Home: A Question of Reality

HOME: A Question of Reality
Home is an ever changing landscape that is becoming consistently harder to define as a specific idea. The idea of home has seen tremendous change, specifically, in the last fifty years. Much of this change can be seen through the consistent effort to make home a place where the realities of life’s duties are forgotten. The Stepford Wives and The Crying Lot of 49 show us different, if not, eerily contrasting views of home as an alternate reality. In addition, home is being re-defined by groups such as Habitat for Humanity which has worked since 1976 to build affordable homes for those in need. Home is for some a place of sanctuary away from the day’s work and duties; for others a never distinct place of unrest. To better understand this changing view of home, it is important to assess the change of home in the last fifty years.

In the wake of WWII, the rural and urban home experience was giving way to a new monster, suburbia. This is important in setting up the experiences represented in The Stepford Wives. Returning from WWII, suburban paradises began growing rapidly. Many remain today as a reminder of this former abundance and the process has continued with more and more neighborhoods being built. The idea is simple; build a neighborhood with no vast differences in the appearance of the homes and let families live there apart from the city and countryside in happiness and security. Homes were no longer places of living; they were being built with the intent of creating happiness after a tragic war. Suburban neighborhoods were surely capable of healing any resemblance of the former tough times. In The Crying Lot of 49 we get introduced to a character that no doubt was affected by this transition.

Oedipa Maas of The Crying Lot of 49 is made executor of her former relational interest’s estate. Along with her pursuit of carrying out the estate affairs she is left with, we learn little of her traditional home life. She is married to a disc jockey with no children and no traditional responsibilities to tend to at home. Rather, Oedipa’s pursuit of home takes her on a quest for the security and happiness she hopes to find with men. This becomes a major plotline in addition to her confusion with reality and alternate realities. She becomes curious about certain symbols and acronyms which point to a mystery she believes to be unfolding. Her frustrating journey is referenced by a portion in which Pynchon says “So began, for Oedipa, the languid, sinister blooming of the Tristero.” (54) It goes onto explain that she, Oepdipa, is up late (on the specific night in which it is referenced) with no apparent home obligation. Oedipa represents an unperceived reality. Her home takes on many forms. One of which is her relationship with Dr. Hilarius. She confides in him for information and help. This falls apart in a crucial scene in which Oedipa’s reality is once again challenged; “She could not, having no idea what Hilarius had done before showing up at Kinneret.” Then she says, “Do me a favor?” “Don’t shoot at the cops, they’re on your side.” Hilarius then says that Jews could take on any uniform. Dr. Hilarius himself lives in a paranoid state of mind that makes him yet another unstable sense of happiness or security for Oedipa. Her solitude (or home) in Dr. Hilarius was now ruined by his personal alternate realities (135). It is hard to define the real concept of home in Oedipa’s life because for reasons seemingly beyond her control the failed state of her relationships leaves her arguably homeless. Tristero, Metzger, LSD, Mucho, Rapunzel, and Pierce Invararity have all failed her in some way leaving her alone in the pursuit of a proposed cover-up.

Historically, The Crying Lot of 49 brings up LSD as an experimental drug that represents a period of great experimentation. Rightfully so, the main character is affected by this through the use of this drug by others. This mid-60’s exploration relates common themes of music (The Paranoids) and psychiatric evaluation as a parallel to the mood of the times. The book explores home as a product of mutual experiences. Her relationship with Pierce had fallen apart before we pick up in the story. Mucho’s increased use of experimental drugs throughout the development of the novel is deteriorating her relationship with him. Her affair with Metzger leaves her no resolve or happiness. Oedipa is a destitute character, plagued with poor relationships, though not without sexual offers such as when Miles (of The Paranoids) says “Do you want to know what I think you want?” and continues later to say “I have a smooth young body………I thought you older chicks went for that.” Oedipa makes her answer very clear by declaring “You are a paranoid (28)[.]” One of many different definitions of “home” regards it as “an environment offering security and happiness.” Oedipa spends most of her time pursuing this security and happiness, never finding it with men nor the mystery she seeks to solve. This contrasts with the very explicit concept of home introduced to us in The Stepford Wives.

