Assignment 09: Voice and the Auteur Theory

Sofia Coppola & Auteur's Voice

The Virgin Suicides (1999)
Marie Antoinette (2006)
Lost In Translation (2003)

Sofia Coppola heavily used light effects (both natural and orchestrated) to illuminate characters, or for emphasis on a particular part of a scene. Sometimes light was used to immerse the viewer in the beauty of the surroundings, or to create a sense of mood whether it be excitement, intensity, loss, or uncertainty. Light might sparkle or glow for optimism, or be dim and narrow to convey a sense of dread.

In the case of The Virgin Suicides, Sofia's color palette (which was warm and golden) reflects the idealistic psychology of the main characters, and the whimsical view of the boys re-telling their story. There is a paradox of optimism and beauty against anguish and strict limitations. Light glistening through the trees seems to demonstrate the girls' hope in spite of their isolation, which makes their fate more poignant. The girls wanted to believe in something better. Lost In Translation also has a dreamlike quality with muted colors to portray the city of Tokyo in a calm, sophisticated manner as opposed to the bright, frenzied, overly energetic way Tokyo is represented the majority of the time. Marie Antoinette's color palette emphasis is on bright pastels, reminiscent of Versailles itself with vibrant colors everywhere. The dreamy environments makes the audience feel enveloped in the scenery as opposed to something dark they want to escape. Sofia uses color to create a sense of atmosphere based on the mood and emotional mindset of her characters or their era.

The music used in Sofia Coppola’s films is generally contemporary with hints at the era being conveyed. The Virgin Suicides soundtrack captures the style of the mid to late 70's, but also the mood and mindset of the Lisbon girls, especially Lux. You can practically feel the desperation of these sisters in the melodic, but melancholy arrangements. The music seems to illustrate the longing for some sort of answer to everything that happened to the girls. In the case of Marie Antoinette, the guitar is used to depict Marie Antoinette’s overall perception of being an outsider in the middle of Versailles. While this seems like an odd choice for such a period piece, Marie Antoinette demonstrated a more modern feminine mindset not representative of her era. The score in Lost In Translation is mostly guitar with a contemporary feel that is mellow and melancholy to communicate the emotional neglect felt by the two main characters. Sofia takes great care in her films to choose music that serves the emotional weight of any scene.

Sofia Coppola took great care developing entire worlds for her characters to live in. She even shot extra footage not necessarily planning for it to be used in the final film. For The Virgin Suicides, Sofia recorded “home movies” of the Lisbon girls when they were younger. While this never appeared in the final film, this was done because she loved the source material and wanted to expand the world of the Lisbon girls. For Lost In Translation, Sofia shows us Charlotte's world with Polaroids, notebook sketches, and by her travels to see monks worshiping. This is meant to show the audience the character's genuine interest in Japanese culture rather than simply a personal trip as a means to escape. As a director, Sofia observes the good writer's rule of “Show, don't tell”. In the case of Marie Antoinette, we see Marie observing the members of royalty within Versailles, and her reactions to the social dynamic and cultural norms. We see everything she witnesses as a revelation and a paradigm shift because she was in an arranged marriage, and everything good and bad is out of her control.

Sofia puts great emphasis on costume and set design. In The Virgin Suicides, the clothing, hair, make up, and music are all authentic to the 1970’s, as well as general attitudes. The neighborhood is reminiscent of suburban life in the 1970's. Marie Antoinette was filmed on location in Versailles, and the costuming and hair resembles classic paintings from the 1700's. In Lost In Translation, the clothing style and hair is contemporary and understated so the viewer focuses more on character emotion and surroundings. From film to film, Sofia's visual authenticity is consistent, and so is audience immersion.

Each shot in Sofia's films feels like a well thought out piece of photography. Great care was taken in structuring each shot so there was intimacy with each character. Moments are illuminated with beauty, even in the darker moments. Thoughtful lighting from scene to scene makes the audience want to stay invested in the atmosphere. Even dark moments are aesthetically pleasing as opposed to making the audience on edge or uncomfortable. This leaves the audience free to feel for the characters instead of themselves.

