to phone the police because they all thought someone else would. That could have been anyone's daughter, sister, granddaughter, niece, cousin, etc. The trouble is, this happens every day. People are afraid to help because of consequences. A life is precious and not reaching out is wrong. Many women are raped and never confess. They feel as if the assault was their fault, but it never was. No is no and if someone doesn't stop, he or she is committing a serious crime. Value your bodies. We only get one. It's never your fault. If you were a victim of rape, reach out. Help yourself when no one else will help you. To read more about Catherine Genovese go to:
http://www.trutv.com/library/crime/serial_killers/predators/kitty_genovese/1.html
http://www.trutv.com/library/crime/serial_killers/predators/kitty_genovese/1.html
Wednesday, April 17, 2013
"My Book- Why Waste My Time?"
Ever since I can remember, I've always wanted to make a difference in the world. Some powerful things I've already left an impression on came from within my soul. My words are the most valuable assets in my life. I've inspired many and made others cry. Yes!!! I've made gentlemen tear up as well. That was not my purpose, but I only thought of imprinting their hearts. My words are unforgettable and I want the world to feel the sensation I have felt so many times before. My book speaks about some of my experiences in Europe and the obstacles that I've overcome. It also talks about what I've had to let go. Life is never easy and I want people to know how much they truly inspired me. This book is a foreign romance novel based on nonfiction (my life). I dedicate it to all of my family, friends, and the beautiful Ancona. If it wasn't for Ancona, this book would never have been a thought in my mind. It's taking me over a year to write because some of the issues are difficult to think back on. Not because they were depressing, but because they've changed me. They're unforgettable memories dancing within my soul. There are some things I will never forgive or forget, but I never regret. I have found strength in this novel to move on. I am the future and I'm proud of myself!!!! So, when you think you have to do something, don't just go forward and do it!!!! Conquer the world with yourself and live each day with love!
Tuesday, April 16, 2013
"Worshipping the Sun? The equivalent of Destroying Your Skin!"
You may think that sun kissed skin is the most attractive, but is it? It may look nice to have a touch of sun, but how damaging is it, truly? Well, I've seen its full effects on many of my peers. No matter how much sun screen people may use, it doesn't protect people from having their skin destroyed. Many people having origins in South Florida will start developing dreadful signs of aging in their mid-twenties. I know it isn't all about the sun, but it has a lot to do with it. Don't get me wrong, my best look is darker, but I don't want to age before my time. If you're going to sun bathe every day, ensure that you use plenty of anti aging moisturizing cream. It may not cure the wrinkles, but it will help. Learn to worship your skin. It is all you will ever have! So, don't be foolish! Be smart! Love yourself!!!! Your body is a virtue.
Monday, April 15, 2013
"The Alcohol Limit- What Age Should You Be?"
I am a firm believer that all individuals should be introduced to alcohol at a young age. I know some people would argue that it would increase their risks for adapting terrible habits of alcoholism. I beg to differ on that opinion because the younger that alcohol is in your life, the less likely of adapting horrible traits. I'm not saying that children should drink vodka, scotch, bourbon, or etc. on a daily basis. I'm saying that a little beer or wine in their cups during celebrations won't kill them. Many individuals that taste alcohol at a young age grow to detest it. When it's a normal ritual in moderation at their homes, they're more likely to avoid excessive drinking when they're older. The more restrictions on the usage, the more likely the binge. I know that statistics beg to differ. If alcoholism is in your genes, you're likely to become an alcoholic no matter how young the age you start drinking. I don't believe that anyone should be sheltered from it. It results in many psychological issues in the latter year of life. Don't think that because you don't have it available in your home, that your children aren't getting it elsewhere. Alcohol is everywhere! Many people start drinking their freshman year of high school. I'm not saying that 14 should e the drinking age, but at least 18. The laws should be changed. My favorite quote is , "If you're old enough to serve for our country and risk your life, you're old enough to drink." Let's go America,, we have all this "change," so push forward!
Friday, April 12, 2013
"Purify Your Body at the Greenbar and Kitchen"
Looking for something natural to help purify your body? I suggest you try Greenbar and Kitchen (GBK) and some of their natural delights. It's located right off of 17th street causeway in Fort Lauderdale, Florida. The exact location is 1075 SE 17th Street. Be sure to check it out if you're in the mood to try the new vegan trend. I guarantee that you won't be disappointed! Their prices are agreeable ranging from eight dollars to thirteen dollars for super delicious variety. The coconut grain bowl is a tasty grainy dream, with brown rice and vegetables. GBK BURGER is full of natural chickpeas and avocado slices make up most of their flavors. Everything is completely gluten free, including their delicious desserts. If you're in the area come visit, they love new people. The atmosphere smiles and so will your heart.
Thursday, April 11, 2013
"Don't Text and Drive - We are all Guilty"
Ever have the urge to grab your phone when someone's texting you. Every red light is a possibility to snatch a peek. The habit becomes habitual and the person continues to glance at the phone and write, while they're driving. Researchers have said that texting and driving is equivalent to operating a vehicle under the influence. I am guilty of signing the pledge and disobeying it. I know how truly dangerous it is. Cell phones should be locked away at all times. Many young lives have been lost due to this trend. It's not worth it. You put yourself and the drivers around you in a pit of danger that's irreversible. The next time you text and drive, think of your love one. Do you want them to be proud of you or would you like them to be mourning you at your funeral? Life is a value and death can be prevented. Don't text and drive!
Wednesday, April 10, 2013
"Buying Unlocked Cellphones -An Expensive Hassle"
It's almost impossible and illegal to buy an unlocked cellphone. The contract is a ripoff in many ways. First off, if you plan on leaving the country, you have to find a special plan to accommodate your needs. Second off, it can't be broken without a price, so if you paid five hundred dollars for the phone, it's another two- three hundred dollars to cancel an existing plan. If you want to buy the phone for a relative, a contract must be instated before you can give it to them. If you want an unlocked phone, it sometimes costs up to triple the price of a contracted phone. Either way, there is an uproar of chaos and uncertainties. The unlocked phone may have been stolen or it could have been broken and you don't know until the SIM card is inserted. It becomes a hassle and headache. So you're screwed in both ways. The moral of the story is, "Be careful and do your research before you invest your money into a cell phone."
Tuesday, April 9, 2013
"Rest in Peace Annette Funicello, - America's Original Mousketeer"
As many of you may know, Annette Funicello became one of America's heartthrobs when she joined the "Mickey Mouse Club" in the 1950's. She also starred along popular actor, Frankie Avalon in many "beach party" films. She was 70 years old and had a long fight with multiple sclerosis (ms), a degenerative that attacks the myelin sheath that protects the nervous system and spinal cord. Many people with ms could ultimately become paralyzed after years of battling with the disease. There are a variety of steroid treatments that help control the disease. Unfortunately, there is no cure for ms. Funicello set up a foundation that collected funds for people with ms and to assist in finding a cure. I'll never forget watching the Annette Funicello story and her struggle on Lifetime. In the movie, she showed an amazing strength and chose to fight instead of giving up. Not only was she strong, she was beautiful. Rest in peace Anette, you put up a fight for 25 years. In that time, you have not only helped yourself, but many others suffering from ms. America will never forget you!
Monday, April 8, 2013
"Let's Go to Church? -Losing our Holy Days in America"
Since before I could remember, Sundays were always reserved for mass. We'd start and end in holy prayer. It was truly refreshing and mind clearing to sit through the sermon. At those times, I took it for granted. Many Sundays are occupied with work time and useless activities for Americans. Instead of going to mass, we believe that we can pray at home and it's the same thing. In reality, it's not. We live in a world that has lost the fundamentals of religion. Sure, with time, things change, but is it truly in our best interest? I find myself pondering about the special times I had in mass. As the days pass and I watched many holidays come and go, I feel trapped. I hope that my life doesn't become consumed by senseless activities for a lifetime. Church was a family time of healing. Now, it's been one year since I've attended a mass and I'm feeling a little depressed. It's sad to watch others come and go, feeling refreshed. Sometimes, I feel trapped and I know that I am. It's unfortunate that I can't venture and enjoy the holy day. I hope that one day life transforms and I am able to attend a Sunday mass anywhere. Our society values downtime activities, such as working, drinking, going to the beach, and fooling around, instead of church. We need to get our morals in check and remember the important aspects of life. We must never lose ourselves. God is always waiting for us. He will never let us down. He understands our downfalls and our triumphs. He's rooting for us, so we should root for him! Amen!
