Commitment Letter Employment

Here is a very simplified approach to discussions about feminism and post-feminism. I used books as sources Suzanne Ferriss and Mallory Young, Chick flicks. Contemporary Women at the movies , New York / London: Routledge, 2008, pp. 1-25; and Sarah Projansky, Watching Rape. Film and Television in Postfeminist Culture, New York-London: New York University Press, 2001. We only serve as a preliminary approach. The translations are not well cared for, so do not take them at face value.

-feminism as it emerges in the second wave in the seventies the emphasis on political action, political movements and political solutions. Its basic struggle is for equality of women in society and the resistance and criticism of the dominant patriarchal structures. The choice of women is collective: they must fight for their right to NOT have children and not seek only career mainly related to children. Reject, or at least question-femininity by considering a projection of male desire for women. Develop a suspect activity against popular culture and media and calls for resistance to consumerism that supports and disseminates them.

The post-feminism is a term that refers to a set of highly variable positions and sometimes contradictory, but that can be understood as a limitation of the traditional feminist positions. Defend the personal sphere as constitutive of the political-attitude replaces the agenda of political issues. It rejects the call rage against the dominant patriarchal culture and leave the attitude of suspicion against the media and popular culture. The choice of women is mainly individual, no matter if it falls on the family, career, cosmetic surgery or nail color to use. There is a marked return to femininity and sexuality. Invited to enjoy the uninhibited consumerism. No wonder then that the post-feminists tend to see feminists as people angry, humorless, self-proclaimed victims of patriarchy. While feminists see them as mindless, unconscious victims of media culture and consumerism. The films play an important role framing and reflecting the role of women in culture, especially in times of social change.

assumes that post-feminism feminism as a political movement has been successful, achieving important changes that gave women freedom of choice and equality with men. But it achieved its objectives activism characteristic of the seventies feminist is no longer necessary. Post-feminism is what comes after feminism - which means recognizing the importance of certifying his death but at the same time policy. Thus the concept of post-feminism feminism perpetuates while insisting on its improvement. The key is determining what kind of feminism is perpetuated in this negotiation process or transformation. Here the problems begin: the post-feminism is a discourse capable of holding extremely versatile multi-position (even contradictory). Projansky distinguishes five categories of post-feminist discourses.

(1) The linear post-feminism, which is considered the culmination of a historical trajectory that begins in the pre-feminist and passes through feminism. Thus feminism and post-feminism can not coexist, because the latter has supplanted the previous stage that is already part of history.

(2) The post-feminism backlash, not content to announce the end of feminism, but considers it important to react violently against feminist positions which he considers wrong. These two positions represent feminism as a negative thing to overcome. Something that does not share the remaining versions.

(3) The post-feminism of equality and choice argues that feminism has succeeded in ensuring that women achieved gender equality and freedom of choice, especially in the fields of work and family. Therefore, women can enjoy their achievements and do not need feminism to do so.

(4) The positive post-feminism against sex, defends the feminist struggle for independence of women, but rejected his criticism of heterosexual sex and breeding structure of patriarchal ideology. Women can even choose traditional heterosexual models of relationships without relinquishing his conquests.

(5) Finally, post-feminism that includes people said that gender equality is achieved, nothing prevents some men consider even better feminist feminist- many women.

The post-feminism is a complex discourse, able to adapt to the expectations of audiences dissimilar. This explains why it has spread widely in popular culture in recent years. To absorb and declare feminism dead at the same time. His influence is great because not only defines what is feminism and how women are positioned in relation to work, family and sexuality, but does it denies the relevance of race, sexuality and class to gender considerations (and feminism). The latter becomes evident when one takes into account something that all versions have in common: they all focus on women white, heterosexual and middle class. To analyze the transformation Projansky feminist arguments in limiting post-feminist topics in recent audiovisual narratives is a fundamental task for feminist criticism.

I Cut My Genital Wart

Beatrix Kiddo as feminist heroine

already anticipated in my previous post on this subject that not all analysis of the star of Kill Bill match. For example, Mark Conard also makes a psychoanalytic reading of the film in his article "Kill Bill: Tarantino's Oedipal Play" (2007) but their interpretation is very different from Waites. Let's take the word

In Kill Bill Volume 1 "bride" goes from in a situation of absolute lack of power (bedridden in a coma) to acquire enough power to carry out his revenge. The cost of this transformation is the renunciation of her feminine nature. In the first step of this process should be pursued Hattori Hanzo sword (phallic symbol of power) which shows that for women the power to act like a man. But in doing so acts as an alienated, reveals his psychic deformity. Therefore all women in the film are powerful, but they all act as true psicópatas.El true power lies in the visually absent but omnipresent Bill, the father almighty pulling the strings of history from the shadows.

