GWSS Spring 2008 Section B

Dear Jimmy,
I’m sorry I left without saying goodbye. The diner and Arkansas made me feel trapped, alone and unhappy, so I needed to escape to the open road, to think and feel free. More importantly, I needed to do something out of the ordinary, something different from my daily routine. The road has been a freeing and uplifting experience through life, death and rebirth. I never thought that the crisp, clean air of the dessert would make me feel so alive and free. The open road makes me forget about the past and what I have done. I forgot about my purpose on the road through the incident at the truck stop, but it also forced me to find myself and realize what it important and why I am on the road with Thelma. The two of us are having a great time getting wrapped up in our newly found freedom, but I have to ask myself if this is what we should be doing. Should two women run off, alone, to find something they don’t even know exists?
Love, Louise

Posted by tennischica at 9:33 PM | Permalink | Comments (0) | TrackBacks (0)

Dear Jimmy,
I’m sorry I left without saying goodbye. The diner and Arkansas made me feel trapped, alone and unhappy, so I needed to escape to the open road, to think and feel free. More importantly, I needed to do something out of the ordinary, something different from my daily routine. The road has been a freeing and uplifting experience through life, death and rebirth. I never thought that the crisp, clean air of the dessert would make me feel so alive and free. The open road makes me forget about the past and what I have done. I forgot about my purpose on the road through the incident at the truck stop, but it also forced me to find myself and realize what it important and why I am on the road with Thelma. The two of us are having a great time getting wrapped up in our newly found freedom, but I have to ask myself if this is what we should be doing. Should two women run off, alone, to find something they don’t even know exists?
Love, Louise

Posted by tennischica at 9:29 PM | Permalink | Comments (0) | TrackBacks (0)

Alvin Straight finds himself on this journey to visit his brother. As a man of his age one would think that he already knows who he is, and most people are set in their ways by the time they reach old age. Alvin on the other hand found out many things about himself. Simply the fact that he HAD to drive all the way there on his own, which meant it had to be on a lawn-mower was a great show of pride. But also it seemed as if maybe he never dealt with a lot of the pain in his life. During the encounter with the young girl we got to know a lot of his background about his family and their rural lifestyle. Then what was most suprising for me was that he shared his stories from the war with the other older man in the bar. He clearly is bothered by these memories every day of his life and it seemed as if he almost maybe got a sense of closure, or accepted what had happened for the first time. Alvin Straight definitely found himself on this journey.

Posted by Holly Golightly at 11:18 AM | Permalink | Comments (0) | TrackBacks (0)

Alvin Straight finds himself on this journey to visit his brother. As a man of his age one would think that he already knows who he is, and most people are set in their ways by the time they reach old age. Alvin on the other hand found out many things about himself. Simply the fact that he HAD to drive all the way there on his own, which meant it had to be on a lawn-mower was a great show of pride. But also it seemed as if maybe he never dealt with a lot of the pain in his life. During the encounter with the young girl we got to know a lot of his background about his family and their rural lifestyle. Then what was most suprising for me was that he shared his stories from the war with the other older man in the bar. He clearly is bothered by these memories every day of his life and it seemed as if he almost maybe got a sense of closure, or accepted what had happened for the first time. Alvin Straight definitely found himself on this journey.

Posted by Holly Golightly at 11:18 AM | Permalink | Comments (0) | TrackBacks (0)

The rural road operates as a space for realization, revelation and actualization because it is the road that started everything, it is the origin of the road, the closest thing to the beginning of time, the start of the people, a place of simplicity, a place to think, and a place of originality. All of these things the road represents allows one to take part in realixation, revelation and actualization due to the simple, quiet and original place that allows people to think and focus on them and their beautiful surroundings created by Mother Earth. The landcape in Straight Story affects the story because Alvin's journey on the rural road allows Alvin to realize how he has been stubborn with his brother. The rural road also allows Alvin to have a revelation when it comes to the importance of his family and how you should tell your family that you appreciate and love them everyday. Alvins journey on the rural road not only allows his to realize, revelate and actualize his situation, but it allows him to "become". "Become a new person, a more positive person, a more loving person. The rural road is responsible for all of this. A new beginning rather than an escape.

