Sebastian Silvan’s film the maid creates an interesting and comical look at the Chilean family. Raquel is a middle aged maid, who is worn out from her work. Through Raquel’s interactions with other members of the family, Silvan is able to create a thorough look at social norms in the Hispanic world. Ultimately, Silvan’s film portrays a moving portrait of what it means to be a family in any society.
In the film, Raquel is presented as continually annoyed and frustrated from her work. The opening scene shows Raquel eating dinner late in the evening with a scowl on her face. Eating dinner late in the evening is very common in Spanish speaking countries. In the background, the audience hears a large family happily chatting. Raquel’s dinner is soon interrupted as Mando, the father, rings a bell to summon her. This demonstrates both Raquel’s low position in the family and the father’s role as the “macho” head of household. The masculinity of men and the lower status of women are both typical traits of Hispanic societies. When the children give Raquel gifts for her birthday, she becomes angry, as she will only have to clean up the family’s mess. Raquel’s angry response is a hilarious moment for the audience. Raquel’s frustrated response is also demonstrated through taking several pills, intentionally annoying the children, and her constant sighing. In an attempt to relieve Raquel, the family eventually hires three separate maids.
Each maid eventually quits because she can not handle Raquel’s tactics or because they can not handle the job. The three maids’ distinctive personalities are chosen in order to see if they can handle Raquel’s tactics. Mercedes represents the young, beautiful maid. The second maid Sonia is a much grouchier and older maid. While the family at last attempts to find a permanent helper through Lucy, the bookish and polite maid. Raquel locks all three maids at and all but Lucy resort to desperation to get back inside. Lucy instead sunbathes nude in the backyard. Some of the most hilarious moments of the film occur as Raquel sanitizes the areas the other maids have touched. Raquel disinfects the shower immediately after Mercedes gets out. Any time Sonia finishes a glass of water, Raquel immediately put it into the dishwasher. The first two maids break under Raquel’s pressure. On the other hand, Lucy stands up to Raquel’s pressure and eventually befriends her, but becomes homesick. In the end, Raquel is the only one that can handle being a maid to the Pilar family.
The family eventually realizes that Raquel is a true part of the family. Lucas, one of the sons, endearingly calls her Raque, near the end of the film. After Lucy leaves, Mrs. Pilar stops listening to the advice of her mother that maids are essentially “disposable.” Mrs. Pilar’s mother echoes the hierarchical structure of many Hispanic societies created by colonialism. However, Mrs. Pilar rejects these norms, and instead chooses to view Raquel as an equal. Raquel thus becomes a true member of the family. Bickering and fighting between Raquel and everyone still continues. Yet this is a natural part of any family. This is illustrated with the sibling fighting between both the boys and the girls. At the end of the film, Raquel runs around the block to relieve stress. Her calm face, compared to her exasperated face near the beginning of the film, is a testimony to her new found happiness at being accepted as an equal.
Wednesday, March 31, 2010
Wednesday, March 24, 2010
Symbolism in The Secret History
Donna Tartt effectively uses symbolism in her novel the Secret History to enhance themes, plot, and build character development. The most reoccurring uses of symbolism are related to darkness and light or good and evil.
In the beginning of the novel, the author adeptly reverses traditional uses of symbolism in regards to nature. The prologue reveals to the reader that a student by the name of Bunny has been murdered. The narrator tells the reader that the murder took place in April. Likewise, the snow that is melting over Bunny's body is thawing with the weather. In fact, Henry replies that he is "looking for new ferns," when asked by Bunny what he is doing (Tartt 4). Normally, spring is associated with growth and birth in literature. However, in this passage, Tartt creates a death in the coming spring. She further complicates her symbolism by the use of melting snow. Traditionally, snow, also a symbol of winter, is associated with death. The melting snow represents a thawing and "dissolving" of the processes of winter. Tartt uses this reverse symbolism to possibly suggest a new "birth" for these culprits. Their heinous action, performed in the dismal April night, suggests that they are awakened to carry the burden of their actions throughout life.
Symbolism in regards to light creates a more dynamic picture of the character's personality. For example, Francis's movement is said to move "like a black bird, his coat flapping dark and crow like in the wind" (Tartt 33). This quote suggests a darker notion to Francis' apparent behavior. However, such "coloring" can also indicate the preferences of the narrator. Camilla is described as having "particularly angelic" hair and other light images (Tartt 62). While Camilla shows no clear efforts of altruism, these passages indicate the narrator's love for Camilla. The other main point of symbolism used in the book is toward older professors. Several professors, especially Dr. Roland, are described as being "mechanical" (Tartt 41). This description of the old, boring sedentary life contrasts with Dr. Marrow's appeal for them to live throughout their emotions. This mechanical description also sets up the broader context for what does it mean to be young compared to maturity in the novel.