When depicting a tragedy, Sofia Coppola takes great care to show the emotional weight of the scene rather than glorify its violence. Visual details that might be considered vulgar are avoided out of respect for her characters. Some of the dead are depicted in silhouette allowing the audience to view the tragedy without feeling fear or offense. Sofia prefers her audience be engaged by atmosphere, story and characters rather than repelled by graphic visuals.

The camera shots, at times, almost appear “third person” as if we are in the room. We are privy to character emotions at their time and place. During action scenes, the camera might move with the characters as if we are along, or shot from character point of view. The camera might point toward the sky if the characters are looking up. The audience feels as if they are sharing time with the characters through the camera movements and angles. Story is furthered by what we witness in addition to the dialogue we hear. Cinematography includes shots from a variety of angles and perspectives so the audience feels the vast atmosphere of the cities or landscapes along with the characters. Sofia's love for filmmaking and photography is represented in the visuals captured by the cameras under her direction.

Specifically with Marie Antoinette and The Virgin Suicides, Sofia puts great emphasis on femininity. Both Lux and Marie are depicted as having more modern and idealistic attitudes than their eras (or circumstances) would allow. They both express frustration of having a more modern view, but suffering the limits placed upon them by their time. In the case of Lost In Translation, Charlotte is somewhat isolated from all things familiar because of her husband’s work abroad as a photographer. The interactions she observes between her husband and his friends is merely shallow conversation. When she expresses her desire for more meaningful connections with people, she's dismissed as being a snob. Charlotte, too, is a woman seeking a more meaningful existence than her circumstances provide.

Based on these subtle cues in tone, lighting, character development, and mindful unfolding of story, I’d say that Sofia Coppola definitely has an auteur's voice. She does not shy away from her emotional connection to the material, and expressing it through the characters. Her father, Francis Ford Coppola, had a great influence on her as an artist. His directorial style combines memorial dialogue with intense visuals which are strong enough to further story. However, Sofia developed her own style based on material that inspired her. As a young art student, I have always been a huge fan of Sofia's work for its beautiful cinematography. The Virgin Suicides has been a favorite film of mine since I was 14. Compared to other filmmakers, Sofia's visual style conveys the emotional depth to the audience that, for me, feels like poignant non-verbal story telling. We aren't just following with our eyes, we are feeling with them.

Assignment 08: "The Goose Father" Screenplay Outline

A collaborative project between Ga Young Choi, Amanda Jow, and Natalie Palumbo.

Act 1: The main character, Gilho Pak, has sent his family to America to have a better life while he stays behind in Korea to financially support them. He is searching for a tenant to room with him.

We are introduced to his new tenant, Wuseong, who is an exuberant college aged man who arrives with a goose. Gilho is both baffled and irritated to have to live with Wuseong's goose, but attempts to mind his own business and study his plants. One day, Gilho is attacked by the goose, and becomes extremely defensive around the bird. Tensions are eased when Wuseong prepares a lavish meal for Gilho. As they share the meal, Wuseong mentions reading Gilho’s first poetry book, to which Gilho is extremely embarrassed his old poems were discovered. The moment again softens when Wuseong mentions he is not fond of most people, but he enjoys Gilho’s company.

As time passes, Wuseong is shown to be a talented singer, actor, and photographer (shown in a quick paced montage). Gilho reacts with fascination to Wuseong’s carefree, uninhibited personality. Wuseong's unconventional nature is further made clear when he is seen acting and singing while wearing sponges on his feet to clean the floor. Gilho discovers that Wuseong had been training to become a Thespian actor, but quit college because the courses weren't helping him.

Gilho finally asks about the goose Wuseong brought with him. Wuseong says he believes the goose is his mother reincarnated. Wuseong tells Gilho that his mother promised to come back when she passed, and he was convinced the goose was she.

