On the Verge? Nope. Already broken.

Excuse my title, it’s just there to get the readers attention, so if you’re reading this, it has. For centuries now women have been called crazy, hysteric, loony, and many other demeaning words to suppress their genius. A few examples of this statement can be found in Pedro Almodóvar’s Women on the Verge of a Nervous Breakdown, Isabel Allende’s The House of the Spirits, and Gary Nunn’s article “The Feminization of Madness is Crazy.” Each individual person dives headfirst into the confusing, degrading, and Iutterly mad world of misogyny.

In Women on the Verge of a Nervous Breakdown, Pepa has just been dumped on her answering machine by her long-time boyfriend. “Of all the misfortunes that can befall a woman — bad haircuts, broken fingernails — there is nothing worse than getting your aorta stomped by a man” (Kempley, Women on the Verge of a Nervous Breakdown). Even though there are worse things in a woman’s life than breaking a nail. Pepa becomes “crazy” with sadness, and tries to commit suicide, but failing because her bed catches on fire. Although her initial reaction seems to be a bit extreme, she has every right to be upset! She wanted an explanation for why he decided it was over, but of course he wouldn’t return any of her calls. This just adds to more of the “craziness” we women have to deal with. What Almodóvar did that I really liked, was he used an old woman news anchor. In a New York Times article by Vincent Canby he states, “It’s also a place where a television anchor is a sweet old grandmother instead of a barely literate sex symbol” (Canby, Review/Film Festival Concentric Eccentricities in Almodóvar’s Tale).  If I had a dollar for every sex symbol I’ve seen read the news, I would be Bill Gates.

In The House of the Spirits every women is her own, and her own is freaking awesome. The only problem with the women in Allende’s novel, are the men they have to deal with. Yes, that is extreme, but sometimes you need the extreme to get your opinion or idea heard.

In “The Feminization of Madness is Crazy,” Gary Nunn could not have written anything more genius than he did in this article. Women have gotten the short end of the stick for many many years. We were seen, and still are, as the weaker, more hysteric sex. See what I did there? “Hysterical. It’s a word with a very female-baiting history, coming from the Latin hystericus (“of the womb”). This was a condition thought to be exclusive to women – sending them uncontrollably and neurotically insane owing to a dysfunction of the uterus (the removal of which is still called a hysterectomy)” (Nunn, “The Feminization of Madness is Crazy). Just that word can show you how we as women have been categorized as an unpredictable and some would say, less than, gender.

Although I have been ranting about feministic issues, I would like to take the time to thank all of these authors with their innovative ideas that have been expressed on the printed page and the flickering screen. If everyone does at least half of what Almodóvar, Allende, and Nunn do, then our world would be all but broken!

Works Cited
Canby, Vincent. “Review/Film Festival; Concentric Eccentricities in Almodovar Tale.” Nytimes.com. The New York Times, 23 Sept. 1988. Web. 22 Sept. 2016.
Kempley, Rita. “Women on the Verge of a Nervous Breakdown.” Washington Post. The Washington Post, 22 Dec. 1988. Web. 22 Sept. 2016.
Nunn, Gary. “The Feminisation of Madness Is Crazy | Mind Your Language.” The Guardian. Guardian News and Media, 08 Mar. 2012. Web. 22 Sept. 2016.

Nothing in Life Matters

There are easy comparisons to be made between Pedro Almodovar’s Women on the Verge of a Nervous Breakdown, his later film Volver, and Isabel Allende’s The House of the Spirits. They depict fiercely intelligent, flamboyantly Latin female protagonists dealing with the messes men have made.

Color pervades both movies and even the novel, where we cannot exactly see it. Almodovar conveys the passion and intensity of his women in striking, vivid colors all across every scene; Allende paints with words.