In The Stepford Wives, the reader is introduced to Joanna, Walter and their two kids. They fit the nuclear family model that by the 1970’s was now a common idea. They come to the suburban paradise of Stepford. This is a place where the women admire their husbands and tend to their housework expertly. Eager for a fresh start, Stepford is a beautiful community that looks to be perfect for their family. Hence, this is an alternate reality that will surely better suit their family when compared with the business of New York City. Almost from the very beginning, Joanna is suspect of this version of happiness and security, specifically with the presence of The Men’s Association. She notices that the women of Stepford tend to their work before they come over and drink coffee. This perfection is too perfect to be real. In an important conversation between Joanna and Charmaine after Charmaine has returned from a getaway with her husband and Charmaine is speaking about turning the tennis court into a putting green at her husband’s request. Charmaine says “I’m not joking………..Ed’s a pretty wonderful guy, and I’ve been lazy and selfish.” Joanna is shocked to hear this, not that she doesn’t find it admirable at first. Joanna, suspect of this change later asks, “What did he do to you?”( 80-81) If we think of this central character’s commitment to her husband as a pursuit of security and happiness in the relationship, we find it to be considerably admirable. However, a concluding observation of the novel finds us asking whether or not this version of home is truly ever possible but by the robotic replacement of women in this suburban setting. Or, more appropriately, whether or not this alternative reality could ever be successful but by an altering of humans, not homes.

The Stepford Wives falls historically in a time period of rapid growth in the second wave feminism movement. This movement has greatly affected Walter and Joanna, of whom we know to have been somehow, involved in the movement. Upon arriving in Stepford, Joanna is suspect of The Men’s Association and confides in Walter for support, support that he seemingly gives. Humorously, Walter notes that if he can’t change the Association to include women, he will march with her holding signs saying “Sex, not Sexism [.]” Walter and Joanna are seemingly content with each other from the first observations of them in the novel. They fulfill one another sexually and relationally. They seem happy and secure. But, upon arriving in Stepford in pursuit of this suburban paradise, things begin to change for them. These changes conflict with the original promise of happiness in Stepford. Similarly,Habitat for Humanity has sought to improve the lives of under privileged families through the renovation and building of descent, affordable homes (generally in suburban neighborhoods). This approach has yielded important observations about the true effect of creating alternate realities.

A recent community service day in partnership with Habitat for Humanity unfortunately showed the limits of creating happiness and security through the renovation and building of homes. Many of the Habitat homes that were worked on showed no signs of maintenance since the last visit by a volunteer group. While unfortunate, this finding bitterly shows us what can happen when a home is given to a family that, itself, does not or cannot maintain it. It doesn’t reduce the effort or value of “eliminating poverty housing” across the world. Rather, it shows us that through the creating and renovation of housing there is a strong argument that this does not inspire those that live in them to continue the maintenance necessary to make their homes secure or their lives happy. That is, if it is believed that these homes are purposed for security and happiness. Is the failed personal maintenance representative of a failed sense of security and happiness? In short, no; there is nothing that says that those that live in these homes are not happy or secure. However, the intention of creating happiness and security is failed by the fact that the creation and renovation of these homes could never really meet these demands. Rather, the creation and renovation of these homes is arguably similar to the home experiences in Oedipa’s and Joanna’s lives.

Home is very well defined to be a place of security and happiness. However, home is not the same for all and therefore homes cannot be created for all. The example of suburbia is chiefly one of alternate reality and parallel universe. These neighborhood communities could never be expected to allow the people in them to be completely content but by their own will. Many will, as Oedipa did, search for a real home and find none. Rather, there waiting will be the homes created for them. Homes with everything prepared for them, with houses built and uniform. None however, will satisfy all but through the belief that they ever could, in an alternate reality.

Home: A Question of Reality

HOME: A Question of Reality

Home is an ever changing landscape that is becoming consistently harder to define as a specific idea. The idea of home has seen tremendous change in the last 50 years. Much of this change can be seen through the consistent effort to make home a place where the realities of life’s duties are forgotten. The Stepford Wives and The Crying Lot of 49 show us different, if not, eerily contrasting views of home as an alternate reality. In addition, home is being re-defined by groups such as Habitat for Humanity which has worked since 1976 to build affordable homes for those in need. Home is for some a place of sanctuary away from the day’s work and duties; for others a never distinct place of unrest. To better understand this changing view of home, it is important to assess the change of home in the last fifty years.

In the wake of WWII, the rural and urban home experience was giving way to a new monster, suburbia. This is important in setting up the experiences represented in The Stepford Wives. Returning from WWII, suburban paradises began growing rapidly. Many remain today as a reminder of this former abundance and the process has continued with more and more neighborhoods being built. The idea is simple; build a neighborhood with no vast differences in the appearance of the homes and let families live there apart from the city and countryside in happiness and security. Homes were no longer places of living; they were being built with the intent of creating happiness after a tragic war. Suburban neighborhoods were surely capable of healing any resemblance of the former tough times. In The Crying Lot of 49 we get introduced to a character that no doubt was affected by this transition.