Act 2: Through Gilho’s travels to the karaoke bar and the slums, and we see his growing disinterest in women, which is becoming more evident the more time he spends with Wuseong. Sensing mutual attraction, Wuseong attempts to kiss Gilho. In an effort to resisting his primal urges, Gilho recoils and slaps him. Wuseong, feeling remorseful and humiliated, flees the apartment so Gilho can calm down.

Next, we see Gilho going to drink with his military friends to reminisce about their youth. Afterwards, he is stopped by two prostitutes, and is saddened to see one of them has eyes that reminds him of Wuseong. Later, Gilho meets with his military friends again to eat at a barbecue restaurant. Gilho points out the owner's pet pig in a cage, and wonders if the pig can smell the flesh from his own kind. [Perhaps a metaphor for feeling trapped, helpless, and at risk.] All the men are enduring a similar situation where they are supporting their families who are outside the country. They reminisce about their youth to cope with the hardship of being alone, but also to humble the younger ranks that have it easier.

Act 3: Gilho returns home with his drunken friend, Taeyeong, and finds the goose in the room. The drunken friend starts to chase it, and gets attacked. He wanted a feather from it’s plumage to use it as a quill pen. Wuseong bursts in to protect the goose from Taeyeong, who ends up collapsing on the nearby couch. Gilho, Wuseong, and Taeyeong soon fall asleep.

Gilho awakes a short time later to discover the first full moon of the year shining through the balcony window. Standing on the balcony is Wuseong gazing at the moon holding the goose. For a brief moment, Gilho can see the spirit of his mother standing next to Wuseong. This vision eludes to the fact that the goose is, indeed, Wuseong’s mother reincarnated.

Gilho joins Wuseong on the balcony, finally giving into his romantic feelings. Gilho admits, “I've been lonely. I've been lonely all my life.” He quietly hopes Wuseong’s mother will accept him. Gilho puts his hand on Wuseong’s face, and leans in to kiss him. [fade to black]

Assignment 07: Adaptation

“The Graduate” starring Dustin Hoffman, Anne Bancroft, and Katharine Ross (directed by Mike Nichols) is considered an iconic film for its controversial themes at the time the film was made. It was so groundbreaking for it's time, the film has become synonymous with the late 60's as helping to define the era. For this assignment, I will be responding to the screenplay for “The Graduate” as the director.

According to the screenplay, the story takes place in 1967. “The Graduate” is best represented using the language, fashion, hairstyles, make-up, musical score, interior and exterior design elements reminiscent of the mid to late 1960’s. Researching the time frame in which this story takes place is necessary to realistically reflect the era and how each character would look. Attitudes of the times would have an impact on the characters behavior and plot, and the viewers need to feel they are viewing this era authentically. Reviewing films that have successfully recreated the nostalgic feel of the 60's is helpful during period research. In short, it needs to look and sound like the 60's so you “feel” the era. Fashion trends can be faithfully replicated using vintage style guides matching the era and economic level and age of the characters.

As far as costuming is concerned, the attire must have nostalgic 60's look. If the design and fashion choices aren't authentic, it will distract the viewer and prevent them from feeling immersed in that time frame. Ben’s costuming, for example, must convey an entitled, privileged attitude so his actions seem consistent with his character. I believe the costuming must convey overall affluence so the audience expects maturity, and their foolish actions appear paradoxical.

Mrs. Robinson’s character must appear like she materially has everything a person could want. However, her obvious privilege stands in contrast with her unfulfilled emotional state. She must be depicted as someone attractive for her age rather than someone struggling to maintain youth by wearing fashions meant for a younger woman. Mrs. Robinson would most likely wear muted, darker tones tailored to represent an upper class lifestyle, which has left her feeling ignored and suffering a mid-life crisis. Because she appears to accept her station in life, she is able to hide in plain sight while using her authority to seduce Ben unbeknownst to her husband and young adult daughter.