In Kill Bill Volume 2 everything changes. We went from a framing narrative in the genre of martial arts to a terse spaghetti western. The sword is no longer a decisive weapon. The star is lost at the beginning of the film. With it loses all its power and is buried alive by Budd failed (using a firearm loaded with salt). Before closing her casket gives you the option of being buried blind or with a flashlight and she picks up the torch (a symbol of enlightenment, wisdom, knowledge). Underground undertakes a mystical journey through a flashback that shows us his apprenticeship with the master Pai Mei. The first thing the teacher was making fun of his sword skills and teach them that their power and strength lay in their hands. She remembers (learn in a Platonic sense) does not need the sword (the symbol of masculinity) to be powerful. Can be without sacrificing their femininity, and without the mental strain that this repression generated. After the flashback "bride" uses his hands to break the coffin and leave the tomb. He is risen. Is able to wield power and be a woman at the same time (something that it was not possible before.) So in the next scene will know its first name: Beatrix Kiddo. Has regained its lost identity during the first of the films. The fight with Elle is resolved not by the sword, but with your hands. Beatrix tears the eye he had left and leaves tumbling in Budd's trailer. Completely blind, a symbol of blind servitude to a male conception of power (and Bill, his teacher). Beatix and does not serve anyone but herself, she has reconnected with her femininity, with its true nature. Is able to deal with Bill.

Kill the father means killing the power over us. To do this we must stop seeing him as a god, we must reject the images that we forged during childhood, we must humanize. This is what Tarantino does with Bill in the second movie. Shows him as a man with their traumas, their strengths and weaknesses. The viewer comes to sympathize with him. As with the father figure, as we mature we begin to see it as it really is and it can kill you: you lose your power over us. Once the Bill is demythologized (we see to prepare a sandwich for her daughter) is vulnerable and can kill Beatrix.

As Beatrix is \u200b\u200breunited with her identity and does not need the sword to kill Bill. When the sheaths his sword attacks with the case he brought, neutralizes the vagina penis in the battle, the woman as a woman beats a man. With her hands enough to break her heart (another master Pai Mei teaching only conveyed to her.) The film ends with Beatrix transformed into mother, but still be strong and powerful women always has been. Has managed to kill the father (male throw off the yoke) without the unhealthy and self-destructive consequences that Oedipus had to suffer. WORKING SETPOINT


- Which of the two interpretations (Waites, Conard) agree?
- Look for some new arguments to support their interpretation and hang it as a comment before Thursday 28 October.

Can You Freeze Pork Pies?

Oedipal LOST ... Beatrix Kiddo again as a puppet

This entry is a correction to be made long ago but had left open for vagrancy. Luckily Paula in his commentary to the "Lost ... my only friend the end" has reminded me.

The text in question was written two or three hours after emission live the last chapter that made the channel Cuatro. It introduced an element that I thought was essential to understand the end: when Jack closed his eyes and melted in black, were pictures of the beach with the remains of the plane as they were in the pilot but no signal of life. The symmetry plane of the eye (just the eye, opening and closing, not the rest of the sequence) in addition to drawing from the beach with the remains of the plane and no survivors, would be a very strong support for an interpretation as to indirectly I argue in this post.

series had never shown images beyond the black curtain closed each episode, and if they chose to do so in the final episode was because the images involved were of great transcendence for the story. In this case little mind the old shoe, or dialogue, or anything contained between the plane of the eye opening and closing eye level. Because this falls within the mind of Jack dying. The "reality" series would be reduced to four levels: (a) eye that opens in "the very first stage," (b) subjective shot of the sky and vegetation from the point of view of the eye that opens, (c ) the eye is closed again in "the very first stage," (d) level of the beach with the remains of the plane, quietly and without any indication of life. All others would fall between (a) and (b) but unable to alter it to be developed in another different level of "reality" set by the series. In this reading

structural similarity with the story of Bierce would be surprising. The reality of the story would occupy more space in the narrative, because it would include opening up the trapdoor beneath the feet of hanged. The series would be equivalent to all the vicissitudes that passes from character to escape and get home. And the final shot of the man hanging from the bridge back to the plane of "reality." What if anything happened they told us? If it happened, but in another dimension (you can interpret realistic-key-mental hallucination or fantasy-key opening to a different level of material reality as we know). In this sense it could defend my thesis on the use of Bierce's story as a literary inspiration to close the story in Lost.