Sunday, April 7, 2013
"Finding a Cheap Flight to Italy- Not Without Consequence"
Finding cheap flights to Italy used to be a simple task, but now, the websites are smarter than the average person. Cheaptickets.com, Travelocity.com, Orbitz.com, and etc. are all meant to find good deals on an airline ticket, but looks may be deceiving. A ticket pops up for $1,050.00 a person and sparks my interest. It's too good to be true, so I click on the total layover time. Thirty Five hours, my trip will be over before it begins. Also, I have to take four different planes to my destination, which is ridiculous and ends up adding close to the same cost of other flights with lesser time travel. The more I look, the more time travel there is. I'm furious and desperate beyond belief, so I start looking through the airlines themselves; Alitalia, Continental, Lufthansa, etc. There is a convenient traveling time to the destination, such as 14, 15, 16 hours, but the return is 22 hours and more. The worst of it all is that you can't mix and match destination and arrival times. After two hours off mixing and matching airports, the perfect itinerary spat across the screen; 12 hours to the destination and 13 hours in return. Hoorah! I was extremely excited and immediately booked the flight. It was the same price of all the other tickets that were "cheap," according to their websites. So, if you want to find a cheap flight to Europe, be prepared to dance with your computer screen for a few hours. They don't pop up like they used to. I'm not sure if it's an IQ test or a simple push away from traveling. Either way, it's disappointing.
Saturday, April 6, 2013
"Suicides in Italy- Sadness in my Heart"
It's not a secret that if the American economy sinks, the entire world follows. Ever since Italy changed their money from Lira to Euros, their citizens slowly crumbled. There is a significant change in the money difference and a devastating pay cut. People who were initially making $8.00 an hour are now making $4.00. Also, many places promise to pay their employees every two weeks, but instead pay them every two months. It's almost impossible to survive on one paycheck. There's almost no way to save money, unless all expenses are paid off. That's impossible with monthly electric and other bills. I was extremely saddened, but not surprised to see a 60 year old couple commit suicide. I was shocked that it took place so close to Ancona. My boyfriend and friends took the train to Civitanova last summer for Ferragosto. The holiday is as equivalent to America's Fourth of July. Five hundred euro's a month is extremely unheard of. It sickens me that the economy has sunk that low in such a beautiful city surrounded by water. Death isn't the easy way out. It breaks the hearts of entire families and friends. When you commit suicide, you risk being found by family members or close friends. It's selfish and never should result in that. When you're depressed, there's many ways that people can help you. Reach out to your loved ones. Don't let them suffer for the rest of their lives. It's not worth it. Life is a precious gift from god. My thoughts and prayers extend to the Dionisi and Sopranzi families that lost their loved ones in such a merciless act. My advice to people in crisis is not to let go!
Friday, April 5, 2013
"Women As Robots" Another College Paper
1
Vittoria Santini
12/07/11
Final Paper
Women as “Controlled Robots” in Film: A Comparison Between The Stepford Wives: 75’ & 04’
Throughout history, gender differences between men and women have been highlighted in films. Since then, the revolutions of gender equality values have emerged and are apparent in recent films. The Stepford Wives filmed in 1975, shows audiences the male desire to control his female counterpart and the stereotypical role for women, as housewives. The movie narrows down the relationship between husband and wife and excludes homosexuality and other races. In 2004, filmmakers released a remake of The Stepford Wives, which depicts a modern view of gender equality, homosexual, and racial marriages, but it still shows a stereotypical view on the male figure controlling his partner with a new twist. In this paper, I will compare and contrast the views on gender equality, stereotypes, and certain aspects of lighting and colors used in both films.
The Stepford Wives filmed in 1975 begins with a view of wallpaper in the Ebehart’s New York City home, which is green and yellow. The color green is known to symbolize freedom, fertility sexuality, and renewal (Poague, 1977). Yellow and sunshine are known to represent happiness. There is an awkward image of two tigers on the wallpaper, which represents strength and reveals a possible power struggle in the film. Throughout the film, Joanna Eberhart (Katharine Ross), the main character, is a housewife “in tune” with nature. She is always seen doing things in her garden and sitting in the grass.
In the 2004 film, there is also lots of green and yellow, but Joanna (Nicole Kidman) isn’t pleased with gardening. She also wears black outfits, which signifies mourning, but she mentions it’s common for city girls. Nicole Kidman’s hair is also short and she has a job in the film industry, while Katherine Ross’ hair is long, which was common in the 70’s era. Kidman’s life is extremely different from Ross’ in the 2004 film because she didn’t spend much time with her children. Ross walked the children to the bus stop and cared for her husband, which typical housewives do, but she dreamed of becoming a professional photographer.
Filmmakers didn’t start placing working class women in film until the 80’s, which explains the 1975 stereotype. Prior to the major transition, women were classified as “perfect” housewives in film (Hill, 2009). Interestingly enough, neither Joanna is an “ideal” housewife in their husbands’ eyes at the beginning of the film. Both of them are somewhat lazy and rebellious. Their best friend, Bobbie Markowe (Paula Prentiss in the 1975 version) and Bobbie Markowitz (Bette Midler in the 2004 version) are sloppy and don’t attempt to care for their homes. We don’t see much of Prentiss’ home, but we do see Midler’s repulsive home. It’s apparent in the 2004 film, that Bobbie’s last name was changed because movie maker’s wanted to portray her as a Jewish woman. Religion isn’t clarified in the 1975 film. Again, Bobbie’s appearance is diverse in both movies. Markowe has short hair, while Markowitz’s hair is longer and curly. Also, Markowe is tall, beautiful, and slender, while Markowitz is short and pudgy.
When both Joanna’s arrive to their new town, everything appears flawless. Every housewife except Bobbie and Joanna in the 75’ version was part of a “clique.” In the 2004 adaptation, the circle consists of all housewives except Bobbie, Joanna, and a new character, Roger Bannister (Roger Bart), who’s a gay male that moved to Stepford with his partner, which didn’t exist in the 1975 film. The women in the 2004 film were more welcoming of newcomers than the ones in the 1975 version. They wanted Joanna, Bobbie, and Roger to join their group. On the contrary, the women in the 1975 adaptation weren’t accepting or welcoming. They were completely reserved and didn’t discuss their personal relationships.
One of the closest similarities between both films is the setting. They both move from the city to suburban neighborhoods. Suburbia is classified as a “green heaven” in most films, which is ironic because there is usually a scandal beneath its surface (Hill, 2009). The main characters in both films soon realize that there is a major problem in their new neighborhoods and neighbors. They aren’t as utopian as they seem.
Most of the housewives in both films drown themselves in their home life and do everything they can to please their husbands. Housework is depicted as slavery and prevents women from self-discovery (Hill, 2009). It’s extremely troubling to see the women in both adaptations lose themselves to their home. Joanna in the 2004 version begins to bake and clean, while Joanna in the 1975 portrayal is always cooking dinner for her family and entertaining his guests. This is a stereotypical view on the way women satisfy their husbands.
Gender typing used in previous movie eras view females, as victims, and males, as rulers (Nelson, 2006). This is apparent in both films because females are controlled by the male figures in their lives and are forced to act as “impeccable” beings, but the 2004 film presents a turn of events. The woman, Claire Wellington (Glenn Close), is the mastermind behind the women of Stepford’s odd behavior. Interestingly enough, the film presents the worst of both sides.
The 1975 version of The Stepford Wives is a combination of the mystery, science fiction, and thriller genre, while the 2004 adaptation is a mixture of comedy, science fiction, and thriller. The audience is introduced to a concrete ending with explanation in the 2004 version, but the 1975 adaptation leaves the audience pondering the outcome and drawing their own conclusions. Science fiction films are known to investigate theoretical questions, while mysteries tune into emotional facets (Madison-Davis, 2010). In the 1975 adaptation, there is a mixture of both and it fascinates and engages the audience into Katherine Ross’ sentiments and struggles. She is forced to give up her for the sake of Stepford and her husband’s reputation. It’s sad to see that he doesn’t come forth to save his wife. Unfortunately, she is helpless and alone. In the 2004 film, it’s pleasant to see Kidman and her onscreen husband unite as loved ones, expose the truth about Stepford, and rescue the women.
Robots were key figures in science fiction films of the late 70’s and early 80’s, which created an understanding of present-day life. They complicated movies because humans who were portrayed as robots represented illusions (Cornea, 2003). The women in both films act as robots and move around in unison. In fact, in the 1975 version the women are killed and reappear as robots because of their husbands’ desires of authority. Their “clones” take over their roles in the home and bring gratifications into their husbands’ lives. On the contrary, the 2004 adaptation presents a modernized view where the women aren’t killed, but are sent into a machine, which inserts a mechanical chip into their brains. They are commanded by remote controls that are given to their husbands, which gives them the power to turn them anyway that they please. There is even an on and off switch on the remote. It’s extremely realistic because technology keeps advancing in the modern day world.