Elaine must be depicted as the most sincere and thoughtful of the characters. Her innocence should be obvious amid the scandalous behavior. Her fashions, while well made given her character's affluence, should be playfully styled for a young woman reminiscent of the era. Hair and make up should reflect her youthful optimism that matches the style of the late 60's. Her conveyed goodness represents all the opportunities available to her as compared to her mother having been limited by her choices.

The set design should reflect the interior furnishings of a successful upper middle class family in the late 1960's. Family moments should include popular foods of the day, as well as music of the era, or a score with a vintage feel. Fashion magazines from the late 60's as well as period photography can help replicate an authentic era feel.

As for film direction, it should be shot from Ben’s perspective, except for the scenes when Mrs. Robinson is making an overture, or another character is attempting to take control. There should be an emphasis on who has the power in each shot by angling down on the character being controlled, or up on the character that is in control. The camera should level out only when both characters have equal control in a scene, or a monumental moment, such as Elaine fleeing her wedding to run off with Ben.

Lighting and cinematography would be reminiscent of publicity stills taken in late 60's of (now) iconic celebrities, such as Marilyn Monroe and the Kennedys. The film would be shot in color, but the color choices for clothes and interiors would be muted cool tones giving the film a “black and white” in color feel similar to intensely lit publicity shots of the era.

Because of the strength of the screenplay, recreating The Gradate on camera would be a reasonable task as the artistry and tone are consistent throughout. As a director, you should keep as close to the source material as possible with only small adjustments for screen adaptation. To avoid adjustments for pacing might leave in moments that add nothing to further the story, or may change the perception of characters from the author's intention. For example, Stanley Kubrick’s 1952 adaptation of the controversial novel, “Lolita” only seemed to borrow character names, and oversimplify the plot to exclude any scandalous content. Adrian Lyne’s 1997 Showtime Original film version of “Lolita” more closely followed the dark theme of the novel with only pacing adjustments. The screenplay for The Graduate is well thought out, all that is needed is to marry the characters, story, and dialogue to visuals.

Assignment 06: Influence

“Hitting Budapest” by Noviolet Bulawayo, Response by Natalie Palumbo

What are the precise strategies that are used by its creator to convey the world to us and us to the world?

We start off with knowing the names of the characters: Bastard, Chipo, Godknows, Sbho, Stina, and the storyteller, who is later named “Darling”.

Bulawayo introduces the characters through their interplay during the overarching action. They are traveling from Paradise, their modest village, to Budapest because their friend, Chipo, is starving for a guava. We discover that Chipo is pregnant when they take a break from traveling because she needs to rest. During a discussion about childbirth, it's inferred the group is bordering on puberty because of their lack of specific knowledge. The most horrifying revelation occurs when one character states that a man has to impregnate a woman in order for her to get pregnant, and candidly asks Chipo if her grandfather was that man. Chipo nods without answering aloud. Her reluctance to vocalize implies trauma associated with incest and sexual abuse. Chipo declares that she does not want to be pregnant or be a mother, and that she is starving and only wants guava. This frustrated proclamation implies the situation was against her will, and the guava is her simplistic way of coping under the circumstances. 

Bulawayo describes the landscape in Budapest through the character musings from previous visits, and how beautiful they say it is compared to their home. It is described as an idealistic place that appears locked up as if residents are off on vacation, and everything is put away. The phrase, “Budapest is like a different country. A country where people who are not like us live,” implies an elevated way of life as compared to the simpler village life of these characters.

The group meets a woman from London who is wearing a long dress, and a camera around her neck. While conversing with this woman, the audience discovers that the collective group is aged around 8-10 years old. Even though Chipo's stomach is the “size of a soccer ball”, the London woman is emotionally removed from the harsh reality that the child before her is pregnant. She, instead, asks to take a picture of the group as a memento of her trip, but appears oblivious to their hardship. When the group leaves, they observe her throwing away the food she had in her hand. They children shout insults at her for not appreciating something so necessary to survival that they could not readily find.