Why the color? The subject matter seems very gray, sometimes black. Yet bright reds and blues and rustic yellows and golds bounce off pages and screens. There is a lightheartedness in it. In Women on the Verge of a Nervous Breakdown the director “sets out to charm rather than shock” (Canby). Allende’s intention is the same. It goes beyond relief from the harrowing tragedies in the lives of these women – it is a symbol of their grace; the characters themselves almost seem to say, “I will color this bleakness and hold my head high.” It’s a small but powerful rebellion.

There is an understandable frustration with men in all of three of these works. Pepa and Raimunda, Almodovar’s heroines, and Clara, Blanca, and Alba, Allende’s deeply understanding storytellers, are pushed to extremes by the men in their lives: fathers, lovers, brothers, sons, sadistic army colonels. There is heartbreak, death, rape – never, in these stories, at the fault of the women. A reviewer for Unsung Films said of the ladies of Women on the Verge of a Nervous Breakdown that they were “flawed and at the same time perfect, warm but hysterical, needing love and attention and going crazy when they don’t get back what they give, insecure but strong, saving people’s lives as well as their own and at the same time setting everything on fire and destroying whoever gets in their way when they’re heartbroken” (Coconi). The same can be said of Allende’s women, with the peculiar exception of Clara, but can’t it be said for women everywhere, at least for most of history? No two people are the same – some women are shallow, evil people, and some men are absolute sweethearts – but most people are alike, as much as that might disrupt your notions of individuality and your special-snowflake ideals. You, reader, and I are 99% similar. We’re statistics. Where’s the comfort in that?

Well, there is very little comfort overall. The human condition seems at best disappointing and at worst hopeless. The abstract, arbitrary social constructs that govern us threaten every day to implode, rendering everything, even this enlightened blog post, absolutely meaningless. But if I can say I share an ounce of the strength of any of these women, I’ll hold onto that and be exorbitantly proud of it for as long as it matters.

Coconi, Angeliki @UnsungFilms. 8 Apr 2012. – http://www.unsungfilms.com/4482/women-on-the-verge-of-a-nervous-breakdown/. 22 Sep 2016

Canby, Vincent. New York Times. 23 Sep 1988. http://www.nytimes.com/movie/review?res=940DE2D7123DF930A1575AC0A96E948260. 22 Sep 2016

 


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Daily Quest #4

In the Dead Media Archive, under Broadcasting: A Case Study in the Death of Liveness, it states that “from the dawn of radio through the early days of television, liveness was considered a marker of quality”. So what I’d like to know is if we still use liveness as a “marker of quality”? I know that towards the end of the article it states that liveness as we once knew it has changed, but in terms of the different types of programs and events, do we still hold some at a higher standard because of their “liveness”? Is it because we associate them with the highbrow culture?


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Text Response Week #3

Writing is a Technology

Ong talks about how writing is “artificial” and also says that there is no way to write naturally (Ong, 81). I personally don’t think that writing is not natural. Yes, I agree that talking is a universal action and that it “implements conscious life”, but I don’t think that because you have more time to think about your thoughts and write it down that it is any less than speech (Ong, 81). I really like when he says that talking wells up into “consciousness from unconscious depths” because when you are talking to someone one you don’t have time to think about what to say you just say what you think is right in the moment. Later on in this same section Ong goes on to say that saying writing is artificial is not “to condemn it”, but to “praise it” because he agrees that it is essential for realization of fuller, interior human potentials”(Ong, 81). He also acknowledges that with writing comes more “ heightened consciousness”, which is something that is not present in speech. Therefore, here Ong starts talking about the benefits of writing being artificial. And even though I don’t agree with him when he says that writing is artificial, I agree that writing is necessary to help an individual make sense of the world around them. It is clear that he thinks writing has more substance than speech because there is more of an effort to what is being written than that of which is said in a moment. So basically what I took from this section of this chapter is the speech is real and set in a real time setting, while writing is more well thought out with no time setting. In another way I could see how writing could be held in a higher standard than speech is but I still think that there is a way to write naturally because one individual is developing those thought.