In film, male pleasures involve mastery and aspirations of visual pleasure. Female characters in film revive a lost aspect of their sexual identity through wistfulness and repression (Manlove, 2007). In the 1975 version of The Stepford Wives it’s clear from the beginning that men in Stepford value their wives’ physical appearance. By allowing them to die and have a robot that is identical to them, it’s clear that they only care about their feature, which presents a dilemma. This leads the audience to conclude that they have no interest in their wives’ feelings because robots are heartless. Ross’ duplicate has the same exact shape as her, but is missing her eyes, which is interesting because it removes a need to revive past feelings because she doesn’t have one. In the 2004 version, men place the same values on their women, but they are able to “snap out of it.” Joanna willingly “converts” without the community’s knowledge that she isn’t controlled by a microchip. Her character reassures the audience that not all women are the same and change is possible if needed. She pleases her husband by being herself, which reinstates care and respect of women.
Gaze in movies is also introduces a representation of power through application (Manlove, 2007). Authority is usually represented from one person looking down at another in film. In the 2004 version, Kidman is actually looking down at her onscreen husband, Walter Kresby (Matthew Broderick), which signifies that the woman is in control of her man. She is also taller than her husband. In the end, she is able to convince him that he shouldn’t alter her persona because it isn’t a realistic aspect of their love. Most of the women who are modified have blonde hair and blue eyes, which is known as “ideal” for the American woman. The only person who doesn’t completely change their persona is the African American woman. In the 1975 adaptation, Walter and the other men in the film are taller than Joanna, which signifies their triumph over her soul. They keep all the women’s images a close as they can to their counterpart to avoid speculation, which is ironic because Joanna still figures out the truth.
In every film, the protagonist must go through some horrific ordeal that corresponds to an “internal” character arc, which results in a continuous or terminable circumstance (Nelson, 2004). In the case of the 1975 version of The Stepford Wives, the central character, Joanna, discovers that her female neighbors are “too perfect” and thinks that the drinking water in Stepford may have caused the bizarre behavior. When she realizes that it isn’t the drinking water, she becomes visibly upset. She discovers that the transformation in the women occurs a few months after a new family moves into town. When her best friend, Bobby, changes Joanna attempts to instigate emotions out of her, but nothing happens. She stabs Bobby with a knife and realizes that she’s not human. She rushes home and attempts to take her children and leave town, but they aren’t home. Her husband sends her to the Stepford men’s association and she hears “mommy,” but it’s only a recording. She eventually meets her robotic “clone" that presumably kills her.
The 2004 adaptation of The Stepford Wives has a similar impediment with a diverse conclusion. Joanna arrives in Stepford and realizes the eccentric behavior, but isn’t attacked by a duplicate being. Instead, she confronts the men’s association and her husband. She sheds a tear and “agrees” to allow the metamorphosis, but it doesn’t happen. Eventually, she reveals herself and works with her husband to deactivate everyone’s chips. The women come back into their bodies and are ready for revenge, which upsets the Stepford husbands. It turns out that the man in charge, Mike Wellington (Christopher Walken), is actually a robot. His wife, Claire is the mastermind behind the “resolutions” of Stepford’s troubles. Again, this clarifies gender equality amongst men and women because Claire claims that she wanted everyone to have supreme lifestyles. Eventually, Joanna, Bobbie, and Roger formulate their own talk show, which also presents the audience a gender balance in the workplace.
Other aspects of consideration in both films include the variations of lighting. In the beginning of the 2004 adaptation, frontal lighting highlights Joanna’s face when she is introduced as the “hardest working person” in television. Her wrinkles are smoothed out because of the direction of light, which is usually preferred for women onscreen (Keating, 2006). It’s ironic that the lighting was used because she was supposed to be “on air” introducing her newest shows.
Whenever women are introduced in the film, their skin appears unwrinkled (unless aging is the main purpose), which also emphasizes the need for “perfection.” Ironically, the men are also illuminated by frontal lighting throughout the film, which conveys their strive for perfection.
In the 1975 version, the women’s faces are also accentuated throughout the film. The supermarket scene in both adaptations where the lighting is most powerful emphasizes the women’s modifications and organization. They all put items in their carts as if they are cued to do so. Since men are not the main concentrations in the 1975 film, they are older and wrinkled. It allows the audience to focus on the women and their transformations. The lighting standardizes the women in both films and brings out the underlying troubles of the main characters. It’s ironic that in both movies all of the women actually have their flaws even with chips in their brains or if they’re robots. It shows the audience that everything in this world is defective.
Another technique used to project an image involves bouncing light and softening the edge of shadows. Soft lights are preferred for women in film because they diminish facial imperfections (Keating). In the 1975 portrayal, this type of lighting is used many times. We see it when Joanna is searching for her dog, when she’s hiding from her husband against the door in her room, when she’s at the men’s association looking up and around for her children, and when she first walks into her new Stepford home. The 2004 version doesn’t use much of the lighting in the film. The only time it was used was when Joanna, Roger, and Bobbie were spying on the men’s association at nighttime, which creates a mysterious feeling.
On the contrary, darker lighting is frequently used in film to highlight serious expressions of male characters (Keating). This aspect is apparent in the 1975 version in the nighttime living room scenes when Joanna is having intense conversations about Stepford with her husband. It’s spooky to see the way he’s represented in these segments. In the 2004 adaptation, this lighting is used when characters are inside the men’s association at night. This type of lighting creates suspense for the audience, especially when it’s accompanied with sounds, such as lightening in the 2004 version. Every lighting technique is usually used to distinguish differences amongst men and women, which is most apparent in the 1975 film because men were in command. There’s more equality in lighting in the 2004 adaptation because men and women are both in control.
Overall, both versions of The Stepford Wives draw out major beliefs in the filming eras, changes over time, typical stereotypes for housewives, and new portrayals of different races and sexuality. Both films are effective in their own ways. The 1975 version creates a mystery about what actually happens to Joanna Eberhart, which makes the audience want more. On the contrary, Joanna is saved in the 2004 version, which portrays the significance of love and positive effects of working out problems in marriages.
Personally, my favorite version was the 2004 adaptation because of the advances in technology and gender balances. Nicole Kidman was a wonderful Joanna Eberhart and she saved the lives of every female character. The ending had a twist, but it was apparent that Claire Wellington was the mastermind behind Stepford’s perfection. Both movies teach the audience that things are never as they seem and deserve further exploration.
References:
Cornea, C. (2003). David cronenbergs crash and performing cyborgs. Velvet Light Trap, (52), 4-14. Retrieved from http://ezproxylocal.library.nova.edu/login?url=http://search.proquest.com/docview/222864519?accountid=6579
Hill, L. (2010). GENDER AND GENRE: Situating desperate housewives. Journal of Popular Film & Television, 38(4), 162-169. Retrieved from http://ezproxylocal.library.nova.edu/login?url=http://search.proquest.com/docview/851541375?accountid=6579
Keating, P. (2006). From the portrait to the close-up: Gender and technology in still photography and hollywood cinematography. Cinema Journal, 45(3), 90-108. Retrieved from http://ezproxylocal.library.nova.edu/login?url=http://search.proquest.com/docview/222341430?accountid=6579
Madison-Davis, J. (2010) Two ways of describing the elephant: Science fiction and mystery. World Literature Today. Retrieved from http://www.ou.edu/worldlit/onlinemagazine/2010may/davis.html
Manlove, C. T. (2007). Visual "drive" and cinematic narrative: Reading gaze theory in Lacan, Hitchcock, and Mulvey. Cinema Journal, 46(3), 83-108. Retrieved from http://ezproxylocal.library.nova.edu/login?url=http://search.proquest.com/docview/1678206?accountid=6579; http://muse.jhu.edu/journals/cinema_journal/v046/46.3manlove.html
Poague, L. (1977). Shakespeare on film III: "as you like it" and "it happened one night": The generic pattern of comedy. Literature/Film Quarterly, 5(4), 346-346. Retrieved from http://ezproxylocal.library.nova.edu/login?url=http://search.proquest.com/docview/740748945?accountid=6579
Nelson, V. (2006). The ten rules of sitges. Raritan, 26(2), 4-23,170. Retrieved from http://ezproxylocal.library.nova.edu/login?url=http://search.proquest.com/docview/203867619?accountid=6579
Vittoria Santini
12/07/11
Final Paper
Women as “Controlled Robots” in Film: A Comparison Between The Stepford Wives: 75’ & 04’
Throughout history, gender differences between men and women have been highlighted in films. Since then, the revolutions of gender equality values have emerged and are apparent in recent films. The Stepford Wives filmed in 1975, shows audiences the male desire to control his female counterpart and the stereotypical role for women, as housewives. The movie narrows down the relationship between husband and wife and excludes homosexuality and other races. In 2004, filmmakers released a remake of The Stepford Wives, which depicts a modern view of gender equality, homosexual, and racial marriages, but it still shows a stereotypical view on the male figure controlling his partner with a new twist. In this paper, I will compare and contrast the views on gender equality, stereotypes, and certain aspects of lighting and colors used in both films.
The Stepford Wives filmed in 1975 begins with a view of wallpaper in the Ebehart’s New York City home, which is green and yellow. The color green is known to symbolize freedom, fertility sexuality, and renewal (Poague, 1977). Yellow and sunshine are known to represent happiness. There is an awkward image of two tigers on the wallpaper, which represents strength and reveals a possible power struggle in the film. Throughout the film, Joanna Eberhart (Katharine Ross), the main character, is a housewife “in tune” with nature. She is always seen doing things in her garden and sitting in the grass.