The group eventually comes across a large house with guavas growing around it, and collect them before they start their walk back to Paradise. To avoid looking like they were stealing, they try to appear as relaxed as possible as they travel. The group’s discussion reveals Paradise is more impoverished than Budapest. The children romanticize about owning a house in Budapest, or marrying someone that lives there. Most, if not all of the children, want to escape their current station in life, and fantasize about where they will travel in order to begin this new life.

The story is being told through an unrevealed character that is looking forward to going to America with her aunt. The boy, called Bastard, disagrees saying she shouldn’t go because it’s too far away, and Chipo agrees with him. The unrevealed character describes Bastard as “stupid” and Chipo as “soccer-bellied” to the audience to demonstrate her frustration with their negativity. It is at this point the audience realizes that the character telling the story has her own perspective within the group as opposed to merely being an omnipotent storyteller. Bastard starts saying offensive things about the move to America stating she will do nothing but “work in nursing homes and clean poop”. The storytelling character is enraged, and imagines physically attacking Bastard for his insulting comments. She chooses not to because no good will come of it. We then discover in her inner dialogue that she is called “Darling”, and that Bastard’s opinion doesn’t matter to her because she is going to America without him.

The group arrives back in Paradise after eating lots of guava fruit, and they are all relaxed now that they are full. Later that night, the kids are using the bathroom in the bushes. One of the kids, Godknows, screams upon discovering a hanged woman in a tree. It is inferred that the people who lured this woman to her death are still lurking because the kids heard an unfamiliar voice ask, “What’s that?” when they heard Godknows scream. At first, everyone is horrified at this discovery, and all of them want to run. Bastard, on the other hand, is intrigued with the shoes on this woman, and starts throwing rocks at her feet to make the shoes fall off. He is under the impression that the shoes could be traded for bread, and convinces the rest of the group to go along with him. The ability to see a murder victim and only see the monetary value of their shoes communicates the desperation of these children, and their willingness to do whatever is necessary to survive.

The story ends on this dark note, leading the audience to believe that the cycle of desperation will continue given an unrelenting need to survive in these harsh circumstances. Even though Darling has the opportunity to escape, she is too deeply rooted in her primal instinct to survive to avoid going along with Bastard's quest to get the dead woman's shoes for money. These children seem unaffected by the brutal circumstances deemed unthinkable in other areas of the world. The idea that a 10 year old child can be pregnant at the hands of her grandfather is disturbing regardless of economic status. It is also troubling that Darling observes that the adult women are unemotional an uncaring toward the children, except someone called Mother of Bones who tells them stories.

We are introduced to the characters through Darling’s perspective of her friends, and the description of their surroundings. The character motivations are conveyed through group conversations and recollection of events within the group, which allows the audience to visualize the scenario, and imagine their experiences, including the taste and texture of the guava fruit. Even for those that have never visited Budapest, it can easily be visualized from Bulawayo's eloquent descriptions of the roadways, houses, and surrounding landscape. It’s as if the reader is sitting down with Darling to have an intimate conversation rather than experiencing it as a distant reader.

Assignment 05: Reading From A Critical Position

The stories I read are the following:

“Story of an Hour” by Kate Chopin
“Lust” by Susan Minot
“Planet of the Amazon Women” by David Moles
“Even The Queen” by Connie Williams

For this assignment, I will be discussing “Story of an Hour” and “Even the Queen” because those were my favorite stories of the four.

Are there any female characters in the work that you identify with?

I could identify with Mrs. Mallard from “Story of an Hour” and Traci from “Even The Queen”. Both characters are in less-than-desirable circumstances being misunderstood, as well as not being given the freedom to explore their options in life. While I never felt controlled by my family, I have experienced several relationships where external people tried to hinder my choices, or control me for self serving reasons. In those circumstances, I refused to give up control of my choices and give away my power, and the relationships ended. In a way, Mrs. Mallard represents the consequence of giving another person that kind of power. Traci, on the other hand, represents an alternative situation. After a childhood of being controlled, Traci attempts to give her own daughters more freedom, but offers no explanations. Traci's daughter, Perdita, is resentful of this because the lack of discussion demonstrates little concern for her feelings and concerns.