Oedipa Maas of The Crying Lot of 49 is made executor of her former relational interest’s estate. Along with her pursuit of carrying out the estate affairs she is left with, we learn little of her traditional home life. She is married to a disc jockey with no children and no traditional responsibilities to tend to at home. Rather, Oedipa’s pursuit of home takes her on a quest for the security and happiness she hopes to find with men. This becomes a major plotline in addition to her confusion with reality and alternate realities. She becomes curious about certain symbols and acronyms which point to a mystery she believes to be unfolding. Her frustrating journey is referenced by a portion in which Pynchon says “So began, for Oedipa, the languid, sinister blooming of the Tristero.” (54) It goes onto explain that she, Oepdipa, is up late (on the specific night in which it is referenced) with no apparent home obligation. Oedipa represents an unperceived reality. Her home takes on many forms. One of which is her relationship with Dr. Hilarius. She confides in him for information and help. This falls apart in a crucial scene in which Oedipa’s reality is once again challenged; “She could not, having no idea what Hilarius had done before showing up at Kinneret.” Then she says, “Do me a favor?” “Don’t shoot at the cops, they’re on your side.” Hilarius then says that Jews could take on any uniform. Dr. Hilarius himself lives in a paranoid state of mind that makes him yet another unstable sense of happiness or security for Oedipa. Her solitude (or home) in Dr. Hilarius was now ruined by his alternate realities (135). It is hard to define the real concept of home in Oedipa’s life because for reasons seemingly beyond her control the failed state of her relationships leaves her arguably homeless. Tristero, Metzger, LSD, Mucho, Rapunzel, and Pierce Invararity have all failed her in some way leaving her alone in the pursuit of a proposed cover-up.

Historically, The Crying Lot of 49 brings up LSD as an experimental drug that represents a period of great experimentation. Rightfully so, the main character is affected by this through the use of this drug by others. This mid-60’s exploration relates common themes of music (The Paranoids) and psychiatric evaluation as a parallel to the mood of the times. The book explores home as a product of mutual experiences. Her relationship with Pierce had fallen apart before we pick up in the story. Mucho’s increased use of experimental drugs throughout the development of the novel is deteriorating her relationship with him. Her affair with Metzger leaves her no resolve or happiness. Oedipa is a destitute character, plagued with poor relationships, though not without sexual offers such as when Miles (of The Paranoids) says “Do you want to know what I think you want?” and continues later to say “I have a smooth young body………I thought you older chicks went for that.” Oedipa makes her answer very clear by declaring “You are a paranoid (28)[.]” One of many different definitions of “home” regards it as “an environment offering security and happiness.” Oedipa spends most of her time pursuing this security and happiness, never finding it with men nor the mystery she seeks to solve. This contrasts with the very explicit concept of home introduced to us in The Stepford Wives.

In The Stepford Wives, the reader is introduced to Joanna, Walter and their two kids. They fit the nuclear family model that by the 1970’s was now a common idea. They come to the suburban paradise of Stepford. This is a place where the women admire their husbands and tend to their housework expertly. Eager for a fresh start, Stepford is a beautiful community that looks to be perfect for their family. Hence, this is an alternate reality that will surely better suit their family when compared with the business of New York City. Almost from the very beginning, Joanna is suspect of this version of happiness and security, specifically with the presence of The Men’s Association. She notices that the women of Stepford tend to their work before they come over and drink coffee. This perfection is too perfect to be real. In an important conversation between Joanna and Charmaine after Charmaine has returned from a getaway with her husband and Charmaine is speaking about turning the tennis court into a putting green at her husband’s request. Charmaine says “I’m not joking………..Ed’s a pretty wonderful guy, and I’ve been lazy and selfish.” Joanna is shocked to hear this, not that she doesn’t find it admirable at first. Joanna, suspect of this change later asks, “What did he do to you?”( 80-81) If we think of this central character’s commitment to her husband as a pursuit of security and happiness in the relationship, we find it to be considerably admirable. However, a concluding observation of the novel finds us asking whether or not this version of home is truly ever possible but by the robotic replacement of women in this suburban setting. Or, more appropriately, whether or not this alternative reality could ever be successful but by an altering of humans, not homes.