In the beginning of the novel, the author adeptly reverses traditional uses of symbolism in regards to nature. The prologue reveals to the reader that a student by the name of Bunny has been murdered. The narrator tells the reader that the murder took place in April. Likewise, the snow that is melting over Bunny's body is thawing with the weather. In fact, Henry replies that he is "looking for new ferns," when asked by Bunny what he is doing (Tartt 4). Normally, spring is associated with growth and birth in literature. However, in this passage, Tartt creates a death in the coming spring. She further complicates her symbolism by the use of melting snow. Traditionally, snow, also a symbol of winter, is associated with death. The melting snow represents a thawing and "dissolving" of the processes of winter. Tartt uses this reverse symbolism to possibly suggest a new "birth" for these culprits. Their heinous action, performed in the dismal April night, suggests that they are awakened to carry the burden of their actions throughout life.
Symbolism in regards to light creates a more dynamic picture of the character's personality. For example, Francis's movement is said to move "like a black bird, his coat flapping dark and crow like in the wind" (Tartt 33). This quote suggests a darker notion to Francis' apparent behavior. However, such "coloring" can also indicate the preferences of the narrator. Camilla is described as having "particularly angelic" hair and other light images (Tartt 62). While Camilla shows no clear efforts of altruism, these passages indicate the narrator's love for Camilla. The other main point of symbolism used in the book is toward older professors. Several professors, especially Dr. Roland, are described as being "mechanical" (Tartt 41). This description of the old, boring sedentary life contrasts with Dr. Marrow's appeal for them to live throughout their emotions. This mechanical description also sets up the broader context for what does it mean to be young compared to maturity in the novel.
Wednesday, March 17, 2010
Stanley Plumly Convocation "Constable's Clouds for Keats"
Stanley Plumly's poem "Constable's Clouds for Keats"evokes the spirit of the Romantic imagination and longing for nature. In the poem, Plumly speaks about John Constable, the Romantic painter, meeting John Keats. By doing so, he creates questions of one's influence after their death.
The Romantic imagination is evoked throughout the entire poem. The poem speaks of John Constable never having met Keats. The poet is already dead "[lying] in the artist's paradise." While on the other hand, Constable is still alive in Hampstead, living out a dreary existence. For the clouds Constable paints are becoming "darker, more abstract." Constable is still living through the pain in life, while Keats is dead in the grave. However, "dead Keats is amorphous, a shapelessness/re-forming in the ground." This is to say that Keats's influence on the Earth is changing after he is gone. By others remembering him, such as Constable indirectly by upholding the Romantic standard, he is being reinvented. Yet the poem also evokes the hardship faced by Keats in his life. For example, the poem states "[Keats is] there...writing odes...wondering what our feelings are without us." Keats also suffered in life and was able to come to terms with pain through the Romantic imagination. Constable and Keats are thus linked in this regard. Ultimately, the power of art and nature unites us by this relationship these two artists have that never met. In the poem, the clouds stand as an objective correlative for Keats. This is when an object stands in for something else as an almost symbol. Constable's clouds are amorphous and always changing. The influence of Keats is also changing and not steady. Constable's clouds are indicative of Constable's feelings for art and also Keats himself. Thus, the poem asks the question of what is art and what is its function. On one level, it becomes a way to deal with the harsh world around us. But also, Keats and the clouds are symbolic of art's power to unite us, by the similar patterns of two artistic individuals who never met in real life.
The Romantic imagination is evoked throughout the entire poem. The poem speaks of John Constable never having met Keats. The poet is already dead "[lying] in the artist's paradise." While on the other hand, Constable is still alive in Hampstead, living out a dreary existence. For the clouds Constable paints are becoming "darker, more abstract." Constable is still living through the pain in life, while Keats is dead in the grave. However, "dead Keats is amorphous, a shapelessness/re-forming in the ground." This is to say that Keats's influence on the Earth is changing after he is gone. By others remembering him, such as Constable indirectly by upholding the Romantic standard, he is being reinvented. Yet the poem also evokes the hardship faced by Keats in his life. For example, the poem states "[Keats is] there...writing odes...wondering what our feelings are without us." Keats also suffered in life and was able to come to terms with pain through the Romantic imagination. Constable and Keats are thus linked in this regard. Ultimately, the power of art and nature unites us by this relationship these two artists have that never met. In the poem, the clouds stand as an objective correlative for Keats. This is when an object stands in for something else as an almost symbol. Constable's clouds are amorphous and always changing. The influence of Keats is also changing and not steady. Constable's clouds are indicative of Constable's feelings for art and also Keats himself. Thus, the poem asks the question of what is art and what is its function. On one level, it becomes a way to deal with the harsh world around us. But also, Keats and the clouds are symbolic of art's power to unite us, by the similar patterns of two artistic individuals who never met in real life.