Posted by tennischica at 4:58 PM | Permalink | Comments (0) | TrackBacks (0)

The road Alvin Straight travels is a slow-moving rural road, not noticeably affected by urban life. While many of the folks he meets along the road stop and stare at first, they are hospitable and never hostile. If this were an urban road, people would be hesitant to welcome him and would instead see him as an oddity. Alvin is determined to remain self-sufficient during his travels, as if this journey is one reminding him of his independence. All those that meet him learn from him, from the pregnant teenager who returns to her family to his brother who realizes the significance of Alvin's visit when he sees he drove all the way on a lawnmower. The country road Straight rides down is comfortable and safe without fear of others, while sometimes dangerous in that he is aging and increasingly feeble. When Straight finally arrives at his reunion with his brother, his trial with himself is complete and we know that he can return home an accomplished and wizened man.

Posted by Pumpkin at 8:10 PM | Permalink | Comments (0) | TrackBacks (0)

The road Alvin Straight travels is a slow-moving rural road, not noticeably affected by urban life. While many of the folks he meets along the road stop and stare at first, they are hospitable and never hostile. If this were an urban road, people would be hesitant to welcome him and would instead see him as an oddity. Alvin is determined to remain self-sufficient during his travels, as if this journey is one reminding him of his independence. All those that meet him learn from him, from the pregnant teenager who returns to her family to his brother who realizes the significance of Alvin's visit when he sees he drove all the way on a lawnmower. The country road Straight rides down is comfortable and safe without fear of others, while sometimes dangerous in that he is aging and increasingly feeble. When Straight finally arrives at his reunion with his brother, his trial with himself is complete and we know that he can return home an accomplished and wizened man.

Posted by Pumpkin at 8:10 PM | Permalink | Comments (0) | TrackBacks (0)

During his journey Straight thrives for and enjoys the simplicity of life, he is simply on a journey to become in touch with himself, to reconnect with the road. The road to him is familiarity he is not in search of becoming or finding himself but to be reunited with an old comfort of his. The rural road represent comfort for him. With age starting to creap up on him, his physical state starting to slowly deteriorate and his brother being ill he simply wants to once again connect himself with a road that once represented youth. When he stops off of the road in a town and talks with two young men he mentions to them the importance of youth and to be able to appreciate what they have. He uses the road to be one with himself but allows himself to engage with others along the way and express emotion unlike the lead female road in Vagabond who used the road in an attempt to escape past, focusing on not having emotional attachment to those that she comes into contact with.

His becoming represented once again becoming himself a man who spent time traveling and being rebellious and adventurous during his youth. When he tractor breaks go out and he is forced to spend the night at a couple's house they insist to help him reach his destination although he refuses. In order to once again be reconnected with his inner self, his youth he must complete the journey alone with as little help as possible. He knows that he still has strength of mind and heart and that will allow him to complete his journey in reaching his brother.

Posted by Megatron at 4:30 PM | Permalink | Comments (0) | TrackBacks (0)

Seeing as Alvin never leaves the rural area, this gives him a wider space to grow. It seems that within the limitations of the city, one can only change their mindset and paths so much, whereas on the open road, the body and soul can expand virtually indefinitely. To me, the rural setting would pave the way for a much deeper growth and reflection than city streets. We see this in Alvin, who learns more about himself in meeting other people, than he ever expected. He learns that he has struggled and striven but can prevail each and every time. This is more acceptable in a rural setting and easier than on city streets.