The Stepford Wives falls historically in a time period of rapid growth in the second wave feminism movement. This movement has greatly affected Walter and Joanna, of whom we know to have been somehow, involved in the movement. Upon arriving in Stepford, Joanna is suspect of The Men’s Association and confides in Walter for support, support that he seemingly gives. Humorously, Walter notes that if he can’t change the Association to include women, he will march with her holding signs saying “Sex, not Sexism [.]” Walter and Joanna are seemingly content with each other from the first observations of them in the novel. They fulfill one another sexually and relationally. They seem happy and secure. But, upon arriving in Stepford in pursuit of this suburban paradise, things begin to change for them. These changes conflict with the original promise of happiness in Stepford. Habitat for Humanity has sought to improve the lives of under privileged families through the renovation and building of descent, affordable homes. This approach has yielded important observations about the true effect of creating alternate realities.

A recent community service day in partnership with Habitat for Humanity unfortunately showed the limits of creating happiness and security through the renovation and building of homes. Many of the Habitat homes that were worked on showed no signs of maintenance since the last visit by a volunteer group. While unfortunate, this finding bitterly shows us what can happen when a home is given to a family that, itself, does not or cannot maintain it. It doesn’t reduce the effort or value of “eliminating poverty housing” across the world. Rather, it shows us that through the creating and renovation of housing there is a strong argument that this does not inspire those that live in them to continue the maintenance necessary to make their homes secure or their lives happy. That is, if we believe these homes to be purposed for security and happiness, then is the failed maintenance representative of a failed sense of security and happiness? In short, no; there is nothing that says that those that live in these homes are not happy or secure. However, the intention of creating happiness and security is failed by the fact that the creation and renovation of these homes could never really meet these demands. Rather, the creation and renovation of these homes is an alternate reality similar to those in Oedipa’s and Joanna’s lives.

Home is very well defined to be a place of security and happiness. However, home is not the same for all and therefore homes cannot be created for all. The example of suburbia is chiefly one of alternate reality and parallel universe. These neighborhood communities could never be expected to allow the people in them to be completely content but by their own will. Many will, as Oedipa did, search for a real home and find none. Rather, there waiting will be the homes created for them. Homes with everything prepared for them, with houses built and uniform. None however, will satisfy all but through the belief that they ever could, in an alternate reality.

