Cleo's Underappreciated In A Film

When the readers meet the young, subordinated wife of a physician, who remains nameless throughout the entire story, perhaps hinting at the commonness of such situations where all those women are the same: faceless and nameless, this woman’s dilemma becomes obvious. She has been stripped off the only function a woman in those times had, the domestic one, due to the fact that she suffers from a mysterious illness which requires the infamous bed cure. Gradually, she is treated more and more as a child, unable and even forbidden to express herself in a creative way, namely to write, being persuaded that it cannot do any good to someone in her condition. This is why the protagonist (who is simultaneously the narrator), takes it upon herself to write a journal about her experiences and the mysterious woman that haunts her from the

Agnes Varda is not only one of the few female directors of new wave cinema; she is also credited as having helped create the genre. Her short film La Point–Courte is considered by some as the first new wave film. Her first full length movie, Cleo 5 to 7 falls within this genre as well. It is the story of a young woman dying of cancer and how she sees the world in the context of time. We follow the singer Cleo as she changes into the woman Flora and as she does so she begins to look at time in a different manner. It is the way time is represented through the camera shots which really make this film part of its new wave genre.

Cléo from 5 to 7, directed by Agnes Varda, is a film about one woman’s struggle to come to terms with the possibility of her potential illness. Not only is Cléo struggling with her physical health, but she is also dealing with her beauty and the consequences of being an attractive woman in the modern world of the 1960s. When examined through the lens of Laura Mulvey’s “Visual Pleasure and Narrative Cinema” theory, another aspect of the film comes to light. The film seems to objectify Cléo and thus trivialize her struggles with others’ perceptions of her throughout the film by adhering to the construct of the male gaze. Although Cléo from 5 to 7 appears to play into the construct of the male gaze through the repeated objectification of Cléo, it actually subverts this idea and instead confronts the viewer, and the notion of women as passive objects to be viewed.

The heroine, Mrs. P, has some carries some characteristics parallel to Louise Mallard in “Hour.” The women of her time are limited by cultural convention. Yet, Mrs. P, (like Louise) begins to experience a new freedom of imagination, a zest for life , in the immediate absence of her husband. She realizes, through interior monologues, that she has been held back, that her station in life cannot and will not afford her the kind of freedom to explore freely and openly the emotions that are as much a part of her as they are not a part of Leonce. Here is a primary irony.

In “The Story of an Hour”, the main character Mrs. Mallard, gets news that her husband has been killed in an accident. Her sister delays telling her the news because she has a bad heart, but when she finally tells the news, Mrs. Mallard wants to be left alone. They think that she is very upset by her husband’s death, but

In this paper, I will write about “Thelma and Louise” (1991) movie. I choose a last scene of the movie which the police came to arrest them in the Grand Canyon (from 122 to 125 minutes).

Cleo from 5 to 7 is essentially about the story of a woman’s past, present, and future. The setting is in virtually real time created by the film while she confronts the probability of being sick with cancer (Mast). In film, real time often means when the time of an

In ‘The story of an hour’, it is set in a house in the 1890s, a time when women had little to no rights. Louise was the typical housewife married to the working man. She was to keep the house in order and have dinner ready when the man got home. This confinement and role Louise had to play gives her “heart trouble”. At first when Mr. Mallard is reported dead, Louise weeps suddenly then goes to her room. She spends the next several minutes looking at how free she is now that her husband is gone. The setting of the story affects the context greatly. If it had taken place in the 21st century, Louise might not

Therefore, She’s been forced to be submissive and to do what her husband told her. On this time period is where ‘The Story of an Hour” takes place and this was Mrs. Mallards conflict. There was a time that she wasn’t even allowed to go outside the house. She was very upset about this, but she didn’t had the right to speak up or fight back. That’s when she heard the good/bad new she didn’t felt anything about him. She had to act that she was sad, so the family didn’t noticed how abusive her life was. That’s why her family didn’t speak up, this was her secret and no one’s allowed to