Once we started discussing in class what made writing artificial I began to understand more where Ong was coming from because for example the way we learn to write is artificial. Therefore the roots of writing influence the writing itself. Another thing that influences the idea of writing being artificial, deals with the fact that writing has become so internalized, further enforcing how the roots of writing influence it as a whole.


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The feminisation of madness is crazy–Blog Post #3

Here is an excellent article related to our discussion of The House of the Spirits, Volver, and the film we will watch on Monday, Women on the Verge of a Nervous Breakdown.  You will analyze, discuss, and critique the theme of madness and women in Blog Post #3.

https://www.theguardian.com/media/mind-your-language/2012/mar/08/mind-your-language-feminisation-madness

Your next blog post will be due NEXT Thursday, Sept. 22 at 11:59pm or before.  Your post must discuss these all of the following: THOTS, Women on the Verge of a Nervous Breakdown, and the Guardian article, “The Feminisation of Madness is Crazy.”  You may also include Volver, if you wish.  Posts should be at least 300 words in length.  Longer is fine.

About my media history

Looking back at my childhood media was a big part of it. I use to watch Disney movies on repeat, watch cable shows like Dragon Tales as well as Nick shows like the Rugrats. Not only did the consume a lot of television, but I loved playing on my gameboy or nintendo ds.  I think I was younger I was more of analog person, but overtime I grew more attached to digital things. I credit it to the fact that I was growing up at the same rate technology was advancing. Nowadays I love watching films, I really enjoy watching independent films. I find it exciting to watch a film that isn’t well known or had horrible reviews. I also use social media a lot, but I am not an avid poster or as interactive like other people I know. Even though I watch a lot of films and use social media everyday, music surpasses both of them. There is not a free moment that I am not listening to music. I was interested in taking this course because I thought it would provide me with further insight on the “newer” types of media. I think this class will help me later on in life because I want to work with media, so I want to be as educated as possible.


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Daily Quest #3

“Rather that students are for the large part unreflective about the way they use these network technologies, and what is more are unreflective about the ways in which their use (or our use) has already been historically determined and shaped, an unreflective response which gives up power and control over to these systems.”

This quote is from David Parry’s post called Not So New. This sentence caught my eye because I would like to know what the difference would be if students were reflective about the way they use technology?  Also what is Parry’s opinion about all this power being given unconsciously “over to these systems”?


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Volver

So earlier this week, our CI class watched the Spanish film “Volver”. It was a rather entertaining film that held some strong parallels to the novel we are currently reading called “The House of Spirits”.

Now I’ll just put this out there because I can’t be the only one. At the start of the film, when the main character whose name I forgot because I’m bad with names tries to hide the body of her husband, I couldn’t help but think of the Spongebob episode “Nasty Patty”. It was probably because I watched it recently, but it actually had some remarkable parallels with how it was a comedic way of hiding a body from possible suspects. I was honestly expecting that guy that came in to make a huge order of food to go “Oh hey, do you have enough ice for the drinks?” and just try and open the freezer with the body.

Anyway, when comparing it to the novel the first thing I noticed was that, of course, the husband is a creepy pervert rapist… who is also okay with incest. Sounds like Esteban, minus the incest part. Unless he was also okay with that… I can’t recall. But the parallels between the husband in the film and Esteban in the novel were pretty darn close. Esteban was a horny little pervert who just raped every woman he saw and wanted sex all the time. And in the film, the husband is seen feeling up his wife when she’s not in the mood and peeking at his daughters’ panties (gross), and even eventually raping her (double gross). And from what we learn later in the film, spoiler alert, he also raped his wife… who was his sister? Something messed up along the lines of that anyway. I can remember they were related.