Home: A Question of Reality

HOME: A Question of Reality

Home is an ever changing landscape that is becoming consistently harder to define as a specific idea. The idea of home has seen tremendous change in the last 50 years. Much of this change can be seen through the consistent effort to make home a place where the realities of life’s duties are forgotten. The Stepford Wives and The Crying Lot of 49 show us different, if not, eerily contrasting views of home as an alternate reality. In addition, home is being re-defined by groups such as Habitat for Humanity which has worked since 1976 to build affordable homes for those in need. Home is for some a place of sanctuary away from the day’s work and duties; for others a never distinct place of unrest. To better understand this changing view of home, it is important to assess the change of home in the last fifty years.
In the wake of WWII, the rural and urban home experience was giving way to a new monster, suburbia. This is important in setting up the experiences represented in The Stepford Wives. Returning from WWII, suburban paradises began growing rapidly. Many remain today as a reminder of this former abundance and the process has continued with more and more neighborhoods being built. The idea is simple; build a neighborhood with no vast differences in the appearance of the homes and let families live there apart from the city and countryside in happiness and security. Homes were no longer places of living; they were being built with the intent of creating happiness after a tragic war. Suburban neighborhoods were surely capable of healing any resemblance of the former tough times. In The Crying Lot of 49 we get introduced to a character that no doubt was affected by this transition.
Oedipa Maas of The Crying Lot of 49 is made executor of her former relational interest’s estate. Along with her pursuit of carrying out the estate affairs she is left with, we learn little of her traditional home life. She is married to a disc jockey with no children and no traditional responsibilities to tend to at home. Rather, Oedipa’s pursuit of home takes her on a quest for the security and happiness she hopes to find with men. This becomes a major plotline in addition to her confusion with reality and alternate realities. She becomes curious about certain symbols and acronyms which point to a mystery she believes to be unfolding. Her frustrating journey is referenced by a portion in which Pynchon says “So began, for Oedipa, the languid, sinister blooming of the Tristero.” (54) It goes onto explain that she, Oepdipa, is up late (on the specific night in which it is referenced) with no apparent home obligation. Oedipa represents an unperceived reality. Her home takes on many forms. One of which is her relationship with Dr. Hilarius. She confides in him for information and help. This falls apart in a crucial scene in which Oedipa’s reality is once again challenged; “She could not, having no idea what Hilarius had done before showing up at Kinneret.” Then she says, “Do me a favor?” “Don’t shoot at the cops, they’re on your side.” Hilarius then says that Jews could take on any uniform. Dr. Hilarius himself lives in a paranoid state of mind that makes him yet another unstable sense of happiness or security for Oedipa. Her solitude (or home) in Dr. Hilarius was now ruined by his alternate realities (135). It is hard to define the real concept of home in Oedipa’s life because for reasons seemingly beyond her control the failed state of her relationships leaves her arguably homeless. Tristero, Metzger, LSD, Mucho, Rapunzel, and Pierce Invararity have all failed her in some way leaving her alone in the pursuit of a proposed cover-up.
Historically, The Crying Lot of 49 brings up LSD as an experimental drug that represents a period of great experimentation. Rightfully so, the main character is affected by this through the use of this drug by others. This mid-60’s exploration relates common themes of music (The Paranoids) and psychiatric evaluation as a parallel to the mood of the times. The book explores home as a product of mutual experiences. Her relationship with Pierce had fallen apart before we pick up in the story. Mucho’s increased use of experimental drugs throughout the development of the novel is deteriorating her relationship with him. Her affair with Metzger leaves her no resolve or happiness. Oedipa is a destitute character, plagued with poor relationships, though not without sexual offers such as when Miles (of The Paranoids) says “Do you want to know what I think you want?” and continues later to say “I have a smooth young body………I thought you older chicks went for that.” Oedipa makes her answer very clear by declaring “You are a paranoid (28)[.]” One of many different definitions of “home” regards it as “an environment offering security and happiness.” Oedipa spends most of her time pursuing this security and happiness, never finding it with men nor the mystery she seeks to solve. This contrasts with the very explicit concept of home introduced to us in The Stepford Wives.
In The Stepford Wives, the reader is introduced to Joanna, Walter and their two kids. They fit the nuclear family model that by the 1970’s was now a common idea. They come to the suburban paradise of Stepford. This is a place where the women admire their husbands and tend to their housework expertly. Eager for a fresh start, Stepford is a beautiful community that looks to be perfect for their family. Hence, this is an alternate reality that will surely better suit their family when compared with the business of New York City. Almost from the very beginning, Joanna is suspect of this version of happiness and security, specifically with the presence of The Men’s Association. She notices that the women of Stepford tend to their work before they come over and drink coffee. This perfection is too perfect to be real. In an important conversation between Joanna and Charmaine after Charmaine has returned from a getaway with her husband and Charmaine is speaking about turning the tennis court into a putting green at her husband’s request. Charmaine says “I’m not joking………..Ed’s a pretty wonderful guy, and I’ve been lazy and selfish.” Joanna is shocked to hear this, not that she doesn’t find it admirable at first. Joanna, suspect of this change later asks, “What did he do to you?”( 80-81) If we think of this central character’s commitment to her husband as a pursuit of security and happiness in the relationship, we find it to be considerably admirable. However, a concluding observation of the novel finds us asking whether or not this version of home is truly ever possible but by the robotic replacement of women in this suburban setting. Or, more appropriately, whether or not this alternative reality could ever be successful but by an altering of humans, not homes.
The Stepford Wives falls historically in a time period of rapid growth in the second wave feminism movement. This movement has greatly affected Walter and Joanna, of whom we know to have been somehow, involved in the movement. Upon arriving in Stepford, Joanna is suspect of The Men’s Association and confides in Walter for support, support that he seemingly gives. Humorously, Walter notes that if he can’t change the Association to include women, he will march with her holding signs saying “Sex, not Sexism [.]” Walter and Joanna are seemingly content with each other from the first observations of them in the novel. They fulfill one another sexually and relationally. They seem happy and secure. But, upon arriving in Stepford in pursuit of this suburban paradise, things begin to change for them. These changes conflict with the original promise of happiness in Stepford. Habitat for Humanity has sought to improve the lives of under privileged families through the renovation and building of descent, affordable homes. This approach has yielded important observations about the true effect of creating alternate realities.
A recent community service day in partnership with Habitat for Humanity unfortunately showed the limits of creating happiness and security through the renovation and building of homes. Many of the Habitat homes that were worked on showed no signs of maintenance since the last visit by a volunteer group. While unfortunate, this finding bitterly shows us what can happen when a home is given to a family that, itself, does not or cannot maintain it. It doesn’t reduce the effort or value of “eliminating poverty housing” across the world. Rather, it shows us that through the creating and renovation of housing there is a strong argument that this does not inspire those that live in them to continue the maintenance necessary to make their homes secure or their lives happy. That is, if we believe these homes to be purposed for security and happiness, then is the failed maintenance representative of a failed sense of security and happiness? In short, no; there is nothing that says that those that live in these homes are not happy or secure. However, the intention of creating happiness and security is failed by the fact that the creation and renovation of these homes could never really meet these demands. Rather, the creation and renovation of these homes is an alternate reality similar to those in Oedipa’s and Joanna’s lives.
Home is very well defined to be a place of security and happiness. However, home is not the same for all and therefore homes cannot be created for all. The example of suburbia is chiefly one of alternate reality and parallel universe. These neighborhood communities could never be expected to allow the people in them to be completely content but by their own will. Many will, as Oedipa did, search for a real home and find none. Rather, there waiting will be the homes created for them. Homes with everything prepared for them, with houses built and uniform. None however, will satisfy all but through the belief that they ever could, in an alternate reality.