In the 2004 film, there is also lots of green and yellow, but Joanna (Nicole Kidman) isn’t pleased with gardening. She also wears black outfits, which signifies mourning, but she mentions it’s common for city girls. Nicole Kidman’s hair is also short and she has a job in the film industry, while Katherine Ross’ hair is long, which was common in the 70’s era. Kidman’s life is extremely different from Ross’ in the 2004 film because she didn’t spend much time with her children. Ross walked the children to the bus stop and cared for her husband, which typical housewives do, but she dreamed of becoming a professional photographer.
Filmmakers didn’t start placing working class women in film until the 80’s, which explains the 1975 stereotype. Prior to the major transition, women were classified as “perfect” housewives in film (Hill, 2009). Interestingly enough, neither Joanna is an “ideal” housewife in their husbands’ eyes at the beginning of the film. Both of them are somewhat lazy and rebellious. Their best friend, Bobbie Markowe (Paula Prentiss in the 1975 version) and Bobbie Markowitz (Bette Midler in the 2004 version) are sloppy and don’t attempt to care for their homes. We don’t see much of Prentiss’ home, but we do see Midler’s repulsive home. It’s apparent in the 2004 film, that Bobbie’s last name was changed because movie maker’s wanted to portray her as a Jewish woman. Religion isn’t clarified in the 1975 film. Again, Bobbie’s appearance is diverse in both movies. Markowe has short hair, while Markowitz’s hair is longer and curly. Also, Markowe is tall, beautiful, and slender, while Markowitz is short and pudgy.
When both Joanna’s arrive to their new town, everything appears flawless. Every housewife except Bobbie and Joanna in the 75’ version was part of a “clique.” In the 2004 adaptation, the circle consists of all housewives except Bobbie, Joanna, and a new character, Roger Bannister (Roger Bart), who’s a gay male that moved to Stepford with his partner, which didn’t exist in the 1975 film. The women in the 2004 film were more welcoming of newcomers than the ones in the 1975 version. They wanted Joanna, Bobbie, and Roger to join their group. On the contrary, the women in the 1975 adaptation weren’t accepting or welcoming. They were completely reserved and didn’t discuss their personal relationships.
One of the closest similarities between both films is the setting. They both move from the city to suburban neighborhoods. Suburbia is classified as a “green heaven” in most films, which is ironic because there is usually a scandal beneath its surface (Hill, 2009). The main characters in both films soon realize that there is a major problem in their new neighborhoods and neighbors. They aren’t as utopian as they seem.
Most of the housewives in both films drown themselves in their home life and do everything they can to please their husbands. Housework is depicted as slavery and prevents women from self-discovery (Hill, 2009). It’s extremely troubling to see the women in both adaptations lose themselves to their home. Joanna in the 2004 version begins to bake and clean, while Joanna in the 1975 portrayal is always cooking dinner for her family and entertaining his guests. This is a stereotypical view on the way women satisfy their husbands.
Gender typing used in previous movie eras view females, as victims, and males, as rulers (Nelson, 2006). This is apparent in both films because females are controlled by the male figures in their lives and are forced to act as “impeccable” beings, but the 2004 film presents a turn of events. The woman, Claire Wellington (Glenn Close), is the mastermind behind the women of Stepford’s odd behavior. Interestingly enough, the film presents the worst of both sides.
The 1975 version of The Stepford Wives is a combination of the mystery, science fiction, and thriller genre, while the 2004 adaptation is a mixture of comedy, science fiction, and thriller. The audience is introduced to a concrete ending with explanation in the 2004 version, but the 1975 adaptation leaves the audience pondering the outcome and drawing their own conclusions. Science fiction films are known to investigate theoretical questions, while mysteries tune into emotional facets (Madison-Davis, 2010). In the 1975 adaptation, there is a mixture of both and it fascinates and engages the audience into Katherine Ross’ sentiments and struggles. She is forced to give up her for the sake of Stepford and her husband’s reputation. It’s sad to see that he doesn’t come forth to save his wife. Unfortunately, she is helpless and alone. In the 2004 film, it’s pleasant to see Kidman and her onscreen husband unite as loved ones, expose the truth about Stepford, and rescue the women.
Robots were key figures in science fiction films of the late 70’s and early 80’s, which created an understanding of present-day life. They complicated movies because humans who were portrayed as robots represented illusions (Cornea, 2003). The women in both films act as robots and move around in unison. In fact, in the 1975 version the women are killed and reappear as robots because of their husbands’ desires of authority. Their “clones” take over their roles in the home and bring gratifications into their husbands’ lives. On the contrary, the 2004 adaptation presents a modernized view where the women aren’t killed, but are sent into a machine, which inserts a mechanical chip into their brains. They are commanded by remote controls that are given to their husbands, which gives them the power to turn them anyway that they please. There is even an on and off switch on the remote. It’s extremely realistic because technology keeps advancing in the modern day world.
In film, male pleasures involve mastery and aspirations of visual pleasure. Female characters in film revive a lost aspect of their sexual identity through wistfulness and repression (Manlove, 2007). In the 1975 version of The Stepford Wives it’s clear from the beginning that men in Stepford value their wives’ physical appearance. By allowing them to die and have a robot that is identical to them, it’s clear that they only care about their feature, which presents a dilemma. This leads the audience to conclude that they have no interest in their wives’ feelings because robots are heartless. Ross’ duplicate has the same exact shape as her, but is missing her eyes, which is interesting because it removes a need to revive past feelings because she doesn’t have one. In the 2004 version, men place the same values on their women, but they are able to “snap out of it.” Joanna willingly “converts” without the community’s knowledge that she isn’t controlled by a microchip. Her character reassures the audience that not all women are the same and change is possible if needed. She pleases her husband by being herself, which reinstates care and respect of women.
Gaze in movies is also introduces a representation of power through application (Manlove, 2007). Authority is usually represented from one person looking down at another in film. In the 2004 version, Kidman is actually looking down at her onscreen husband, Walter Kresby (Matthew Broderick), which signifies that the woman is in control of her man. She is also taller than her husband. In the end, she is able to convince him that he shouldn’t alter her persona because it isn’t a realistic aspect of their love. Most of the women who are modified have blonde hair and blue eyes, which is known as “ideal” for the American woman. The only person who doesn’t completely change their persona is the African American woman. In the 1975 adaptation, Walter and the other men in the film are taller than Joanna, which signifies their triumph over her soul. They keep all the women’s images a close as they can to their counterpart to avoid speculation, which is ironic because Joanna still figures out the truth.
In every film, the protagonist must go through some horrific ordeal that corresponds to an “internal” character arc, which results in a continuous or terminable circumstance (Nelson, 2004). In the case of the 1975 version of The Stepford Wives, the central character, Joanna, discovers that her female neighbors are “too perfect” and thinks that the drinking water in Stepford may have caused the bizarre behavior. When she realizes that it isn’t the drinking water, she becomes visibly upset. She discovers that the transformation in the women occurs a few months after a new family moves into town. When her best friend, Bobby, changes Joanna attempts to instigate emotions out of her, but nothing happens. She stabs Bobby with a knife and realizes that she’s not human. She rushes home and attempts to take her children and leave town, but they aren’t home. Her husband sends her to the Stepford men’s association and she hears “mommy,” but it’s only a recording. She eventually meets her robotic “clone" that presumably kills her.
The 2004 adaptation of The Stepford Wives has a similar impediment with a diverse conclusion. Joanna arrives in Stepford and realizes the eccentric behavior, but isn’t attacked by a duplicate being. Instead, she confronts the men’s association and her husband. She sheds a tear and “agrees” to allow the metamorphosis, but it doesn’t happen. Eventually, she reveals herself and works with her husband to deactivate everyone’s chips. The women come back into their bodies and are ready for revenge, which upsets the Stepford husbands. It turns out that the man in charge, Mike Wellington (Christopher Walken), is actually a robot. His wife, Claire is the mastermind behind the “resolutions” of Stepford’s troubles. Again, this clarifies gender equality amongst men and women because Claire claims that she wanted everyone to have supreme lifestyles. Eventually, Joanna, Bobbie, and Roger formulate their own talk show, which also presents the audience a gender balance in the workplace.
Other aspects of consideration in both films include the variations of lighting. In the beginning of the 2004 adaptation, frontal lighting highlights Joanna’s face when she is introduced as the “hardest working person” in television. Her wrinkles are smoothed out because of the direction of light, which is usually preferred for women onscreen (Keating, 2006). It’s ironic that the lighting was used because she was supposed to be “on air” introducing her newest shows.
Whenever women are introduced in the film, their skin appears unwrinkled (unless aging is the main purpose), which also emphasizes the need for “perfection.” Ironically, the men are also illuminated by frontal lighting throughout the film, which conveys their strive for perfection.