Friday, March 12, 2010
Art as Formal Beauty and as Concept
Cynthia Freeland, in her book Art Theory, explores many theories of art. One of the theories she discuses is pervasive for much of art history. This is the theory of formal beauty. As proposed by Clive Bell, this theory states that art is defined by "forms" or a composition structured by the artist exhibiting a shape and structure. However, in the modern age of art, many artists have rejected the notion of a form. They rely on more abstract productions of art, which cause the audience to think about the concept of art. As different as these theories of art are they can still be recognized.
The concept of formal beauty, in most instances, was not an attempt to create an exact representation; thus, it can be reconciled with the ideas at the forefront of modern art. Artists from the Renaissance and onwards created highly representative forms of art. They began to border on the realistic with such techniques as shadowing and perspective. In one aspect, they did actively seek to construct the world around them. However, they did not often portray the simple reality as in a photograph. For example, the Spanish court painter Velazquez was commissioned to paint portraits of the king, which were aimed at enhancing the prestige of the Spanish court. As such, even in this realistic framework, the idea was the central component behind the painting. So, then the idea proceeded the form. The form existed to enhance the meaning behind the painting. This was not only exemplified through political paintings but also even in religious painting. The forms of Madonnas and Christ, for example, sought to create a veneration of the religions. Again idea before form.
With the advent of modern art, ideas became more apparent and at the forefront. The meaning was no longer hidden behind the form. The form and concept became intertwined as the form lost concept. While many argue that modern art does not contain form, this is not the case. For example, the paintings of Jackson Pollock represent a form of movement, a moment. The form can thus not be pinned down. As such, the form mixes with the idea. Therefore, because people do not see the form that necessitates the concept, they see it as not art. Yet, the form is readily apparent and is shaped even more through the concept. Therefore, modern art can be seen as just another facet of the age old traditions of classical art.
The concept of formal beauty, in most instances, was not an attempt to create an exact representation; thus, it can be reconciled with the ideas at the forefront of modern art. Artists from the Renaissance and onwards created highly representative forms of art. They began to border on the realistic with such techniques as shadowing and perspective. In one aspect, they did actively seek to construct the world around them. However, they did not often portray the simple reality as in a photograph. For example, the Spanish court painter Velazquez was commissioned to paint portraits of the king, which were aimed at enhancing the prestige of the Spanish court. As such, even in this realistic framework, the idea was the central component behind the painting. So, then the idea proceeded the form. The form existed to enhance the meaning behind the painting. This was not only exemplified through political paintings but also even in religious painting. The forms of Madonnas and Christ, for example, sought to create a veneration of the religions. Again idea before form.
With the advent of modern art, ideas became more apparent and at the forefront. The meaning was no longer hidden behind the form. The form and concept became intertwined as the form lost concept. While many argue that modern art does not contain form, this is not the case. For example, the paintings of Jackson Pollock represent a form of movement, a moment. The form can thus not be pinned down. As such, the form mixes with the idea. Therefore, because people do not see the form that necessitates the concept, they see it as not art. Yet, the form is readily apparent and is shaped even more through the concept. Therefore, modern art can be seen as just another facet of the age old traditions of classical art.
Friday, March 5, 2010
Bonus "Bright Star"
The film "Bright Star" portrays the relationship of Romantic poet John Keats with Fanny Brawne. The movie uses the relationship of the two to set up the broader context of Romanticism. Through this romance and many other aspects, the film seeks to portray the Romanticism of Keats.