Everything seems very well founded, except for two reasons: ALL THE INTERPRETATION IS BASED ON A FALSE PREMISE AND OWN SERIES HAS REJECTED THE ASSIMILATION WITH THE TEXT OF Bierce.

then you might wonder why I wrote the entry. I wrote it because I did not discover the falsehood until I could not see the episode in its original version a few days later, and because I did not remember the game in the series with the story of Bierce until later still (when reviewing some literature on the first season). Now share with you my findings:

THE LOST FALSE

level ends with Jack's eye closed and the abrupt cut to stop the black screen. As each chapter ended. The plane of the beach with the remains and no survivors were not part of the final episode. Why broadcaster issued them? Surely to have background images to pass as he began the gathering after the issuance. According to a friend, these images correspond to a documentary on the filming of the pilot episode which showed the sets. Consequently, my interpretation is based on a false statement on the text.

So important are the images that the director placed before or after the credits? The film is a common practice, and in many cases, the director provides relevant information in these sequences. For example, Tarantino in Kill Bill Vol 1 introduces fundamental sequence before the titles, or in the enigma of the pyramid (aka The Young Sherlock Holmes), in the sequence after the final credits we learn that the rival of the young protagonist the film was Moriarty. Nature "film" of LOST has been highlighted since its inception. So there was no been amazing to use these spaces to introduce key elements for understanding the narrative.

But in this case the sequence does not exist. All the interpretation falls to be supported on a falsehood. FAILURE



During the broadcast of the first and second season, many fans saw the similarity between what happened on the island and Bierce's story "The Bridge on the River Owl." The characters would be seeking redemption, trying to close the conflicts that plague them, and they would in a space "between life and death": the island. ("Purgatory? Collective mental constructs? Hallucination individual? Parallel Dimension "?). Nature would not matter, just mind the role fulfilled in the story and allowing the characters do. But if the similarity with the story was true, then they would be dead last. And possibly it had been throughout the series.

Bierce's story had already served as inspiration for movies and television series. In 1962 a French version won the award for best short film at the Festival de Cannes. The producers twiligh Zone bought it and released on the fifth season of the series. His influence in the movie Jacob's Ladder 1990 also is undeniable. But

LOST producers decided to close this avenue of interpretation. In the chapter "The Long Con" (number 13 of the second season). Locke is looking for answers in a book and give a copy of "An Occurrence at Owl Creek Bridge", but he shakes it and leave it aside. The message is clear: in this book are not the answers you seek.

The proposed interpretation would be based on that input, as well as on a false premise as evidenced in the previous section, a structural similarity to a story that the producers of the series explicitly rejected one of the chapters of the second season .

END ...

If the argument with which it defends a claim (in this case the interpretation of a visual text) is not solid, because false statements used as premises, or that the other party openly rejected, "then there is no reason to accept the truth of the conclusion. Not mean it is totally false. Only with that argument can not be defended. If you propose further separate arguments (which were worth from other unquestioned assumptions), then have to re-discuss the issue.

Is it possible to build these arguments allow us to continue defending the Lost-Bierce connection? It would be an interesting exercise (which I proposed last year a few students) and can generate an interesting debate. But it would be a bold interpretation, is contrary to the closest reading the text. Which would require a more argumentative effort.

For now, I agree with you Paula. As the defended my interpretation must be rejected. If I have time this weekend-which is unlikely, "back to the central question: what global interpretation of the story is right? At that time Paul will take the interpretation as a starting point to begin the discussion. I would like to be encouraged to join it all you've seen the series and are interested to test the overall reading you have done. The

Best Party Spot In Hoboken Nj

vengeful woman has given more powerful than the movies in recent years is, undoubtedly, Beatrix Kiddo (Uma Thurman), the star of Kill Bill Vol 1 (2003) and Volume II (2004) by Quentin Tarantino. The story begins (though not the movie as usual in Tarantino) when Beatrix is \u200b\u200bin a coma after Bill and his squad of murderers massacred all those who participated in the trial of her wedding - and fired a bullet head. When she wakes up revenge is responsible for each of his attackers, including the captains Bill himself.