Essay #3 Final

Whore or Crazed:

Women In 1950's Film

When placing films in context to the respective time periods in which they are produced and observing the role of women as seen in these films; it is crucial to make comparisons. Splendor in the Grass, The Attack of The 50 Foot Woman, and Rear Window are three distinctly different films that produce various complex observations about women as well as yielding common themes in the role of women as seen through the lens of the 1950’s and early 1960’s. One of the main themes that emerges is this distinction between the whorish/flirtatious women and the serious/mentally unstable. In order to better understand this theme and make comparisons among the films, we must first summarize each of the films with emphasis on the two distinct types of women in them.

Splendor in the Grass (1961) is the story of young woman named Deanie Loomis and her teenage boyfriend Bud Stamper, the son of a wealthy family. It is based in the 1928, just before The Great Crash, though this doesn’t serve as the primary theme. Deanie is sexually aroused by Bud, but is torn between her sexual desires and the council of her mother who cautions that “…women don’t enjoy those sorts of things…” This serves to be the theme of what transpires as Deanie and Bud, by virtue of sexual interests and family expectation, break-up. Earlier in the film, Bud's father states that there are two types of girls and that one is more effective for "letting off steam." Inspired by this, Bud makes love with the school “flapper.” Because of this, Deanie descends into what is later regarded as an unhealthy mental state. Her sexual boundaries and securities are compromised by her loss of Bud. We see in this piece more so than in the others a distinction between the sexually promiscuous and the serious individual who "goes mad."

Attack of The 50 Foot Woman (1958) is a science fiction piece that explores the role of women as a result of a man’s infidelity. The film opens with our main character driving through the Californian desert and coming upon a large space craft whose inhabitant is a 30-foot man. Nancy Archer is a rich heiress to a large sum of money who has been married, divorced, and then re-married to her husband Harry Archer. Harry by no means is interested in much more than Nancy’s wealth and the whole town is coming to know of a rather public relationship he has developed with Honey Parker. Nancy suspects this but finds some comfort in the denial of such a relationship according to her husband. She goes out with her husband to find this monster promising to go away to a psychiatric facility if there is nothing to be found. After a long search, they do come upon this giant and his flying craft. A scared Harry runs from his wife and goes back to town to get Honey and leave. His plans are changed when the sheriff asks them to stay in town for a while as Nancy has come down with illness after being found. She begins to grow larger and the doctors are baffled by this phenomenal growth. At 50 feet tall, she goes on a rampage to find her cheating husband and in the end kills Honey, Harry, and herself leaving a wake destruction in the town.

Rear Window (1954) is foremost an exploration of voyeurism, but has deep female implications as well. Lisa is a career driven and successful woman. Her partner L.B. Jeffries is also career driven but due to injury has been confined to his apartment and purposed (by his choice) to watch his neighbors studiously. Jeffries isn’t nearly as motivated in the relationship as Lisa seems to be. Jeffries argues that it wouldn’t be the life for her to be with him on his work for the magazine and that it would kill him to stay in the city. Much of the relational brokeness is evident also in the women across in the other apartments.Their relationship is sexually and emotionally dead until suspicion of murder across the way in one apartment fuels first his, then her interests and pulls them together. She loves him and that she can be with him to take part in solving this mystery is comforting. Their broken sexual and emotional relationship is strangely satisfied in the lives of others.