The relationship of Keats and Fanny demonstrates power of love, through both Keats's and Fanny's musings through love. When the move begins, Fanny is not very impressed with Keats. She ultimately looks down with disdain at him, going so far as to buy his book Endymion to see if he is an idiot. Keats likewise responds to Fanny's lack of fascination by attacking her sense of fashion. To Fanny, this is unthinkable. Fanny's knitting is equivalent to Keats's craft of poetry. In spite of this, Fanny falls in love with Keats due to the authentic emotion, which he displays. Fanny is intrigued when Keats's takes care of his terminally ill brother with tuberculosis. Likewise, she also discovers that Keats is not pompous, as is his always formal colleague Mr. Brown. This is best exemplified in the scene where Keats plays ball with Fanny's sisters. He laughs and enjoys himself in this revelry. While on the other hand, Brown stands in the middle, ultimately getting knocked in the head. This represents a clear wake up to the utter goodness of John Keats for Franny. It also, demonstrates Keats' Romanticism and affinity for emotion. He almost exudes a childlike wonder in everything he does. While at Christmas dinner at the Brawne's house, Keats leads the whole family in child like games, such as vigorously stirring their tea. This is stark contrast to stark English manners. These changes ultimately cause Fanny to fall in love with the charming Keats. By falling in love with him, she loses her prudish nature. The change is clearly evident. She is now more apt to playing with her younger sisters. In her infatution with Keats, her personality is changed. Each one loves the other greatly. In a scene that could be taken from the emotion of a Keats poem, Keats slowly rubs her hand, while her chest begins to move. Clearly, Fanny's heart is beating with excitement and longing. The true and sensuous emotion is ultimately indicative of the poetry Keats sought to write while he was living.
The film demonstrates the power of love, and thereby the importance of Romanticism. Love is able to change the Fanny from being prudish to being lighthearted. As exemplified by Keats' longing for life, the movie also demonstrates the importance of emotion in our world today. If John Keats were to see the film today, he would be pleased. For after all, his work drew almost exclusively on our need for honest feeling. As the film concludes, love and emotions are some of the most important things about us.
The relationship of Keats and Fanny demonstrates power of love, through both Keats's and Fanny's musings through love. When the move begins, Fanny is not very impressed with Keats. She ultimately looks down with disdain at him, going so far as to buy his book Endymion to see if he is an idiot. Keats likewise responds to Fanny's lack of fascination by attacking her sense of fashion. To Fanny, this is unthinkable. Fanny's knitting is equivalent to Keats's craft of poetry. In spite of this, Fanny falls in love with Keats due to the authentic emotion, which he displays. Fanny is intrigued when Keats's takes care of his terminally ill brother with tuberculosis. Likewise, she also discovers that Keats is not pompous, as is his always formal colleague Mr. Brown. This is best exemplified in the scene where Keats plays ball with Fanny's sisters. He laughs and enjoys himself in this revelry. While on the other hand, Brown stands in the middle, ultimately getting knocked in the head. This represents a clear wake up to the utter goodness of John Keats for Franny. It also, demonstrates Keats' Romanticism and affinity for emotion. He almost exudes a childlike wonder in everything he does. While at Christmas dinner at the Brawne's house, Keats leads the whole family in child like games, such as vigorously stirring their tea. This is stark contrast to stark English manners. These changes ultimately cause Fanny to fall in love with the charming Keats. By falling in love with him, she loses her prudish nature. The change is clearly evident. She is now more apt to playing with her younger sisters. In her infatution with Keats, her personality is changed. Each one loves the other greatly. In a scene that could be taken from the emotion of a Keats poem, Keats slowly rubs her hand, while her chest begins to move. Clearly, Fanny's heart is beating with excitement and longing. The true and sensuous emotion is ultimately indicative of the poetry Keats sought to write while he was living.
The film demonstrates the power of love, and thereby the importance of Romanticism. Love is able to change the Fanny from being prudish to being lighthearted. As exemplified by Keats' longing for life, the movie also demonstrates the importance of emotion in our world today. If John Keats were to see the film today, he would be pleased. For after all, his work drew almost exclusively on our need for honest feeling. As the film concludes, love and emotions are some of the most important things about us.
Wednesday, March 3, 2010
Cynthia Freeland's "Why Some Art Should Be Censored" Lecture
Cynthia Freeland presented a convincing argument in her lecture for why some art should be censored. For an art scholar, this seems to be an interesting position to set up. However, Freeland sets up her argument by showing the ways that we already censor art. She demonstrates that art is not banning or blowing up art, but includes, and is not limited to, rating systems on video games, movies, v-chips, and other age restrictions. From this platform, Freeland goes on to say that some art should be censored due to its ethical production.