The narrator is totally crushed by the gender discrimination. She longed to be seen by her mother and her grandma. The narrator is heartbroken that her mother loved her brother more than her and failed to notice her. “When she went into Nonso’s room to say good night, she always came out laughing that laugh. Most times, you pressed your palms to your ears to keep the sound out, and kept your palms pressed to your ears, even when she came into your room to say Good night, darling, sleep well. She never left your room with that laugh” (190). Her agony can be easily seen by the way of her narrating. She does not get the affection that she deserves. She really needs the affection from her own mother, but she is not getting it. She compares the love which her mother shows to his brother and herself. This is gender discrimination can be seen with her grandmother too. She hated her grandma as she would always support her brother and find fault with her. Even though what the brother did, no matter what crime. Her mother and grandmother always supported her brother and never supported or showed interest towards

In “The Story of an Hour” the main character Louise Mallard has just found out that her husband, Brently Mallard, died in a train accident. She did not hear the story as many women have heard the same, (527) which means that she didn’t immediately think that her life was over and she could not go on without her husband, she thought of the rest of her life with open arms and excitement. She could see in the open square before her house the tops of trees that were all aquiver with the new spring life. (527) she was looking forward to a whole new life, a life of her own. Of course she was sad and knew that she would mourn her husband, be sad when she saw him lying in the casket at his funeral. And yet she had loved him—sometimes. Often she had not. (528) She is saying she did love him but not most of the time. While she was alone in her room staring out the window a feeling came over her that she was unsure of at first, but when she let herself go she realized it was freedom, triumph, and victory. She kept whispering to herself “free, body and soul free!”(528) She and her sister walked down the stairs together to find her husband, Brently, walking through the front door, she died of a heart attack as soon as she saw him.

“Story of an Hour” uses Louise Mallard’s repressed life as a wife to elucidate how repression can lead to bottled up depression. Louise Mallard understands the “right” way for women to behave, but her internal thoughts and feelings are anything but correct. This is first illustrated by the initial reaction to her husband’s death, where she cries instead of feeling numb, as she suspects other women would do. The death of her husband acts as a catalyst to alleviate her depression that rooted in her marriage. In the beginning of the story we are introduced to Louise’s heart problem, which shows the extent to which she believes her marriage has trapped her. The author of the story gives a vague description of Mallard’s heart condition just simply calling it a “heart problem” (Choplin 452). This vague description shows how her “heart problem” is both physical and

During this hours, everyone can see what is going on, so the narrator barely creeps, just like it was seen as taboo to be seen supporting women’s rights. “ [...] He said what I felt was a drought, and shut the window” (Gilman ). The windows in the story are a path to freedom, but when they are barred, it represents the opportunities for independence and freedom being taken away, and the narrator hold back from reaching for them. “She is a perfect and enthusiastic housekeeper, and hopes for no better profession”(Gilman 650). Jennie was John’s sister, and she represented the “ideal” woman role expected by society, just like Mary. They are everything the narrator’s husband wants her to be, the stereotypical housewife, who does what she is told to do; the exact opposite from the narrator. “If a physician of high standing, and one’s own husband, assures friend and relatives that there is really nothing the matter with one but temporary nervous depression- a slight hysterical tendency- what is one to do? My brother is also a physician, and also of high standing, and he says the same thing” (Gilman 648).The physicians are symbolic to high rank in society

The Story of an Hour is short, yet, contains important examples of gender roles in marriage. They are important because they represent how women felt married in the 19th century due to male dominance that manifested throughout marriages all over the world. In The Story of an Hour, Mrs. Mallard is a wife that is, at first, seen as distraught, because of her husband’s death. She starts to cry and run to her room, to soon be lifted with the joy that she is now free. It is clear that she felt trapped in the marriage and is now happy that there is no one controlling her any longer. Mrs. Mallard is a prime example of women in marriages in the 19th century, and even some today. Unfortunately, they have to experience sexism from their husbands. Women are dominated by men in marriage and are expected to acquire the stereotypical gender roles.

Louise whispers, “Free! Body and soul free!”. Keeping the feminist critical perspective in mind, the idea is given that her “body” is the physical property and the “soul” is her emotional and mental freedom. Provided that Louise suffered from a heart condition, her sister begged her to open the door and relax because for fear that she would make herself ill. No; she was drinking in a very elixir of life through that open window. Through this open window, Louise cumulatively realized all the new opportunities, chances, and possibilities swarming in her mind. Applying the feminist critical perspective states that with a husband standing in the way of her freedom, these possibilities were just fantasies deemed as impossible. Men stood in the way of allowing women to live their own lives.