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7809186
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Being born a woman is my awful tragedy. From the moment I was conceived I was doomed to sprout breasts and ovaries rather than penis and scrotum; to have my whole circle of action, thought and feeling rigidly circumscribed by my inescapable feminity. Yes, my consuming desire to mingle with road crews, sailors and soldiers, bar room regulars--to be a part of a scene, anonymous, listening, recording--all is spoiled by the fact that I am a girl, a female always in danger of assault and battery. My consuming interest in men and their lives is often misconstrued as a desire to seduce them, or as an invitation to intimacy. Yet, God, I want to talk to everybody I can as deeply as I can. I want to be able to sleep in an open field, to travel west, to walk freely at night...
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feminism
feminism-woman-submission
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Sylvia Plath |
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081c220
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"When we leave the realm of cinema, it is obvious that the dynamics of white supremacist capitalist patriarchy---which has historically represented black females as "undesirable mates" even if they are desirable sex objects, and so rendered it socially unacceptable for powerful white males to seek committed relationships with black women---continue to inform the nature of romantic partnership in our society. What would happen to the future of white supremacist patriarchy if heterosexual white males were choosing to form serious relationships with black females? Clearly, this structure would be under mined. Significantly, The Bodyguard reaffirms this message. Frank Farmer is portrayed as a conservative Republican patriarch, a defender of the nation. Once he leaves the black woman "she devil" who has seduced and enthralled him, he returns to his rightful place as keeper of the nation's patriarchal legacy. In the film, we see him protecting the white male officers of state. These last scenes suggest that loving a black woman would keep him from honoring and protecting the nation."
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feminism-woman-submission
cinema
white-privilege
patriarchy
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Bell Hooks |