Another parallel I made was the spiritual aspect. In the novel, Clara has powers that connect her to a spiritual world, you could say. She has telekenesis and can see into the future. There’s a sense of magic and spritual stuff with her. And in the film, there is also some sort of magical realism with the grandmother who came back to life, which leads to some comedic moments. But her presence is always ambiguous. It’s not until the end of the film when the audience learns if she actually came back from the dead or not. But the point is, that during that time that it was unsure, for me at least, there was a small sense of confusion. Are these characters actually going crazy? Is she supposed to be invisible and there to show them what’s right? I didn’t know, and I think I can blame the film’s lack of special effects for that. It did a good job though with the concept.

Now, I’m probably not supposed to bring “Pan’s Labyrinth” into this, but I can’t help it because I need to share my thoughts on this. From what I’ve seen and read so far, relatively modern Spanish works seem to put forth the importance of women in society and how strong they can be. Reading one review from The New York Times, A.O. Scott seems to say how “Drawing on influences ranging from Latin American telenovelas to classic Hollywood weepies and on an iconography of female endurance that includes Anna Magnani and Joan Crawford, Mr. Almodóvar has made yet another picture that moves beyond camp into a realm of wise, luxuriant humanism.” (Scott) and I find that interesting. That little blurb about female endurance shows that I’m not the only one who saw a small trend. Cole Smithey adds to this with a very important statement in his review “The way that Almodovar’s resilient women rise above their traumatic pasts to serve one another and their community is a microcosm of idealized reality that welcomes scrutiny.” (Smithey). Both these reviewers see how strong the female characters are and I think that’s good for both showing how females are just as, if not more capable than men in some situations and also how a good movie director can make the viewer root for any type of characters.

 

 

Works Cited

Scott, A. O. “The Darkest of Troubles in the Brightest of Colors.” The New York Times. The            New York Times, 02 Nov. 2006. http://www.nytimes.com/2006/11/03/movies           /03volv.html?_r=1

 

Smithey, Cole. “Cole Smithey – Reviews: Volver.” Cole Smithey – Reviews: Volver. N.p., 31                Jan. 2007. http://www.colesmithey.com/reviews/2007/01/volver.html


Similarities(Volver v HOS) Revised

There are many similarities as well as differences between House of the Spirits and Volver. Both indicate some form of the way people lived and did things in Latin America during a specific time period. The movie as well as the book fully display the character of men, women, and society in general. Striking similarities arise with respect to men, women, and magical realism.

When comparing the men they act just about the same in Volver as the do in The House of the Spirits. “Men, for Raimunda and her circle, tend to be malevolent, irrelevant or simply absent” (Scott 39). Judging by Volver and The House of the Spirits the men seem to be very violent, demanding, and unloved. For example, in HOS Esteban frequently throws tantrums and beats the women in his family when he is mad, and in Volver Paco tries to rape Paula. When Paco dies nobody really cares or mourns, and the same will most likely happen to Esteban. This fact just further proves the men in these societies are virtually unloved.

Just as the men are very similar, the women have many similarities as well. The women in Volver and HOS are very independent. When Paco dies the women don’t panic at all. “Paco ends up on the kitchen floor, his arms and legs splayed in an uncanny reminder of the body on the poster of Preminger’s “Anatomy of a Murder.” (Ebert 17). Clara and the women associated with her family are also very independent. If Esteban died they’d be fine mostly because a lot of the women’s troubles in the novel are because of men.

Magical realism is evident in both the movie and the book. Clara and the Three Mora sisters are a good example of the magical realism in the novel. Most of their time is taken up by reading the future, watching a three legged table, and hovering around in chairs. In Volver the mother comes back from the dead as everyone believes. Raimunda uses her mom coming back from the dead to escape her troubles and the harsh reality of her life just as Clara finds refuge in her magical interests.

Works Cited

Scott, A. O. “The Darkest of Troubles in the Brightest of Colors.” The New York Times. The New York Times, 03 Nov. 2006. Web. 09 Sept. 2016.

Ebert, Roger. “Volver Movie Review & Film Summary (2006) | Roger Ebert.” All Content. N.p., 2006. Web

 

 

 

 

 


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