How are relationships between men and women (or characters assuming male/female roles) portrayed in the story?

In “Story of an Hour”, the male characters are more symbolic than representative of actual people. The husband represents lost opportunities for Mrs. Mallard, and how she might have made foolish decisions leading to being with her husband. As for Traci in “Even The Queen”, she is observing women being controlled by men for their feminine attributes, including their menstrual cycles. For some reviewing this story, the idea that women could be content with being controlled in this way is astonishing. Some characters act as if it is completely normal. Those women are either young enough to feel comforted with that kind of control over their lives, or experienced it long enough to have become complacent, and the idea of independence is now frightening.

What are the power relationships between men and women in the text? How are male and female roles defined?

In both stories, men are expected to have the majority of power and control in society, and women are expected to obey them without a desire for independence. In Mrs. Mallard’s case, it is presumed her husband has died, and she is now widowed. The reaction to this news isn’t that of concern for Mrs. Mallard's well being, but rather a lack of confidence she can support herself without her husband.

In “Even the Queen”, the men are in positions of political and social power over large groups of women as opposed to one man controlling one woman. They are not represented by an individual character in this instance. Men are conveyed more as a conceptual idea of authority rather than a human manifestation. Because this control is nameless and faceless, it feels more ominous and oppressive than if depicted by one singular character. The societal consensus over who maintains control implies greater helplessness on the part of these women. The idea that they are expected to surrender their control willingly, to me, is intensely more frightening.

What constitutes masculinity and femininity in the world of the story? Do characters take on traits from opposite genders in the story? How so? Does this change others reactions to them?

In both stories, the more feminine you are, the less control over your circumstances. Both Traci and Mrs. Mallard are in circumstances where other people have control over their lives, whether it be a parent or a spouse. Men are expected to be in control regardless of whether or not they seek it. Traci’s mother believed that women should not promote femininity, and should conceal it at every opportunity. This included taking medicines that altered hormonal balance and hindered the menstrual cycle. For some people reading this story, the idea that someone might suppress something as natural as a menstrual cycle would be considered invasive, if not downright oppressive.

What does the work reveal about the operations (economically, politically, socially, or psychologically) of patriarchy?

In both stories, women are expected to stay under the care of men, even if some find it less than a desirable choice. In most cases, women have no control over what happens to them, and this societal expectation gives them very little room to explore life, or determine what they really want. Even if the women determine what they want, or find themselves free to choose, and it is often too late in their lives for them to salvage their choice. The effect of oppression becomes so great that the idea of independence becomes overwhelming. In “Even The Queen”, most women succumb to the numbing effects of being controlled, and even surrender the power over their bodily functions to men. Some will even side against their own gender to avoid being chastised by men. Because of the lack of power balance, women give away their independence reluctantly, or sometimes willingly, as a means of survival to avoid the mistreatment for not being men.

What does the work express or imply about the possibilities of sisterhood as a mode of resisting patriarchy?

There is a chance for female bonding in “Even The Queen”, but it only exists in the younger generations. This is due to the fact that the younger girls have been given more opportunities to explore life as the social and political landscapes becomes more progressive. For instance, Perdita is more willing to join the Cyclists, a progressive menstruation group, despite the women in her family objecting to it. The older women don’t realize the potential of uniting to resist being controlling and punished for merely existing. In this instance, the generational divide makes forging a “sisterhood” a missed opportunity for change, and settling for outdated traditional ideals with limited choices.

What does the work say about the history of women in literature or the arts or about women's creativity?