Posted by Alexandra Goldman at 2:27 PM | Permalink | Comments (0) | TrackBacks (0)

Seeing as Alvin never leaves the rural area, this gives him a wider space to grow. It seems that within the limitations of the city, one can only change their mindset and paths so much, whereas on the open road, the body and soul can expand virtually indefinitely. To me, the rural setting would pave the way for a much deeper growth and reflection than city streets. We see this in Alvin, who learns more about himself in meeting other people, than he ever expected. He learns that he has struggled and striven but can prevail each and every time. This is more acceptable in a rural setting and easier than on city streets.

Posted by Alexandra Goldman at 2:27 PM | Permalink | Comments (0) | TrackBacks (0)

Seeing as Alvin never leaves the rural area, this gives him a wider space to grow. It seems that within the limitations of the city, one can only change their mindset and paths so much, whereas on the open road, the body and soul can expand virtually indefinitely. To me, the rural setting would pave the way for a much deeper growth and reflection than city streets. We see this in Alvin, who learns more about himself in meeting other people, than he ever expected. He learns that he has struggled and striven but can prevail each and every time. This is more acceptable in a rural setting and easier than on city streets.

Posted by Alexandra Goldman at 2:27 PM | Permalink | Comments (0) | TrackBacks (0)

Seeing as Alvin never leaves the rural area, this gives him a wider space to grow. It seems that within the limitations of the city, one can only change their mindset and paths so much, whereas on the open road, the body and soul can expand virtually indefinitely. To me, the rural setting would pave the way for a much deeper growth and reflection than city streets. We see this in Alvin, who learns more about himself in meeting other people, than he ever expected. He learns that he has struggled and striven but can prevail each and every time. This is more acceptable in a rural setting and easier than on city streets.

Posted by Alexandra Goldman at 2:27 PM | Permalink | Comments (0) | TrackBacks (0)

In this film, Alvin Straight is not out on the road to find himself or lose his past, but to find out exactly who he is and what this world has to offer for him. He is not leaving behind his daughter because of her handicap or his friends because they might be too nosy, he is leaving because he has issues in the past that he feels he needs to address. Not only does he leave to see his brother and make amends, but to enjoy the silence of the rural road and think about his life. Issues that come up when on the road are mainly war-related for him as he fought in WW2 and has distinct memories of terrible times. These times shaped him in the film and gave him the personality that got him out of at least fifty bucks for lawnmower repair.
Because this road is in the country and not on a freeway in the middle of the desert, it creates more of a sense of home. It makes Alvin feel like he is never truly leaving home, but just going to a different area of it. It is less chaotic and intense and allows his mind to flow freely and think about his past and what he's doing with his life while not having to worry about cars hitting him at mad speeds. Not only that, but because he takes his time on the mower, it gives him even more time and he basically is strolling his way to his brother. Different atmosphere's create different feelings that can allow for different thoughts, and this is the case for Alvin. His life has a couple loose ends and by going on this trip, not only did he tie them up, but he discovered why he is the way he is and realized more about himself; a perfect way to close up a long life. I'm not saying he's dying or dead, I'm just saying he's old and most likely near the end of his life.

Posted by ZoraMonkey at 12:41 PM | Permalink | Comments (0) | TrackBacks (0)

What makes this film so much different from is others is the fact that Alvin did not leave his home in order to find a part of himself. He had no goal other than reaching his brother. I think that this made him much more susceptible to change and growth because he wasn't expecting it. He was open to anything. He lived a very humble life and was not oppressed in any way. There was no power figure looming over him and threatening to take anything away from him. The people who he encountered sparked emotions and memories from him that he hadn't expected to comfort, but he seemed ready to. This mostly happened around a campfire. What was similar to the other films is that the main characters are in nature when many periods of actualization and growth occur. He never felt threatened or afraid.