In each of these films we see women who have specific freedoms and use those freedoms in polar opposite ways. We have the sexually promiscuous, whom everybody knows as such. Then we have the career driven, sophisticated, often mentally unstable woman. The sexually promiscuous seem to be “living life.” They are femme fatales, seductive and charming, and they are not without pain or heartache but they are able to somehow “match” it. Then there is the serious woman who in many ways longs to have elements of promiscuity and excitement in their relationships but these are turned off by forces beyond their control. Juanita and Jennie (Splendor…), Honey (Attack…), and the ballerina (though we learn she is marginally faithful in the end) or her aged counterpart Miss Lonelyhearts (Rear…), are all these sort of adventurous, beautiful, and “loose” women. It’s not that they are without vastly different levels of flirtatiousness, promiscuity or excitement in their lives; it is that they all have or are “living” it. Deanie (Splendor…), Nancy (Attack…), and Lisa (Rear…), are all in broken relationships and their passions are not being met in some way or another. Deanie is admitted to a mental ward to treat a condition brought on by her broken relationship; Nancy isn’t being satisfied sexually or emotionally by her husband and is heartbroken to the point of massive vengeance against him and his lover; Lisa and Jeffries are in a disconnected relationship, not just because of his injury, but also their lifestyles and this disconnect is only connected by their vested interest in the murderous life of a man across the way. These observations speak to the changing view of women in film.

Just as we had learned about a sexual revolution in the 1920’s, there was also another sexual revolution among the films of the 1950’s and early 1960's with rock and roll, cult film heroes, and broadening boundaries. This change can be seen in the films. These two types of women seem to be the commonality that unites these three films. Modernly, there is any number of different typecasts of women with any number of emotional outcomes to their respective lifestyles. The women of 1950’s film had significant freedoms but were all resolved to act in specific roles and their sexual choices, career, and lifestyles were a result of their decisions in the films. These three films don’t show us what their lives were like thirty years from the times depicted in the films, with the exception of Miss Lonelyhearts. Miss Lonelyhearts is the closest we come to seeing a potential change of life in an aged version of a woman who once knew some sort of happy life. She is shown to be a woman of drunkenness, failed relationships, and suicidal yearnings.

The two distinct women of the 1950’s film are bonded by their freedoms, confusion and placed accordingly as either whorish/flirtatious or serious/mentally unstable. These stereotypes are re-enforced in the films by the characters shown (i.e. Nancy v. Honey). This distinction helps us better inform our understanding of the role of women in this period of time. Modernly, we are seeing these two extremes broken down, but these films remain a staple of a time when these two distinct types of women were represented as such in film and presumably in 1950's and early 1960's culture.