The writings of these women could be seen as an observation of their own standing in society for audiences outside their situation to understand and empathize. In some cases, I believe these stories are meant to educate women about their worth, and what they could do to improve their station in life. These stories could also be seen as a cautionary tale of oppression, and what women could do to resist and avoid it in the future.

I read “Story of An Hour” when I was 14, and now again as a 22 year old woman. At age 14, I was astonished that Mrs. Mallard could be relieved her husband was gone. I found that to be a heartless perspective at age 14. It did not occur to me that she had spent much of her life being unhappy under his control, and his death was her only path to freedom. My perspective greatly changed re-reading the story at age 22 because of my social experiences. I was being pressured to give up my educational pursuits by someone who had self serving motives. I worked exceptionally hard for many years to gain acceptance to my first choice of college, and was unwilling to sacrifice pursuing my career. Had I given in, my reaction to this story might be one of regret that I didn't fight harder for myself. Luckily, my perspective is that of relief that I didn't give up on my goals, and joy I did the right thing.

Assignment 04: The Secret History Of Wonder Woman

If I were designing a female superhero character, I would want her to be self sufficient, reliable, intelligent, coy, and fundamentally strong. She would be a master of visual illusion able to manipulate visions and sound to confuse her foes. She would be attractive, and exude confidence. I would not, however, model her with masculine characteristics to illustrate her “strength”.

The idea that a strong woman must demonstrate strength by being portrayed as masculine is shortsighted, and completely inaccurate in today’s landscape. Strength is internal, not external. It comes from intestinal fortitude. Strength is determination, making intelligent choices, and persevering in times of hardship. Feminine or masculine qualities refer to style, but cannot guarantee strength.

I would want my character to be demonstrably feminine because I, myself, am demonstrably feminine. I like dresses and the color pink. I am undeniably “girly”. I define strength as the ability to problem solve and successfully pursue my personal and professional goals. My style doesn’t determine my strength. My choices do.

It is often debated that the biggest mistake when portraying a strong female protagonist is when that same character needs to be rescued, which they argue implies weakness. I believe that completely depends on the circumstances of the story. Was she being heroic? Was she willing to face danger for the good of the many? Was she captured by her enemies for being a threat? Is she considered a worthy adversary? Did she try to save herself? Many stories have male heroes facing peril against their enemies resulting in the need for a rescue. If a strong female faces danger with the same courage as her male counter-part, then her rescue makes her a valued part of a team, not a damsel. To suggest that a woman is somehow weaker for needing help is a dangerous message. Why should a woman be considered strong only if she depends on no one? A man is still considered as strong if he works alongside a supportive brotherhood. It should not be viewed as a sign of weakness to have quality support come to the rescue. Women should not be made to believe that separateness and “never needing help” determines her strength when it is, in fact, determination.

I've observed strong female leads that will avoid any 'classic' feminine characteristics (sometimes vocally rejecting it) and fashion themselves after typical male heroes. I feel this trend suggests that boys set the standard for strength, and girls must mirror them to be considered “strong”. This approach is meant to shatter stereotypes giving girls more imaginative options. However, it tends to come across as “the tomboy” is stronger than “the princess”. This is inaccurate since strength is measured by individual endurance and the ability to persevere. The emphasis should be about what makes an individual strong, and the qualities of dedication and perseverance.

If I were designing a strong female lead, I would want her to have a warm, natural allure, and be as indestructible as Batman. I would want her to have mystique, and be a femme fatale for her enemies. She would be confident and emotionally whole. She would use her talents wisely with humility, compassion, and an unwavering will to survive. I would want to show her practicing her education during the day, and using her intelligence to fight crime during the night. I would want her to be fearless, quick thinking, and maintain a calm exterior that outwits her adversaries. I would want to include pink somewhere in her design to defy the stereotype that femininity implies weakness. Rejection of pink further suggests that regardless of efforts, girls will still be judged by arbitrary standards of strength rather than for their accomplishments. A strong person is inspired by the good works of other strong people. Honorable is honorable regardless of gender.