In the 1975 version, the women’s faces are also accentuated throughout the film. The supermarket scene in both adaptations where the lighting is most powerful emphasizes the women’s modifications and organization. They all put items in their carts as if they are cued to do so. Since men are not the main concentrations in the 1975 film, they are older and wrinkled. It allows the audience to focus on the women and their transformations. The lighting standardizes the women in both films and brings out the underlying troubles of the main characters. It’s ironic that in both movies all of the women actually have their flaws even with chips in their brains or if they’re robots. It shows the audience that everything in this world is defective.
Another technique used to project an image involves bouncing light and softening the edge of shadows. Soft lights are preferred for women in film because they diminish facial imperfections (Keating). In the 1975 portrayal, this type of lighting is used many times. We see it when Joanna is searching for her dog, when she’s hiding from her husband against the door in her room, when she’s at the men’s association looking up and around for her children, and when she first walks into her new Stepford home. The 2004 version doesn’t use much of the lighting in the film. The only time it was used was when Joanna, Roger, and Bobbie were spying on the men’s association at nighttime, which creates a mysterious feeling.
On the contrary, darker lighting is frequently used in film to highlight serious expressions of male characters (Keating). This aspect is apparent in the 1975 version in the nighttime living room scenes when Joanna is having intense conversations about Stepford with her husband. It’s spooky to see the way he’s represented in these segments. In the 2004 adaptation, this lighting is used when characters are inside the men’s association at night. This type of lighting creates suspense for the audience, especially when it’s accompanied with sounds, such as lightening in the 2004 version. Every lighting technique is usually used to distinguish differences amongst men and women, which is most apparent in the 1975 film because men were in command. There’s more equality in lighting in the 2004 adaptation because men and women are both in control.
Overall, both versions of The Stepford Wives draw out major beliefs in the filming eras, changes over time, typical stereotypes for housewives, and new portrayals of different races and sexuality. Both films are effective in their own ways. The 1975 version creates a mystery about what actually happens to Joanna Eberhart, which makes the audience want more. On the contrary, Joanna is saved in the 2004 version, which portrays the significance of love and positive effects of working out problems in marriages.
Personally, my favorite version was the 2004 adaptation because of the advances in technology and gender balances. Nicole Kidman was a wonderful Joanna Eberhart and she saved the lives of every female character. The ending had a twist, but it was apparent that Claire Wellington was the mastermind behind Stepford’s perfection. Both movies teach the audience that things are never as they seem and deserve further exploration.
References:
Cornea, C. (2003). David cronenbergs crash and performing cyborgs. Velvet Light Trap, (52), 4-14. Retrieved from http://ezproxylocal.library.nova.edu/login?url=http://search.proquest.com/docview/222864519?accountid=6579
Hill, L. (2010). GENDER AND GENRE: Situating desperate housewives. Journal of Popular Film & Television, 38(4), 162-169. Retrieved from http://ezproxylocal.library.nova.edu/login?url=http://search.proquest.com/docview/851541375?accountid=6579
Keating, P. (2006). From the portrait to the close-up: Gender and technology in still photography and hollywood cinematography. Cinema Journal, 45(3), 90-108. Retrieved from http://ezproxylocal.library.nova.edu/login?url=http://search.proquest.com/docview/222341430?accountid=6579
Madison-Davis, J. (2010) Two ways of describing the elephant: Science fiction and mystery. World Literature Today. Retrieved from http://www.ou.edu/worldlit/onlinemagazine/2010may/davis.html
Manlove, C. T. (2007). Visual "drive" and cinematic narrative: Reading gaze theory in Lacan, Hitchcock, and Mulvey. Cinema Journal, 46(3), 83-108. Retrieved from http://ezproxylocal.library.nova.edu/login?url=http://search.proquest.com/docview/1678206?accountid=6579; http://muse.jhu.edu/journals/cinema_journal/v046/46.3manlove.html
Poague, L. (1977). Shakespeare on film III: "as you like it" and "it happened one night": The generic pattern of comedy. Literature/Film Quarterly, 5(4), 346-346. Retrieved from http://ezproxylocal.library.nova.edu/login?url=http://search.proquest.com/docview/740748945?accountid=6579
Nelson, V. (2006). The ten rules of sitges. Raritan, 26(2), 4-23,170. Retrieved from http://ezproxylocal.library.nova.edu/login?url=http://search.proquest.com/docview/203867619?accountid=6579
Thursday, April 4, 2013
"Temptations- The Sins of a Devil"
Last night at 11:55 P.M., I had the opportunity to view the movie "Temptation" with my sister. It was one of the most valuable movies that I believe a person can watch. You're never safe from any disease and nothing is ever better than what keys in front of you. Sometimes, taking a risk is a worthless chance. You must appreciate what you have, so you can grow. No one in this world is flawless, but even if you don't think you have it all, you do. The unknown may take you for a ride that may ruin your life. So what if you have rags, riches are hard to handle. At times, money is the root of all evil. If your love is pure, never take it for granted. Sometimes things are at our reach for the day, but invisible in the future. If you aren't happy with your life and can't work with what you have, make sure you move through it the right way. Don't close the door in someone's face. Simply sit down, explain your feelings, and try. If it doesn't work, then, move forward, but not without the proper closure. When you fall back, your past becomes your future and that is all you ever have. Love with all of your soul, but not with a price.
Wednesday, April 3, 2013
"Rap Music Videos- Terrible Depictions of Women"
One of the most interesting college papers that I wrote :
Vittoria Santini
23 April 2012
Final Paper
Women as Sexual Objects in Rap Music Videos
Historically, the female body has always been represented as an object. Even though women have entered what some label, a post-feminist era, they still encounter various forms of discrimination. They are continually objectified in the media, a major discourse for gender in American culture. One of the most influential mediums is music, and rap music videos of both male and female performers present the female body as a form of sexual gratification and as a possession of the male, which are ultimately distributed to American teenagers, whom interpellate these images as acceptable forms of treatment. This disturbing implication reminds us that women are still not equal to men and that many teens view rappers as role models. Four music videos that elicit graphic sexual innuendos and exploit females are “Rack City,” (2011) by Tyga, “Long Heels Red Bottoms,” (2011) by Trina, “How Many Licks,” (2000) by Lil’ Kim, and “Lollipop,” (2008) by Lil Wayne.
In the opening of “Rack City,” Tyga has a show off with a muscle maniac on steroids. There are many implications in the video that suggest Tyga lives an aggressive lifestyle, which is heightened by strippers, money, and sex. His main tiff is with an overweight mafia member, Mr. Rose, who kidnaps his girlfriend Chyna. She wears tight clothing throughout the video and struts her hips whenever she walks. Stroking hair, sensitive self-touch, childish fingers to or in the mouth, avoidant eye contact, and smiling are all symbols of nonverbal gender displays of subordination (Wallis, 171-72). Chyna plays with the end of a candy cane in her mouth and sporadically twirls her hair. The introduction of “Lollipop” begins with a woman running her fingers through her hair and stuffing a wad of fifty-dollar bills into her bra. Most of the women wear unsuitable clothing. They also have serious expressions on their faces and an occasional grin. There are times when the females are sprawled out on lollipops and sway their bodies. Lil Wayne is usually standing above the women, which suggests he’s in control. Unlike Tyga’s video, the females don’t place any objects near their lips. The women in “Long Heels Red Bottoms” also wear inappropriate clothing and there is great emphasis on the way they handle their bodies while they dance. They place their arms on their waists and thrust them forward in circular motions. In “How Many Licks” the females also wear revealing outfits, caress their hair, bodies, breasts, giggle, and alarmingly lick their fingers.
These nonverbal cues exude negative connotations about women and their roles in society. Since the primary focus of the videos were on the females’ body, this denotes that body shape is a valuable asset to women in music videos. Research suggests that violence, sex, political awareness, and materialism are highly related to gender stereotyping in music videos. Sexual content is either implicit or explicit, violence is both demonstrated through physical force or weapon display, political awareness refers to themes that revolve around government issues or social injustice, and materialism refers to the luxurious lifestyle of music video characters (Zhang, Dixon, & Conrad, 791). All four of the videos contain both types of sexual material, but “How Many Licks” exhibits the most x-rated footage. At one point, Lil’ Kim humps a prison inmate and moans.
The importance of prosperity and monetary tokens, such as expensive cars and jewelry are also highlighted within the videos. Lil Wayne, Tyga, Lil’ Kim, and Trina all have diamonds hanging from their bodies. Previous research concludes that women in highly materialistic or sexual videos have smaller body dimensions, while women in highly political ones have larger shapes. (793). Chyna from “Rack City” has a significantly bigger body frame than the women in the other videos. Overall, this suggests that slim females are desirable sexual partners, while thick ones are unwanted, which emits a skewed message to American viewers, especially youth. “Rack City” is the only video that exposes belligerence and indications of political awareness. There are various guns presented throughout the video and several identities are concealed with former presidential masks, such as those of Bill Clinton and George W. Bush. The foundation of the video revolves around the political focus of the Iraq War, which is apparent because of Middle Eastern opponents.