Posted by releasethekraken at 12:26 PM | Permalink | Comments (0) | TrackBacks (0)

https://www1.webvista.umn.edu/webt/cobaltMainFrame.dowebct

Posted by muen0036 at 12:07 PM | Permalink | Comments (0) | TrackBacks (0)

In the film Straight Story Alvin Straight is moving towards something that he's been avoiding, rather than running away from something. With this fact, paired with the idea that his journey takes place in rural America, Alvin is able to become something and transcend certain ideals he had before his journey. Alvin is going to visit his brother who has just suffered a stroke, he hasn't spoken to his brother in over 10 years but feels the responsibility to mend things from their pasts. Alvin is unable to drive a car because he has no license so he develops a plan, to drive across the Midwest on his lawn mower. Alvin hits a few bumps in the road, has a few problems along the way, but through those problems he is able to meet individuals who help him 'become' what he needs to be when he sees his brother.

Unlike the other films that we have seen in this class, Straight Story is more a journey of going somewhere with the intention to return back to where they started, Alvin was going to mend something with his brother, and then return to his home. He wasn't looking to conquer anything huge, but to mend something, and through his journey he was able to slowly develop more a sense of self and ultimately he was able to reconnect with his brother.

Posted by cici at 11:23 AM | Permalink | Comments (0) | TrackBacks (0)

Alvin Straight is not trying to leave behind his family, friends, or town. He decided to embark on a journey to rediscover his relationship with his brother. By taking a journey through Midwestern states, he encounters many people that contribute to his realization of mistakes and hardships that he has suffered throughout his life. When Alvin meets the young woman who is running away from home, his advice to her is actually a memory that serves to help both the young woman and Alvin to realize the importance of family and causes both characters to reflect on their family situations. Alvin, through his interactions with others, begins a self-reflection that becomes the mobilizing force behind his journey. As he realizes the lessons from his life by sharing his experiences with others, Alvin becomes connected to his past and prepared to become the man that could have resulted from his experiences. The rural road is an essential part of Alvin's journey, because he is not leaving his element, or habitat. Alvin is reflecting on his life in a rural area, not attempting to change his life and travel to an urban area. Only through the land that he grew up and learned lessons in could he continue to reflect on those lessons and become the person that his life had prepared him to be.

Posted by Miss Blog at 11:23 AM | Permalink | Comments (0) | TrackBacks (0)

The representation of the rural in Straight Story functions as a space for Straight to be honest and encounter honesty. Rural America, particularly the Midwest, is seen (and is, to an extent) as a place where people live without the burden of urban problems like serious crime and poverty. While people may be poor, the rural as it is represented in films is a more calm and stable sense of lower and working class economic status. So, in Straight Story, the rural road is place for Straight to confront losses in his life that go beyond the economic. His income level serves the narrative to create a certain type of road trip – one where he lives simply and thrives off of his kindness and the kindness of others – very Midwestern. He embarks on his drive to seek honesty and reconciliation with his brother, and along the way encounters honesty and reconciliation with his past. Through the sense of community present in the areas that he’s traveling (everyone knows the land and probably has a relative somewhere he’s going or has been), he creates bonds with people based on universal commonalities. Kinship takes on a more complex meaning in Straight story, as Straight meets and connects with people who don’t appear to have much in common with him except living in the rural Midwest. Specifically in the cases of the young woman at the beginning and the older man in the last town, Straight’s connections are based on his ability to see below to surface to what they can share and how they’re experiences are parallel. He brings all of these people along on his journey, asking each of them to explore the option of honesty with him and with their families. And his age and mode of transportation instill trust in the people he meets, allowing them to stop and engage with him while they might pass or avoid others.

Posted by Jenny at 10:55 AM | Permalink | Comments (0) | TrackBacks (0)

(no category for The Straight Story)

For Alvin Straight, the long road from western Iowa to Wisconsin was, like in all road movies, an exercise in personal growth and understanding. But, a major difference between this road story and the others in the genre, is that our protagonist, Alvin, is near the end of his life and because of this, he has the ability to put things in perspective in a way that all the other travelers we have encountered could not do.