To sum up, here are the characteristics I’d like to see in a strong female lead:

- Intelligence, compassion and humility

- Illusionist able to manipulate vision and sound

- A Mysterious femme fatale for her enemies

- Cunning survival skills with cool headed bravery

- Emotionally whole

- Pink in design (To defy stereotype that feminine qualities should be rejected to communicate strength)

- Feminine physique, confident and a “knowing” look (feminine, strong, and intelligence combined)


These characteristics are based on my personal perspective. I’ve always been willing to work hard to achieve my goals. From the time I was 2 years old, I've loved the color pink...to the point I was forced to choose other colors. I am the only sibling to an older brother with low-verbal autism. He was a fearless wanderer with severely limited language. We all had to work together in my family to keep my brother safe. I had to stay emotionally strong and dedicate myself to achieve my goals.

The assertion that “pinkifying girls” will somehow weaken potential and limit options is frustrating to me. I believe potential is defined by choices, and a dedication to achievement. My strength is my willingness to work hard for what I want, and to persevere through setbacks. I measure myself by my accomplishments. Wearing pink no more makes me weak than avoiding it makes someone strong. My determination to achieve and willingness to improve is my strength...I just prefer to wear pink while I do it.

Assignment 03: True Grit

Upon reading the book and watching both adaptations of “True Grit”, I've observed there are elements of American mythology (small town Americana) that are romanticized and glamorized, especially in the 1969 movie adaptation. The book, written by Charles Portis, depicts Mattie Ross, an angry and distraught teenage girl wanting to avenge her father’s death. She hires two men, Rooster and LaBoeuf, and leads them on a quest to redeem her family name. In the end, Mattie is held captive and led to believe that both men have abandoned her, and is forced to fend for herself to complete her mission.

In the 1969 film adaptation, Mattie is depicted as dainty, quiet, and in mourning as compared to her forceful counterpart in the book. This is to romanticize the traditional role of southern women, and how small town society believed a women should handle crisis in that time period. This depiction of Mattie is more ladylike and stern leading the men, as compared to her forceful leadership qualities in the book.

In the original book, Mattie demonstrates open racial prejudice. This was an unfortunate mindset common for that time period, but considered unenlightened in modern times. In the 1969 adaptation, the racial inequality aspect is excluded from the story, making the film feel more like a period western.

Mattie’s character being portrayed as more refined in the 1969 film leaves the majority of the action to Rooster and LaBoeuf. This forces Mattie's character to be dependent on these characters, and demonstrate subdued emotion while seeking revenge. Comparatively, Mattie in the book is commanding and determined overruling any hesitancy by either man.

The 2010 film adaptation by the Coen brothers is much closer to book in terms of details and dialogue. The tone is dark, and the film does not gloss over the racism or brutality, which makes Mattie's motivations more apparent. While authentic to the era, nothing about the time period is romanticized. Mattie's anguish and anger is all consuming, and nothing is more important to her than finding her father's murderer.

While the 1969 portrayal of Mattie appears passive, the 2010 portrayal does not impose societal limits about the roles of women and men. The 2010 film conveys the brutal loss of a family member, and Mattie's authentic reaction to this kind of tragedy regardless of era and gender. It's more gut wrenching for it's dark realism.

I believe each generation romanticizes different eras for different reasons. Some romanticize their childhood memories and outstanding historical events. Others may romanticize an era that inspired them artistically and attempt to reflect it in their own art.

In the 1960's, filmmakers tended to romanticize westerns, and small town America, often adhering to the societal and gender expectations of the current day, and adapting the characters to fit. Although current generations can be nostalgic, having grown up in the information age, they prefer more accurate depictions of time periods. Authentic depictions of even fictional events allows viewers to connect to the mindset of people from past eras, which makes the experience more relatable and emotionally immersive. Current generations seem to prefer depictions that adhere to American history over complete “American Mythology”. They prefer realism over myth.