Essay #3

Whore or Crazed: Women In 1950's Film

When placing films in context to the specific, respective time periods in which they are produced and investigating the role of women as seen in these films; it is crucial to make comparisons. Splendor in the Grass, The Attack of The 50 Foot Woman, and Rear Window are three distinctly different films that produce multiple observations about the role of women as well as yielding common themes in the role of women as seen through the lens of the 1950’s and early 1960’s. In order to better understand these themes and make comparisons we must first summarize each of the respective films with emphasis on the two distinct types of women in them.
Splendor in the Grass (1961) is the story of young woman named Deanie Loomis and her teenage boyfriend Bud Stamper, the son of a wealthy family. It is based in the late 1920’s just before The Great Crash, though this doesn’t serve as the primary theme. Deanie is sexually attracted and motivated but is torn between her desires and the council of her mother who cautions that “…women don’t enjoy those sorts of things…” This serves to be the theme of what transpires as Deanie and Bud, by virtue of sexual interests and family expectation, break-up. Bud makes love with the school “flapper,” and Deanie descends into what is later regarded as an unhealthy mental state. Her sexual boundaries and securities are compromised by her falling out with Bud. We see in this piece more so than in the others a distinction between the sexually promiscuous and the insecure.
Attack of The 50 Foot Woman (1958) is a science fiction piece that explores the role of women as a result of a man’s infidelity. The film opens with our main character driving through the Californian desert and coming upon a large space craft whose inhabitant is a 30-foot man. Nancy Archer is a rich heiress to a large sum of money who has been married, divorced, and then re-married to her husband Harry Archer. Harry by no means is interested in much more than Nancy’s wealth and the whole town is coming to know of a rather public relationship he has developed with Honey Parker. Nancy suspects this but finds some comfort in the denial of such a relationship according to her husband. She goes out with her husband to find this monster promising to go to the “crazy house” if there is nothing to be found. They do come upon this being and Harry runs from his wife and goes back to town to get honey and leave. His plans are changed when the sheriff asks them to stay in town for a while as Nancy has come down with illness after being found. She begins to grow larger and the doctors are baffled by this phenomenal growth. She goes on a rampage to find her cheating husband and in the end kills Honey, Harry, and herself leaving a wake destruction in her path.
Rear Window (1954) is an exploration of voyeurism but has deep female implications as well. Lisa is a career driven and successful woman. Her partner L.B. Jeffries is also career driven but due to injury has been confined to his apartment and purposed to watch his neighbors studiously. Jeffries isn’t nearly as motivated in the relationship as Lisa seems to be. Jeffries argues that it wouldn’t be the life for her to be with him on his work for the magazine and that it would kill him to stay in the city. Their relationship is legitimately broken until suspicion of murder across the way in one apartment fuels first his, then her interests and pulls them together. She loves him and that she can be with him to take part in solving this mystery is comforting.
In each of these films we see women who have specific freedoms and use those freedoms in polar opposite ways. We have the sexually promiscuous, whom everybody knows as such. Then we have the career driven, sophisticated, often crazily depicted woman. The sexually promiscuous seem to be “living life.” They are femme fatales, seductive and charming, and they are not without pain or heartache but they are able to somehow “match” it. Then the serious woman who in many ways longs to have elements of promiscuity and excitement in their relationships but these are turned off by forces beyond their control. Juanita and Jennie (Splendor…), Honey (Attack…), and the ballerina or her aged counterpart Miss Lonelyhearts (Rear…), are all these sort of adventurous, beautiful, and “loose” women. It’s not that they are without vastly different levels of flirtatiousness, promiscuity or excitement in their lives; it is that they all have or are “living” it. Deanie (Splendor…), Nancy (Attack…), and Lisa (Rear…), are all in broken relationships and their passions are not being met in some way or another. Deanie is admitted to a mental ward to treat a condition brought on by her broken relationship; Nancy isn’t being satisfied sexually or emotionally by her husband and is heartbroken to the point of massive vengeance against him and his lover; Lisa and Jeffries are in a disconnected relationship, not just because of injury, but also lifestyles and this disconnect is only connected by their vested interest in the murderous life of a man across the way.
Just as we had learned about a sexual revolution in the 1920’s, there was also another sexual revolution among the youth of the 1950’s and early who with rock and roll, cult film heroes, and broadening boundaries were re-discovering themselves. This change was also being seen in the films. These two distinct types of women were emerging as the norm, with one morally being the better and the other adventurously being the better. Now, there is any number of different styles of women with any number of emotional outcomes to their respective lifestyles. The women of 1950’s film had significant freedoms but were all resolved to act in specific roles and their sexual, career, and lifestyles were a result of their decisions. These three films don’t show us what their lives were like thirty years from the times depicted in the films, with the exception of Miss Lonelyhearts. Miss Lonelyhearts is the closest we come to seeing a potential change of life in an aged version of a woman who once knew some sort of happy life. She is shown to be a woman of drunkenness, failed relationship, and suicidal yearnings. The two distinct women of the 1950’s film are free, confused and placed into the framework societies from one extreme of lifestyle to another with no particular place somewhere in the middle.

A Comparison (synthesis week #5)

The Children's Hour the play and the film are two distinctly different pieces. A play has to use space sparingly, whereas a film is far less restricted by this space. In the play our characters are left to imagination, in the film these characters are decided for the viewer. What makes this important is that in order to respond to the 1961 film version appropriately, the viewer needs to know its subject. The innuendos of the play are far less regarded than the innuendos of the in the film by virtue of the visual representation. A written play leaves much to dialogue and it is the actors goal to highlight and omit according to the dialogue. The suicides also appear far differently, purely for cinematic response.

Synthesis Week #4

Great Depression

This video is meant to show images of the Great Depression and relate it to today. It is a political thought provoker in addition to being of educational importance. The song playing in the background is inspired by the blues of the time and reflects on tough times. The rough recording sound is intended to sound less produced and more accurately reflect the music of the times. The voice intentionally sounds rusty and bold and is accompanied by a bluesy guitar riff.

The Link: http://www.youtube.com/watch?v=wuQWxgMgfUM

Lyrics:

Lord, these times have been tough on all of us
I said Lord, these times have been tough on all of us

And I don't want to give you no confidence
I don't want give you no hope that ev'rythings a'gonna be alright

Don't take these false impressions out of context
Don't put your own ommitted statement in the blank
Don't think your Bad 'cause you do whattchah gotta do to survive
Don't give yourself false confidence