Freeland makes a distinction between ethical production and depiction. Art that is unethically produced involves the destruction or mutilation of the subject in the art, such as the fish in the blenders. While art on the other hand, often depicts acts of moral savagery, as in the case of Goya. Rather than promoting such actions, it makes a call to action against such moral depravity. Similar to Freeland setting up her argument by showing that we already censor art, she immediately lends support to case by demonstrating the most extreme cases of offensive and art that is produced unethically. The mere progression of the topics clearly illustrates this: child sexuality, animal cruelty, treatment of human corpses, religious sensitivity, and public spaces. The artwork of Mapplethorpe and Sally Mann show graphic and disturbing representations of children's genitals. This is immediately shocking to the artists. In the case of Sally Mann, the artwork is of her children, and therefore is considered a form of consent. However, this does not represent ethically produced art. In fact it is an extreme case. In the work of Mapplethorpe, parents had to sign for their children to be used in such graphic displays. However, Mann is the legitimate authority over these children as her mother. Children have no rights and are subject to the will of the parents. Thus, when the parent violates moral law, they have no voice of discontent or will. They are ultimately forced to accept this or "consent". Forcing children to consent constitutes a crime. To allow art to be produced allows this form of art to be created, through such detestable aims. Likewise, this can be more clearly seen in the case of animal cruelty. For example, at one Danish art show live fish were put into blenders and minced to their death. The artwork itself damages life. By the creation of the art, it facilitates the destruction of life. Yet, there is a distinction to be made with art that depicts behavior. In the case of the treatment of corpses, for example, Ashley Hope paints actual murdered victims. While graphic and disturbing, her attention to detail, ultimately humanizes the artists. Unlike, the case of one artist who entered a morgue and photographed the dead. This action in itself constitutes a breach of the law first and foremost, but also violates the corpses of the dead, both the consent of the deceased and their loved ones. By the time, Freeland reaches the end of public art, where normal racist tensions would have been controversial by a depiction of a Hispanic in "Vaquero", the audience has gone through a turbulent ride. This clearly seems lest offensive, and the implications of immorally produced art becomes clear.
Freeland's use of rhetoric ultimately creates a successful argument. She begins by attempting to change our view of censorship as immoral and repressive. With such rhetorical appeal, she begins to show shocking and disturbing images. The audience begins to side with her for the elimination of such extreme cases.
Freeland makes a distinction between ethical production and depiction. Art that is unethically produced involves the destruction or mutilation of the subject in the art, such as the fish in the blenders. While art on the other hand, often depicts acts of moral savagery, as in the case of Goya. Rather than promoting such actions, it makes a call to action against such moral depravity. Similar to Freeland setting up her argument by showing that we already censor art, she immediately lends support to case by demonstrating the most extreme cases of offensive and art that is produced unethically. The mere progression of the topics clearly illustrates this: child sexuality, animal cruelty, treatment of human corpses, religious sensitivity, and public spaces. The artwork of Mapplethorpe and Sally Mann show graphic and disturbing representations of children's genitals. This is immediately shocking to the artists. In the case of Sally Mann, the artwork is of her children, and therefore is considered a form of consent. However, this does not represent ethically produced art. In fact it is an extreme case. In the work of Mapplethorpe, parents had to sign for their children to be used in such graphic displays. However, Mann is the legitimate authority over these children as her mother. Children have no rights and are subject to the will of the parents. Thus, when the parent violates moral law, they have no voice of discontent or will. They are ultimately forced to accept this or "consent". Forcing children to consent constitutes a crime. To allow art to be produced allows this form of art to be created, through such detestable aims. Likewise, this can be more clearly seen in the case of animal cruelty. For example, at one Danish art show live fish were put into blenders and minced to their death. The artwork itself damages life. By the creation of the art, it facilitates the destruction of life. Yet, there is a distinction to be made with art that depicts behavior. In the case of the treatment of corpses, for example, Ashley Hope paints actual murdered victims. While graphic and disturbing, her attention to detail, ultimately humanizes the artists. Unlike, the case of one artist who entered a morgue and photographed the dead. This action in itself constitutes a breach of the law first and foremost, but also violates the corpses of the dead, both the consent of the deceased and their loved ones. By the time, Freeland reaches the end of public art, where normal racist tensions would have been controversial by a depiction of a Hispanic in "Vaquero", the audience has gone through a turbulent ride. This clearly seems lest offensive, and the implications of immorally produced art becomes clear.
Freeland's use of rhetoric ultimately creates a successful argument. She begins by attempting to change our view of censorship as immoral and repressive. With such rhetorical appeal, she begins to show shocking and disturbing images. The audience begins to side with her for the elimination of such extreme cases.
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