These videos are easily accessible via YouTube, Vevo, MySpace, ITunes, and other social networking websites. The primary occupants of these hot spots are teenagers and college students. Studies have revealed that music videos have a significant impact on college populations and their views towards adverse sexual partners (Kalof, 382). Since slender women are the basis of sexual music videos, broad women, such as Chyna aren’t considered flattering sexual partners, which can severely distort a woman’s self-confidence. Research also shows that young women exposed to traditional music video imagery are more likely to accept interpersonal violence than males (383). Since female subordination is glorified in all four of the music videos, it isn’t surprising. The underlying message of the videos suggests that females are objects present to fulfill male desires. In “Lollipop,” the males overlook the females, which demonstrates their power. Chyna is ultimately saved by Tyga in “Rack City,” which illustrates her helplessness as a female. “How Many Licks” begins with naked barbies that evolve into a human Lil' Kim. Her breasts and vagina are the initial parts, and the final is her head, which exposes her vulnerability to males and their sexual desires, as well as feminine lack of intelligence. Lil’ Kim spreads her legs in a sexual manner on numerous occasions, which insinuates that they’re always open for males. “Long Heels Red Bottoms,” also reveals Trina’s susceptibility to sex and men when she sits in a chair and widens her legs. These images impose serious threats to femininity and the purity of personal intimacy.
Young individuals formulate their personal narratives and identities from what society presents them. Music videos are powerful artistic instruments that influence youth lifestyle choices and knowledge development (Chung, 33). Therefore, pessimistic messages about females and their placement in rap videos affect an individual’s partner selection and possible conduct. Tyga’s video shows Chyna blindfolded with her hands bound behind her back and two males standing over her. Videos like “Rack City,” enhance male authority and their stance in society, which may discourage females from challenging them. In the other videos, women model for the men and follow their every command like puppets. Since “How Many Licks” and “Long Heels Red Bottoms” are executed by females, it would be expected that they were in control. Instead, they stand in front of males and acknowledge that they’re present for their satisfaction.
The high sexual impact of the videos encourages audiences to engage in sexual intercourse. They also communicate emotions and ideas that manipulate a teenager’s perception of others (34). Males are persuaded to have multiple partners and to avoid monogamous relationships. “Lollipop” introduces a limo full of female possibilities, while “Long Heels Red Bottoms” limits itself to women on the dance floor. Various versions of Lil’ Kim (brunette, redhead, and blonde) and background dancers are presented in “How Many Licks,” which is unique because her own persona is altered. “Rack City” concentrates on Chyna, strippers, and Mr. Rose’s beefy woman, who is as unattractive as he is. Men are presented as pimps in videos through camera direction, which zooms in on focal points that include images of the female body, such as the breasts, buttocks, and hips (35). Mr. Rose watches his woman play golf, while he chows down doughnuts. All four of the videos present a dominant focus on breasts and buttocks.’ In addition, “Rack City” demonstrates Tyga’s binocular view in the outline of breasts or booty. Hip shaking is also established and shown in slow motion.
Unfortunately, the male body structure isn’t concentrated on as often as the females.’ “Rack City” is the only video that exposes diverse male body frames, but the camera doesn’t zoom in on them. The men in “How Many Licks” and “Long Heels Red Bottoms” also have their shirt off, which reveals their chests, but they all have the same trim and muscular figures. Young individuals are presented a partial view of sexuality. Since the images are not equally represented, male approval is the key motivation. Some investigators argue that this genre of music has the potential to educate youth about love (Utley & Menzies, 76). Rap music videos are inappropriate measures of instruction, regarding the concept of love because they avoid it. If young people were solely taught affection through rap music, their personal and social relationships would self-destruct. Women are referred to as “bitches” in “Rack City” and “Long Heels Red Bottoms,” which also mentions “fuck.” “Pussy” is referenced in Lil Wayne’s and Lil’ Kim’s song, which also states the word “dick.” This language is extremely tasteless and inapt for an individuals developing vocabulary.
Thankfully, some parents monitor what their children watch and are able to eliminate rap music from their lives. Teens that listen to rap music become a destructive member of society. Therefore, many new rap music videos use consumerism as a means for women and men to connect. They also use product placement to attract their audiences to buy certain objects, such as sex, liquor, jeans, phones, and women’s sexual performances in strip clubs (Hunter, 30). “Rack City” mainly sells strippers and drugs, “Long Heels Red Bottoms” advertises Christian Louboutin shoes, Rhythm Vodka, and “private dancing,” “Lollipop” promotes the Chicago Cubs, the New York Yankees, white zinfandel, the Boston Red Sox, lollipops, and women, and “How Many Licks” publicizes “edible dolls”, Chanel earrings, and Pop Tarts. Most of these objects are top shelf and require individuals to dish out large sums of money, but worst of all they all revolve around sex and men that use women for their selfish pleasures.
Race plays a crucial role in the interpretation of rap music videos. Most of the individuals in the videos evaluated are African American. Three male individuals are white in Lil’ Kim’s video, a dozen male performers barely visible to the audience’s eye are white in Trina’s video, Lil Wayne’s video doesn’t contain any white characters, and Tyga’s video demonstrates six white individuals both men and women. Studies show that there is an unequal sexual reality and gender stereotype that exists among African Americans and Whites in music videos (Turner, 189). All of the videos analyzed, demonstrate the disparity among races, but if the videos were compared to those of white rappers, such as Eminem, the results would be diverse. All individuals are affected differently and the influence of rap music videos on youth is a sensitive subject. Many African Americans are insulted by the despicable behavior of females in the videos because they don’t want their children adapting those behaviors to their personalities.
Overall, all races experience the negative influence of rap music videos. Females are meticulously distorted and accepted as sexual objects. Tyga, Lil Wayne, Lil’ Kim, and Trina disrespect female bodies and transform them into objects of desire. American children that watch these videos relate their individuality to the rappers’ treatments of women and deem negative behaviors suitable. These videos elicit graphic and offensive material that is highly intolerable and should be constantly monitored. Men must respect females and females must learn to value their bodies. Future studies should focus their attention on the makeup and hairstyles of women in rap music videos and how it affects a teen’s lifestyle choices.
Works Cited
Chung, Sheng K. “Media/Visual Literacy Art Education: Sexism in Hip-Hop Music Videos.” Art Education. 60.3 (2007): 33-8. ABI INFORM Complete; ProQuest Central; ProQuest Criminal Justice; ProQuest Nursing & Allied Health Source. Web. 16 Apr. 2012.
Hunter, Margaret. “Shake it Baby, Shake it: Consumption in the New Gender Relation in Hip-Hop.” Sociological Perspectives. 54.1 (2011): 15-36. ABI INFORM Complete; ProQuest Central; ProQuest Criminal Justice; ProQuest Nursing & Allied Health Source. Web. 16 Apr. 2012.
Kalof, Linda. “The Effects of Gender and Music Video Imagery on Sexual Attitudes.” The Journal of Social Psychology 139.3: (1999): 378-85. ABI INFORM Complete; ProQuest Central; ProQuest Criminal Justice; ProQuest Nursing & Allied Health Source. Web. 2 Apr. 2012.
"Lil' Kim - "How Many Licks"" Mtv.com. 7 June 2000. Web. 21 Apr. 2012..
"Lollipop- Lil Wayne Ft. Static." VEVO. 2008. Web. 21 Apr. 2012.
"Long Heels Red Bottoms-Trina." VEVO. 2011. Web. 21 Apr. 2012..
"Rack City (Explicit)- Tyga." VEVO. 2011. Web. 21 Apr. 2012..
Turner, Jacob S. “Sex and the Spectacle of Music Videos: An Examination of the Portrayal of Race and Sexuality in Music Videos.” Sex Roles. 64.3-4 (2011): 173-91. ABI/INFORM Complete; Applied Social Sciences Index and Abstracts (ASSIA); ProQuest Central; ProQuest Criminal Justice; ProQuest Nursing & Allied Health Source; Social Services Abstracts; Sociological Abstracts. Web.16 Apr. 2012.
Utley, Ebony A., and Alisha L. Menzies. “Show Some Love: Youth Responses to Kiss Me Through the Phone.” Women and Language. 32.2 (2009): 68. ABI/INFORM Complete; ProQuest Central; ProQuest Criminal Justice; ProQuest Nursing & Allied Health Source. Web. 16 Apr. 2012.
Wallis, Cara. “Performing Gender: A Content Analysis of Gender Display in Music Videos.” Sex Roles. 64.3-4 (2011): 160-72. ABI/INFORM Complete; Applied Social Sciences Index and Abstracts (ASSIA); ProQuest Central; ProQuest Criminal Justice; ProQuest Nursing & Allied Health Source; Social Services Abstracts; Sociological Abstracts. Web. 2 Apr. 2012.