Kate Waites in his article "Babes in boots: Hollywood's oxymoronic warrior woman", in Suzanne Ferriss and Mallory Young (eds.), Chick flicks. Contemporary Women at the movies , New York / London: Routledge, 2008, pp 204-220, argues that despite appearances the heroine of Kill Bill shares features with other women warriors of the film: they are constructions of culture reflect patriarchal male fantasies about femininity. This is his argument:


At first glance Kill Bill Vol I (2003) and Vol II (2004) is presented as an attempt to subvert gender charades we have discussed previously. Presents a woman warrior Beatrix Kiddo (Umma Thurman) - who seems to be a strong example of real action movie heroine - no nudity or superfluous free romantic subplots. [21]

Beatrix is \u200b\u200bcontextualized by the presence of other colleagues warrior of strength and skill comparable. Even in the opening scene of the second part, which she presents her story looking at the camera and voice-overs during the flashback, we suggest that she has the authority and control over their own representation, in clear opposition to use was given at the beginning of Charlie's Angels. [22].

Although the description of the woman warrior in the film seem to sabotage the genre conventions, the film rests with them surreptitiously. The film and its unnamed character in the first part tells a story old and tiresome. [23]

The opening scene shows how shot in the head and given up for dead. Then he jumps into his recovery and escape from the hospital-the author does not refer to anything in the rape scene. Enters the domestic space of Vernita Green, one of her attackers. [24] The hand to hand combat is paralyzed when the two-in deference to motherhood-are school bus down the daughter of Vernita. In a clear gesture that mock traditional femininity, receive and send the girl to his room. During the following conversation Vernita tries to kill her with a gun and is killed by the dagger of Beatrix, in the eyes of the girl in the door [25].

This scene, and similar in both films, reinforcing the problematic nature of the fabric and frame the disputed place of construction of the woman warrior. For one thing the character has the characteristics of their male counterparts: it is hard, not afraid of anything, is aggressive and fearless in battle. But simultaneously although not overtly sexualized, Kiddo name is a diminutive of his identity. In Volume I of that identity is reduced to "bride" who seeks revenge for the death of her future husband, her family and her unborn child. Volume II is identified as a "mother" role takes precedence over that of war. These characteristics pigeonhole femininity and motherhood, which is detrimental to their warrior status. Besides being staged as a bride-mother, Beatrix Kiddo is not an autonomous agent (such as Lara or angels). It has also been created in his image by Bill, a male authority figure almost supernatural characteristics, as shown in the second part of the film. [26]

The first part makes a series of questions that are resolved only in the second, but it does so very conventional. Elle is ranked in the affair with Bill Beatrix previously covered, and fulfills its orders, such as fixed at the beginning of Volume I. But this characteristic is relevant to interpret the duel between Elle and Beatrix on the end of Volume II, as highlighted feminine aspects of jealousy and competition for men, reducing their status as warriors. Their battle is reduced to a stereotypical "catfight." [27]

In another revealing flashback Volume II, Bill was presented in the chapel before the slaughter and says it only wants to participate on the side of the bride, and she presents him as his father. "The Oedipal reference here Becomes clear when to, of course, the" Father "remove / kills the husband-substitute of Whom I decidely does not approved." (217). But in the end Bill Beatrix recognizes a domestic scene in which he acts as father your daughter recovered from five years as the prospect of motherhood was the magically altered and brought it to leave the squad murderers to find an environment in which to offer a better life for her child. [28]

The decision to abandon her career and focus on motherhood is the one that initiates the plot, setting in motion the initial slaughter. But at the same time resolving the questions left I raised the volume, the second part is also successful in the fierce warrior back to where it belongs. It does not punishing or killing, as was the black cinema, "but shows like capitulation to the traditional paradigm of a mother who stays at home to care for their children. This transformation is most evident in the two final scenes. Note 4: a post-feminist interpretation would emphasize that the film-to show that Beatrix must reject the role of mother-killer to be put in evidence the difficulties of resolving the conflict between family and career, show how difficult it is in fact trying "have it all." But Waites these readings fail because they realize the reasons anti-feminist and backward operating in the film. [29]

reductionist The films are shown, because the character has two options-warrior or mother that are not just clichés, but extremist and exclusionary. "Moreover, action-like her sisters, Directed by Kiddo is ultimately, if not create by, Bill, a male, godlike figure, and she is showered in regressive feminine conventions Transgressive That overtake her heroic role. "(218) Note 5: recent films such as Catwoman (2004), Elektra (2005) and Mr & Mrs Smith (2005) also are signs of poverty of the woman warrior on the big screen. Women of Hollywood war is a figure reminiscent of Pygmalion, the projection of male fantasy. "Hollywood's prototypical warrior woman is a strange amalgamation of the hypermasculine and Emphasizer feminine, implying That Even Our twenty-first-century myth-makers continue to Be Steeped in the lore-as well as the law-of the father." (218) [30].

But here the story ends. In the next entry will discuss a rating very different film.