This is ironic, since Jeff tends to avoid intimacy with Lisa, but is content to observe Miss Torso’s intimacies. She has several suitors throughout the film, and seems to be happily promiscuous. Miss Torso also projects Jeff’s apparently cruel and sadistic side. When she is attacked after refusing one suitor’s advances, Jeff, who has become accustomed to recording violence without intervening, just acts as a spectator and feels no need to help or stop looking. Miss Lonely Hearts represents Lisa’s fear of one potential future.
Pip and Estella’s relationship created a major role in creating sympathy for pip. Estella was a bitter girl and often described as someone who isn’t capable of knowing and feeling love as she has “not bestowed her tenderness she had never had any such thing.”(29.75) Even though she might have even not realized it, she knew Pip was a man capable of showing love to her but she wanted a man of power, a gentleman as he “loved her against reason, against promise, peace”. (29.2). But Pip never gave up on Estella and waited even after she was rude to him in London. But it isn’t entirely Estella’s fault she turned out to have “no heart”.
The film Juno is directed by Jason Reitman. The film is about a teenager that becomes pregnant, and decides to give her baby up for adoption. The film touches the controversy of teenage pregnancy, but that is just the surface of the movie. Through implicit and explicit meaning we are able to dive deeper into the characters emotions. Through the social class and feminist analysis we can understand the statements the directors were hoping to show through the film.
“Orual even shows a perverted, possessive love in her relationship with Bardia” (Saunders 6). She never considers how the stress she puts on him wears his life away; she only cares about spending time with him for her own enjoyment. She withholds him from going home to Ansit while dreaming about scenarios where she herself is his wife. This again goes back to the idea of Orual’s intense jealousy and possessiveness. However, these fantasies and dreams that she entertains herself with serve to prove how Orual cares about Bardia.
Connie, a teenage girl, who thinks more of herself than the boy she went out with the evening before, and would rather be deceptive than live in reality. The illusive life Connie plays is made clear between her relationship with her mother, and the life she lives at home and away from home. “Everything about her had two sides to it, one for home and one for anywhere that was not home:” (Oates 507). This dishonesty Connie plays with is a reflected back later in the story by the second main character of this story. Arnold FRIEND is introduced as a smooth very arrogant guy, yet the same illusory is illustrated between him and Connie once Arnold arrives at Connie’s house.
Evie is very popular, and she’s something of an enigma, but something about her makes less emotionally vulnerable kids want to stay away from her. The root of this vulnerability begins with Tracy’s mother in the film, Melanie, who lets her recovering cocaine-addict ex-boyfriend, Brady, live with them which infuriates Tracy. In one scene she scolds her mother in a very strange sort
The status and representation of ladies for the dominant part of Western history was severe and prohibitive. For a huge number of years ladies delighted in not very many monetary, lawful, or political rights and, in principle, were required to be meek to their fathers or spouses. Ladies were bound to conventional sexual orientation parts, which constrained them to stay in the local or private circle of society. Ladies ' parts as little girls, spouses, or moms were viewed as their most noteworthy capacity in the public arena. For the tip top individuals from society, the conceptive capacities of ladies were a critical capacity in deciding legacies and keeping up the family line.
Esperanza thinks of herself as the ugly daughter who nobody comes to visit. Nenny has beautiful eyes and Esperanza thinks that beautiful people like Nenny can talk about leaving home all the time, because they are pretty and have fewer worries. Esperanza does not want to spend all her life waiting for a husband to come and take her away, nor does she want to be like Minerva‘s sister, is kicked out of her home because she has a baby. Despite her looks, Esperanza claims to have a new plan. She will not be one of the red lipped women in the movies who can play with men like toys.
At one point the director asked a little boy if he had offended his sister by what he had just done. The boy said no, but then continued to say yes he did offend girls, but he did not offend his sister. While this is very subtle, by making this association that every girl is someone’s sister, this correlates to more then that. These girls is someone’s friend, cousin, and daughter, these girls are not just some gender, these girls are family. In making the association of these girls being family, it leaves the viewer with a strong feeling of guilt inside, especially for older girls that set an example for the younger
Arkadina constantly, dotes and is affectionate towards Trigorin, contrary to Nina, whose presence in Konstantin’s life is very inconsistent. Arkadina however is jealous of Nina, which is very ironic for an empowered, successful, actress is jealous of a 19-year old girl and fears losing her love-interest, Trigorin to her. Arkadina despite being the strong woman that she is, shares her weaknesses with her son, Konstantin. She cannot be called a villain or hero, , instead she is vain and miserable who is capable of compassion. Nina’s technique of flattering Trigorin too is similar to that of Arkadina.
First in “Where Are You Going, Where Have You Been?,” the guiding figures are present, but they do not care, which leads to Connie’s death. Connie’s parents did not pay her any attention. Her mom was jealous of her as stated in the short story, “Stop gawking at yourself. Who are you? You think your pretty?” (Oates).