Zhang, Yuanyuan, Travis L. Dixon, and Kate Conrad. "Female Body Image as a Function of Themes in Rap Music Videos: A Content Analysis." Sex Roles 62.11-12 (2010): 787-97. ABI/INFORM Complete; ProQuest Central; ProQuest Criminal Justice; ProQuest Nursing & Allied Health Source. Web. 2 Apr. 2012.
Vittoria Santini
23 April 2012
Final Paper
Women as Sexual Objects in Rap Music Videos
Historically, the female body has always been represented as an object. Even though women have entered what some label, a post-feminist era, they still encounter various forms of discrimination. They are continually objectified in the media, a major discourse for gender in American culture. One of the most influential mediums is music, and rap music videos of both male and female performers present the female body as a form of sexual gratification and as a possession of the male, which are ultimately distributed to American teenagers, whom interpellate these images as acceptable forms of treatment. This disturbing implication reminds us that women are still not equal to men and that many teens view rappers as role models. Four music videos that elicit graphic sexual innuendos and exploit females are “Rack City,” (2011) by Tyga, “Long Heels Red Bottoms,” (2011) by Trina, “How Many Licks,” (2000) by Lil’ Kim, and “Lollipop,” (2008) by Lil Wayne.
In the opening of “Rack City,” Tyga has a show off with a muscle maniac on steroids. There are many implications in the video that suggest Tyga lives an aggressive lifestyle, which is heightened by strippers, money, and sex. His main tiff is with an overweight mafia member, Mr. Rose, who kidnaps his girlfriend Chyna. She wears tight clothing throughout the video and struts her hips whenever she walks. Stroking hair, sensitive self-touch, childish fingers to or in the mouth, avoidant eye contact, and smiling are all symbols of nonverbal gender displays of subordination (Wallis, 171-72). Chyna plays with the end of a candy cane in her mouth and sporadically twirls her hair. The introduction of “Lollipop” begins with a woman running her fingers through her hair and stuffing a wad of fifty-dollar bills into her bra. Most of the women wear unsuitable clothing. They also have serious expressions on their faces and an occasional grin. There are times when the females are sprawled out on lollipops and sway their bodies. Lil Wayne is usually standing above the women, which suggests he’s in control. Unlike Tyga’s video, the females don’t place any objects near their lips. The women in “Long Heels Red Bottoms” also wear inappropriate clothing and there is great emphasis on the way they handle their bodies while they dance. They place their arms on their waists and thrust them forward in circular motions. In “How Many Licks” the females also wear revealing outfits, caress their hair, bodies, breasts, giggle, and alarmingly lick their fingers.
These nonverbal cues exude negative connotations about women and their roles in society. Since the primary focus of the videos were on the females’ body, this denotes that body shape is a valuable asset to women in music videos. Research suggests that violence, sex, political awareness, and materialism are highly related to gender stereotyping in music videos. Sexual content is either implicit or explicit, violence is both demonstrated through physical force or weapon display, political awareness refers to themes that revolve around government issues or social injustice, and materialism refers to the luxurious lifestyle of music video characters (Zhang, Dixon, & Conrad, 791). All four of the videos contain both types of sexual material, but “How Many Licks” exhibits the most x-rated footage. At one point, Lil’ Kim humps a prison inmate and moans.
The importance of prosperity and monetary tokens, such as expensive cars and jewelry are also highlighted within the videos. Lil Wayne, Tyga, Lil’ Kim, and Trina all have diamonds hanging from their bodies. Previous research concludes that women in highly materialistic or sexual videos have smaller body dimensions, while women in highly political ones have larger shapes. (793). Chyna from “Rack City” has a significantly bigger body frame than the women in the other videos. Overall, this suggests that slim females are desirable sexual partners, while thick ones are unwanted, which emits a skewed message to American viewers, especially youth. “Rack City” is the only video that exposes belligerence and indications of political awareness. There are various guns presented throughout the video and several identities are concealed with former presidential masks, such as those of Bill Clinton and George W. Bush. The foundation of the video revolves around the political focus of the Iraq War, which is apparent because of Middle Eastern opponents.
These videos are easily accessible via YouTube, Vevo, MySpace, ITunes, and other social networking websites. The primary occupants of these hot spots are teenagers and college students. Studies have revealed that music videos have a significant impact on college populations and their views towards adverse sexual partners (Kalof, 382). Since slender women are the basis of sexual music videos, broad women, such as Chyna aren’t considered flattering sexual partners, which can severely distort a woman’s self-confidence. Research also shows that young women exposed to traditional music video imagery are more likely to accept interpersonal violence than males (383). Since female subordination is glorified in all four of the music videos, it isn’t surprising. The underlying message of the videos suggests that females are objects present to fulfill male desires. In “Lollipop,” the males overlook the females, which demonstrates their power. Chyna is ultimately saved by Tyga in “Rack City,” which illustrates her helplessness as a female. “How Many Licks” begins with naked barbies that evolve into a human Lil' Kim. Her breasts and vagina are the initial parts, and the final is her head, which exposes her vulnerability to males and their sexual desires, as well as feminine lack of intelligence. Lil’ Kim spreads her legs in a sexual manner on numerous occasions, which insinuates that they’re always open for males. “Long Heels Red Bottoms,” also reveals Trina’s susceptibility to sex and men when she sits in a chair and widens her legs. These images impose serious threats to femininity and the purity of personal intimacy.
Young individuals formulate their personal narratives and identities from what society presents them. Music videos are powerful artistic instruments that influence youth lifestyle choices and knowledge development (Chung, 33). Therefore, pessimistic messages about females and their placement in rap videos affect an individual’s partner selection and possible conduct. Tyga’s video shows Chyna blindfolded with her hands bound behind her back and two males standing over her. Videos like “Rack City,” enhance male authority and their stance in society, which may discourage females from challenging them. In the other videos, women model for the men and follow their every command like puppets. Since “How Many Licks” and “Long Heels Red Bottoms” are executed by females, it would be expected that they were in control. Instead, they stand in front of males and acknowledge that they’re present for their satisfaction.
The high sexual impact of the videos encourages audiences to engage in sexual intercourse. They also communicate emotions and ideas that manipulate a teenager’s perception of others (34). Males are persuaded to have multiple partners and to avoid monogamous relationships. “Lollipop” introduces a limo full of female possibilities, while “Long Heels Red Bottoms” limits itself to women on the dance floor. Various versions of Lil’ Kim (brunette, redhead, and blonde) and background dancers are presented in “How Many Licks,” which is unique because her own persona is altered. “Rack City” concentrates on Chyna, strippers, and Mr. Rose’s beefy woman, who is as unattractive as he is. Men are presented as pimps in videos through camera direction, which zooms in on focal points that include images of the female body, such as the breasts, buttocks, and hips (35). Mr. Rose watches his woman play golf, while he chows down doughnuts. All four of the videos present a dominant focus on breasts and buttocks.’ In addition, “Rack City” demonstrates Tyga’s binocular view in the outline of breasts or booty. Hip shaking is also established and shown in slow motion.
Unfortunately, the male body structure isn’t concentrated on as often as the females.’ “Rack City” is the only video that exposes diverse male body frames, but the camera doesn’t zoom in on them. The men in “How Many Licks” and “Long Heels Red Bottoms” also have their shirt off, which reveals their chests, but they all have the same trim and muscular figures. Young individuals are presented a partial view of sexuality. Since the images are not equally represented, male approval is the key motivation. Some investigators argue that this genre of music has the potential to educate youth about love (Utley & Menzies, 76). Rap music videos are inappropriate measures of instruction, regarding the concept of love because they avoid it. If young people were solely taught affection through rap music, their personal and social relationships would self-destruct. Women are referred to as “bitches” in “Rack City” and “Long Heels Red Bottoms,” which also mentions “fuck.” “Pussy” is referenced in Lil Wayne’s and Lil’ Kim’s song, which also states the word “dick.” This language is extremely tasteless and inapt for an individuals developing vocabulary.
Thankfully, some parents monitor what their children watch and are able to eliminate rap music from their lives. Teens that listen to rap music become a destructive member of society. Therefore, many new rap music videos use consumerism as a means for women and men to connect. They also use product placement to attract their audiences to buy certain objects, such as sex, liquor, jeans, phones, and women’s sexual performances in strip clubs (Hunter, 30). “Rack City” mainly sells strippers and drugs, “Long Heels Red Bottoms” advertises Christian Louboutin shoes, Rhythm Vodka, and “private dancing,” “Lollipop” promotes the Chicago Cubs, the New York Yankees, white zinfandel, the Boston Red Sox, lollipops, and women, and “How Many Licks” publicizes “edible dolls”, Chanel earrings, and Pop Tarts. Most of these objects are top shelf and require individuals to dish out large sums of money, but worst of all they all revolve around sex and men that use women for their selfish pleasures.