Alvin had a very full life -- grew up working hard on a farm, fought in WWII, developed a drinking problem, married with a large family (half of whom didn't make it), learned patience and compassion in raising his developmentally delayed daughter (who had her children removed by the state unjustly because of someone else's mistake), etc. He had many experiences that could have (and probably would have) made most men quite bitter (and maybe he was in his younger days), but whatever bitterness that may have existed was quite tempered by the time we are introduced to Alvin. Because he has lived so long and seen so much, Alvin developed the ability to put things in their proper perspective and to let go -- the hardships are not what is important in life, but the connections that we make with other people, and one's family is the most important connection of all.

It is this philosophy that spurs Alvin on the road -- since family is the most important thing, he must travel (on his own terms) to repair the relationship with his estranged brother (with whom he was so close growing up). He takes to the open roads of Iowa. Along the way, Alvin meets many different characters to whom he listens empathetically and usually imparts a little bit of his wisdom. People seem to not be afraid to approach Alvin -- he's a kind, eccentric old man on a lawn mower who walks with two canes -- how dangerous could this man be? And after talking to Alvin, the lives of those he has touched are changed forever.

As he listens to their stories, Alvin is reminded of his own experiences and how far he has come (and has yet to go) in his own journey. Thus, by listening and sharing his family-centric philosophy, Alvin is finding commonality in possessing similar regrets, and shedding his guilt for his past mistakes by imparting a little bit of his wisdom, and both parties grow as a result. Thus, this tale is not just about his journey, but about how he is touched by and how he touches other people's lives. And that is what separates this tale from all others we have seen (in this class, at least), is how Alvin's twilight philosophical perspective on the road positively changes both Alvin and those around him.

Posted by Sweeper887 at 10:54 AM | Permalink | Comments (0) | TrackBacks (0)

Straight’s journey is different from other journeys (Easy Rider, Vagabond) because he is not leaving/running away from anything or anyone. Alvin is actually going towards something that he has been avoiding for years. Early in his journey he admits that he is really trying to suppress his pride. He has been avoiding his brother for years after having an unforgettable exchange of words last time they saw each other. Alvin is facing his brother, therefore he is not leaving something behind. Alvin confesses to an elderly man about his age at a bar regarding his drinking problem years back during the war. He said that he use to abuse alcohol and that he use to be really mean. He told the pregnant teenager that family relationships could not be easily broken (one branch can be easily broken but not when you have a bundle). Realizing the person that he use to be and how much he has changed and wants to change fueled his motivation to find his brother. Lessons that he taught others, he was also teaching himself. Other films seen in class were more about leaving the bad behind and finding something new, a place to start over (Thelma and Louise), or teaching others to avoid the dark past that one has experienced (Searching for Angela Shelton). Alvin Straight got a lot more than he was expecting, but that opened him up to all the kindness (or forgiveness) there was out there.

Posted by Lulu at 10:45 AM | Permalink | Comments (0) | TrackBacks (0)

In "The Straight Story" the road acts as a space for realization, revelation, and actualization in many ways that we have not seen before. The first and most obvious difference is how slow the movie moves. The movie is very long and slow moving with few fasted paced scenes. The fact that Alvin is riding a lawn mower emphasizes this concept of "slow motion". In many of the other road films, we have seen loud, busy, and speeding vehicles racing to reach their location. Alvin on his riding lawn mower doesn't have the option to go fast, except on the down hill with the use of the natural terrain. Another difference is that Alvin is exposed to the air, atmosphere, and the world around him. Unlike the other films he is not surrounded by safety of his car, van, or bus. The weather becomes the enemy it is the only thing that seems t be against him for the bulk of the film. Alvin is a minor detail in the rural terrain of the county. He is on his small, slow moving vehicle being passed by huge open fields, large semis, a large group of bikers, and the long endless road. Along the way Alvin is greeted by people who are willing to help, they are comforting and eager to help Alvin in any way that he wants. He connects with the people that he meets along the way and forms decent relationships, each showing him new things about himself. Alvin doesn't let the small stuff bring him down, he continues on hsi journey even when things are tough.

