Protagonist No Longer Fits in the Dependent World: As the Protagonist spends more time in her secret world, she recognizes she won’t be able to do this long term. It wasn’t exactly what I expected from the title, but it turned out to be a nice surprise. Women have always reinforced the structure of patriarchy at their own expense throughout history, and I wonder why. Change ), You are commenting using your Twitter account. She pursues her dream, but her challenge is that she sets her sights low, believing she can’t ask for fair pay for the excellent work she and her employees do. Change ), You are commenting using your Facebook account. Ana wants respect from her family, especially her mother, for her mind and ideas. Jarie: This movie has a great premise that lots of different immigrant groups can relate to. I had never heard of the film until this class, and so assumed that it would be a look at the way in which the physical image of Chicana women hinders their movement through the media. Secret World: The Protagonist creates a secret world or existence where her dream can grow—outside the scrutiny of the dependent world. “Real Women Have Curves” was an interesting movie. are focused on the internal and sometimes called slice of life stories with a very specific character and setting. Essentially it says that every element in a story must be necessary; if you set up expectations in the audience, you need to pay them off. That gives the mother/daughter dynamic much more depth and elicits much greater emotion from the audience. of Mentor, best suited to, say, an Internal genre story? (. I especially agree with your last statement! How many other sweatshops have been in the same place only to go out of business? Your email address will not be published. On one hand you want Ana to go to college and to make her own life, but on the flip side it seems like the family will almost fail without her strong influence and extra hands. Carmen cannot understand her daughter because she lived in the old times that it is imprinted in her head, which she will never be able to change, she thinks that the old ways are better. Latinas and/in Advertisement (Part 1), 18. Women are now under pressure to not just be thin in areas such as their midsection, thighs and arms, but they also have to have wide hips and a nice chest and butt to accentuate these features. Even after seeing how it all fell together I am left almost unsatisfied because it seems like she abandoned her family and traditions in order to fulfill her own passions. The Protagonist sacrifices some part of her past to move into the future. Through this movie being released, has addressed body image in a very influential way. Ana is a vibrant young women, thriving in NYC. She recognizes that they will both meet people while in college. I think now as a society, we have learned to embrace hips and curves as long as everything else is relatively thin. Ana’s mother will not come out of her room to say goodbye. I think we all felt the absence of a Red Dress scene—where Ana actually wears the red evening dress her sister made for her, maybe to a prom or something. Even the women in this movie that were not by any means small, still had criticism to women who were bigger. You are more likely to watch a show with people that our society deems attractive. Just the fact that they made it here, via a labor camp, was a win for them. Instead, when Estella’s financial troubles are known, Ana is  told to work for free (rather than find another job that would generate income for the family). Anne: When Mr Guzman comes to Ana’s birthday party, I was struck by how very similar the scene was to the one in Billy Elliot where Mrs Wilkinson, Billy’s dance instructor, comes to Billy’s house. Beginning Hook – When Ana graduates from high school, Ana must decide whether she will go against her family’s wishes and apply for post-secondary school, or get a job to earn money for the family. He tells her he knows the dean of admissions at Columbia and can put in a good word for her, but she needs to write the personal essay. Up until, really the 1960s women have been conditioned to be content in their role as wife, mother, homemaker. I believe that society is slowly accepting the fact that real women have curves however, being thin has always over powered being curvy. Ana lives at home with her parents and is dependent on them financially and socially. : This is the first real expression of the Protagonist’s talent or true nature, but it’s not a threat to the dependent world. At that point Ana knows that if she goes, she will never want to come back. Males are not seen as “needing” a wife, and that they need to look a certain way. Real Women Have Curves explores just one kind of mother-daughter relationship. In Real Women have Curves. ALL women are different and no, not all women have curves. Kim: It’s interesting because the external genre as Society-Domestic comes from the same Human Needs Tank as the internal Status-Sentimental genre. If we were to say the two represent all Latina or Chicana mothers and daughters, we would be ignoring the portrayals like the one in RWHC. It’s a subtle shift, but marks the first time Ana openly disobeys her mother. I think sometimes that women are picked to show these issues because they are expected to be more connected with their family and place more emphasis on their families opinions as well as pleasing them. Shapeshifters as Hypocrites (secondary characters say one thing and do another): Carmen is a major shapeshifter in that she says she wants what is best for her daughter but in reality, she wants what is best for Carmen. This is a blatant contradiction to what Carmen thinks is acceptable behaviour for a woman. When we look at the women in the media today, especially Latin women, we see a trend in ‘skinny yet curvy’ and ‘voluptuous in all the right places.’ I applaud Ana for accepting all of who she is! Also, if we could learn about the future and see where Ana goes with her kids, if she even has any. I’d say the primary drive is a modest suspense–will she or won’t she convince her parents to let her go to college in New York? Although Leslie makes a great case for it being a mini-plot story, with opinions about Ana’s situation expressed by a range of different characters, the single POV and linear structure retain the feeling of a simple arch-plot, or single, clear arc from failure to success. Furthermore, the force of antagonism needs to have a point. I can only imagine what Carmen would have thought about her daughter wearing a sexy dress like that. This movie has a great premise that lots of different immigrant groups can relate to. “There is so much more to me than just my weight.”. As you can see from the movie and the reading, Ana struggled greatly about her mother’s constant pressure to be thin. The obligatory scenes and conventions of the global genre need to be on the page (or on the screen in this case) and they exist to satisfy audience expectations. As Rachelle Ramirez wrote in her excellent Fundamental Fridays blog post Secrets of the Status Genre, the status story that ends in success is a prescriptive tale that shows us how to maintain our place in society or advance up the ladder. Real women have curves pdf free Order of the phoenix audiobook free download, Real Women Have Curves & Other Plays By Josefina Lopez. This is not simply a Latina phenomenon but a women’s issue. I agree that Carmen was just another sort of member in the cycle of tradition. Take a look at the modeling world - most of those women only have "curves" because they've starved themselves skinny and their bones are sticking out. Valerie: Further to Anne’s point: I wouldn’t call the missing scenes cliche, I’d call them pay-offs. Media has a major impact on what an ideal woman should look like and what is considered to be sexy or appealing to men. I know this all too well via my ex-wife, whose parents came from the eastern bloc and worked in a machine shop. Wouldn’t this be an External Genre Business with Internal Genre Status – Sentimental? In essence, the change is what’s needed for the protagonist to rise in society. The statement "Real women have curves" is to make women who are larger in size feel better about being curvy. Needs: Ana needs to respect her family first, and respect herself, before she can earn her father’s full support. Overcome with heat in the factory, Ana strips down to bra and underwear, and gets the other women to do the same. Ana has packed and is leaving for the airport. Like I mentioned during the discussion I thought that the movie overall wasn’t the best portrayal of either latinas or teenage women especially for those who struggle with their body image. Also, the idea that certain regions in the body have to look a certain way in order to be curvy adds so much pressure. How do the women and men of Ana’s family interact? Here’s an article (http://newyork.cbslocal.com/2012/07/17/thinspiration-doctors-concerned-with-social-media-sites-promoting-eating-disorders/) that discusses the phenomenon of “thinspiration” which is where online community groups have come together to inspire members to be thin (especially on places such as Tumblr or Pinterest where members share images of thin people and aspire to be like them.) Ana wants to destroy that cycle that her mother followed in her youth and she wants to create her own path to study, to be herself and be loved by someone who loves her the way she is. Ana’s mother chooses estrangement rather than give her blessing. The other women in the factory take off their clothes too and declare that they are beautiful. Therefore, we categorize ourselves into these two terms. She wants to earn her own stuff. We may not like her opposition to Akeelah’s aspirations, but we understand where she’s coming from. Ana has lots of aspirations for herself as an individual. The human need for esteem includes several ingredients, like the respect of others, but I think internal acceptance is a necessary prerequisite for external respect to make a real difference. Your Roundtable Story Grid Editors are Jarie Bolander, Valerie Francis, Anne Hawley, Kim Kessler, and Leslie Watts. Protagonist Wanders in the Wilderness: This is a test of the Protagonist’s conviction. Estela makes the dress to fit Ana’s body, and shows it to her, but we never see Ana wearing it—because that red dress really doesn’t represent the role or part Ana will play in her world. Ana insults the woman who pays Estela for the dresses. I like how you questioned if it was a male whether or not the representations would have been as different. I think that to a large extent, this is accurate. I agree that the part when the women take off their clothes is concerning. Mr. Guzman drops by the Garcia family home and tells her parents that he’d like to see Ana continue her education and that she has great potential. I think the problem I have with the film, and why it doesn’t feel very satisfying to me, is that the value shift goes from compromise to success. The reading said, “Ana’s mother constantly harasses her about her weight, calling her “fat” and reinforcing Anglo, colonial ideals of beauty and corporeal patriarchy.” Her mother only believes in the “white” ideal of beauty and this is the opposing force to the main message of the movie that real women have curves. Carmen on the other hand was brought up in a different culture and because of this was able to grow into a stronger person with a different view of life. The Status genre is a powerful one for “not falling into the same old groove.”. The cautionary version shows us what not to do, by showing us a protagonist falling from a stable place in society, down through compromise, failure, and finally selling out–which is another way of saying “failure masquerading as success.”. Mom thinks she’s pregnant. This is a story that’s been told throughout all of time. When she and Jimmy get intimate and he accepts her for “what I look like”, Ana then drops her self-loathing or at least stops hearing what her mother tells her. She can’t make a living wage with the skills she has and can’t attend college without their permission and support.

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