Race plays a crucial role in the interpretation of rap music videos. Most of the individuals in the videos evaluated are African American. Three male individuals are white in Lil’ Kim’s video, a dozen male performers barely visible to the audience’s eye are white in Trina’s video, Lil Wayne’s video doesn’t contain any white characters, and Tyga’s video demonstrates six white individuals both men and women. Studies show that there is an unequal sexual reality and gender stereotype that exists among African Americans and Whites in music videos (Turner, 189). All of the videos analyzed, demonstrate the disparity among races, but if the videos were compared to those of white rappers, such as Eminem, the results would be diverse. All individuals are affected differently and the influence of rap music videos on youth is a sensitive subject. Many African Americans are insulted by the despicable behavior of females in the videos because they don’t want their children adapting those behaviors to their personalities.
Overall, all races experience the negative influence of rap music videos. Females are meticulously distorted and accepted as sexual objects. Tyga, Lil Wayne, Lil’ Kim, and Trina disrespect female bodies and transform them into objects of desire. American children that watch these videos relate their individuality to the rappers’ treatments of women and deem negative behaviors suitable. These videos elicit graphic and offensive material that is highly intolerable and should be constantly monitored. Men must respect females and females must learn to value their bodies. Future studies should focus their attention on the makeup and hairstyles of women in rap music videos and how it affects a teen’s lifestyle choices.
Works Cited
Chung, Sheng K. “Media/Visual Literacy Art Education: Sexism in Hip-Hop Music Videos.” Art Education. 60.3 (2007): 33-8. ABI INFORM Complete; ProQuest Central; ProQuest Criminal Justice; ProQuest Nursing & Allied Health Source. Web. 16 Apr. 2012.
Hunter, Margaret. “Shake it Baby, Shake it: Consumption in the New Gender Relation in Hip-Hop.” Sociological Perspectives. 54.1 (2011): 15-36. ABI INFORM Complete; ProQuest Central; ProQuest Criminal Justice; ProQuest Nursing & Allied Health Source. Web. 16 Apr. 2012.
Kalof, Linda. “The Effects of Gender and Music Video Imagery on Sexual Attitudes.” The Journal of Social Psychology 139.3: (1999): 378-85. ABI INFORM Complete; ProQuest Central; ProQuest Criminal Justice; ProQuest Nursing & Allied Health Source. Web. 2 Apr. 2012.
"Lil' Kim - "How Many Licks"" Mtv.com. 7 June 2000. Web. 21 Apr. 2012.
"Lollipop- Lil Wayne Ft. Static." VEVO. 2008. Web. 21 Apr. 2012.
"Long Heels Red Bottoms-Trina." VEVO. 2011. Web. 21 Apr. 2012.
"Rack City (Explicit)- Tyga." VEVO. 2011. Web. 21 Apr. 2012.
Turner, Jacob S. “Sex and the Spectacle of Music Videos: An Examination of the Portrayal of Race and Sexuality in Music Videos.” Sex Roles. 64.3-4 (2011): 173-91. ABI/INFORM Complete; Applied Social Sciences Index and Abstracts (ASSIA); ProQuest Central; ProQuest Criminal Justice; ProQuest Nursing & Allied Health Source; Social Services Abstracts; Sociological Abstracts. Web.16 Apr. 2012.
Utley, Ebony A., and Alisha L. Menzies. “Show Some Love: Youth Responses to Kiss Me Through the Phone.” Women and Language. 32.2 (2009): 68. ABI/INFORM Complete; ProQuest Central; ProQuest Criminal Justice; ProQuest Nursing & Allied Health Source. Web. 16 Apr. 2012.
Wallis, Cara. “Performing Gender: A Content Analysis of Gender Display in Music Videos.” Sex Roles. 64.3-4 (2011): 160-72. ABI/INFORM Complete; Applied Social Sciences Index and Abstracts (ASSIA); ProQuest Central; ProQuest Criminal Justice; ProQuest Nursing & Allied Health Source; Social Services Abstracts; Sociological Abstracts. Web. 2 Apr. 2012.
Zhang, Yuanyuan, Travis L. Dixon, and Kate Conrad. "Female Body Image as a Function of Themes in Rap Music Videos: A Content Analysis." Sex Roles 62.11-12 (2010): 787-97. ABI/INFORM Complete; ProQuest Central; ProQuest Criminal Justice; ProQuest Nursing & Allied Health Source. Web. 2 Apr. 2012.
Tuesday, April 2, 2013
"Autism Awareness Month- Understanding the Spectrum"
As most of you know, autism is a disorder that affects American children across the country. Boys are more common to develop autism than girls. It is important to evaluate three key skills to distinguish possible symptoms of autism. If a child has a lack of social interaction, communication, and displays odd behaviors, they may have the disorder. Many parents don't want to admit that there is something wrong with their child, so they choose to ignore it, which is a big mistake. It's vital for a child to have the appropriate tools available to excel in life. If parents don't seek professional help, they risk damaging their child more than ever. Depending on the type of autism, the child may loose all sense of communication with the world without some physical aid. According to WebMD, there are five types of autism, which consist of Asperger's Syndrome, Pervasive Developmental Disorder, Autistic Disorder, Rett Syndrome, and Childhood Disintegrative Disorder. Asperger's syndrome is the most common and less severe of them all. Children become focused on one subject and memorize all of its trends. They are able to develop social skills to move on with their lives, but are at risk for anxiety and depression as they grow (WebMD). These children are not a lost cause. They need a a little help to succeed. Many people think a disorder affects a child's intelligence, but they're wrong. Autistic children are actually smarter than most "normal" children. Children with PDD-NOS lack social abilities, have few language skills, few repetitive behaviors, and a later diagnostic age (WebMD). Most children with PDD-NOS don't have the same symptoms, which makes it more difficult to diagnose. They lye in between the spectrum. Children with autistic disorder have severe impairments in language skills and often suffer from mental retardation or seizures. This results in childhood disintegrative disorder or Rett syndrome (WebMD). Rett syndrome is genetic and affects more girls than boys. These girls lose all ability to communicate with the world. It's extremely difficult for a parent to watch their child lose these skills. They often become ashamed of their child and choose to lock them away because they can't handle it. Your child needs you. The last type of autism CDD occurs when a child loses multiple areas of functioning and occurs in more boys than girls. These children never recover their functions (WebMD). It's vital that America supports these children. They are human beings who need an extra helping hand. My mom used to babysit a child with severe autism who was locked away in a room in her house. My mother was told not to communicate with her. That didn't keep my mom away. As soon as her parents left, she opened the door to the dungeon and went in. The child stood there, staring at a wall. My mother would play with her hair and she would hold her hand. There is nothing wrong with these children. All they need is extra love and attention. Don't let your selfishness get the best of you. Choose to help your child as soon as you can if you believe they have any of the symptoms listed above. Remember, God only blesses us with what he believes that we can handle. Don't be ashamed of your child, they are a part of you. I have a lot of patience with children and at one time, my dream was to work with autistic children. I decided that I couldn't do it because some parents are extremely self centered and hurt their children more than help them.
Monday, April 1, 2013
"Our Small Town in Italy- Falconara Marittima"
I'll never forget the first time we landed at the airport. As I peered out my window, I noticed lots of land, mountains, and water. It was a breathtaking sight. The landing was smooth; approximately an hour away by plane from Rome. "Aeroporto di Ancona- Falconara" (AOI), is one of the tiniest airports I've ever seen. Once the plane lands, you trolley towards the customs entrance. There are special stairs that lead to the outside and a bus that awaits loading for a minute ride to the doors. Inside, there is one baggage loading zone and all clear glass windows around you. I glance through the double doors that lead into Falconara and see my best friend, Claudia, jumping up and down and waving. To me, customs, la dogana, is a joke. The officers stand by the metal detector that separates the outside from the double door and look at your passport, ask how long you're staying, and then allow you to enter. They don't keep you long, as long as there aren't any suspicions. Recently, I read that their was a man traveling from the Dominican Republic that swallowed 33 killograms (72 pounds) of cocaine and attempted to smuggle it into Falconara, but he was caught. My favorite thing to do when I finally arrive through the double glass doors is hug my best friend. We drive out of the airport and follow the signs for Falconara, the city. It's a ten minute ride with many curves and some bumps. To the left of us, there is water, the Adriatic Sea. To the right of us, there are many mountains. The drive around and through is peaceful. Many bright yellow sunflowers lye in fields around the hills. They're the tallest I've ever seen in my lifetime. One day, I plan on taking a picture inside a field with them surrounding me. Falconara is my second home. I consider it a part of my identity. I've spent almost every summer since I was 14 in that small little town. My family owns an apartment across the street from the beach in a building that my grandfather constructed. Falconara is my history, my dream, my paradise. A part of me is always tucked away in that little city, where the sun shines bright in the summer and the snow melts in the winter. It is where my heart resides.
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