Posted by littlegreenapples at 10:44 AM | Permalink | Comments (0) | TrackBacks (0)

It was clear in the beginning that the rural area operates as a space for actualization, realization, and revelation, in other ways that we have not seen in the other road films during the course. The Straight Story is very different from other road films in this course. In most of these films we see a struggle of money somewhere in the plot. It was filled with many scenes with different people Alvin helps out, and the people that help him, but the difference is that this story line was not packed with fast happening drama. It was not as fast happening scenes like in Easy Rider, Thelma & Louise, or Set it Off. Instead, it showed a different slower side in developing the plot.
Alvin goes on the road for 6 weeks on his lawn mower, with that he has revelations while other characters in the film he helps out also reveals to the audiences not take life for granted because there are others that may be having greater difficulty in the rural life. While in the film, Thelma & Louise, it showed that these women left their homes with the help of each other through their trip only and just living life. Alvin, realizing on his brother's shock of his stroke makes him understand clearly to make things better with his brother, Lyle. As for, Set it Off, the characters in this urban community seems to not have an understanding in the end and end up making the wrong decision when they choose to rob one more bank. The actualization of this film was that Alvin showed the characteristics of the rural community going from Iowa's rural area to Wisconsin's rural area, as most of the other films in this class did not show this community.

Posted by tranx246 at 10:39 AM | Permalink | Comments (0) | TrackBacks (0)

Alvin Straight's journey is very similar yet very different from most road trips. He took to the road with a purpose, as many people do. The purpose being that his brother was in very poor health, and his was deteriorating. In order to find peace in his last times on Earth, it was most important for him to embark on this rural journey, just him and his lawnmower. He is determined to travel alone from the beginning, which is symbolic to his desire for inner peace in relations to his brother and finding peace in the world around him. The rural roads allow him to be truly alone for the majority of the trip. This trip is also one of the longer trips that we witness, due to the speed capacity on the lawnmower and the distance he is traveling. He is a brave old man who needed to reconcile his past and he did so once he sat on his brother's porch with him.

Posted by believer. at 10:38 AM | Permalink | Comments (0) | TrackBacks (0)

The rural space in The Straight Story offers some revelation and self realization in similar ways to Thelma and Louise. The open rural area isn't confined. It isn't oppressive, constrained, or privy to societal terms. In the rural space, it is just Alvin, his thoughts, and his companions. In Set it Off, we see the women succumbing to the urban landscape. It has an oppressive feel, and doesn't allow for any means of escape. Except the person who DOES escape, makes it to rural Mexico. In Woman On a Motorcycle and Easy Rider, we see the rural space as a place for thought. Alvin definitely has plenty of time for thought, but unlike WOAM, these thoughts don't seem to be counter productive. Alvin's journal is the most positive, revealing, and cathartic of the road films, except possibly for Little Miss Sunshine, which doesn't always stay in the realm of the rural. Alvin is allowed to grieve, change, and forgive himself.

Posted by tris0020 at 10:32 AM | Permalink | Comments (0) | TrackBacks (0)

In many of the films that we have seen the main characters were traveling between an urban and a rural environment. In this film, however, we see something entirely different. This man, already in a rural environment, stays in a rural environment and is given a chance to explore himself within the context of his own life. In films that have an urban/rural adventure there is a creation of a new self, leaving behind of the urban self and a discoverance of a more truthful and spiritually connected self. This rural to rural travel is very different because instead of a new self, Alvin spends his time in examination of self. He looks at the stars at night and recalls his brother, he recalls the war with another veteran and he even talks of family to a young runaway. Through these events his self is revealed to him, not replacing his old self but merely revealing to him that which he once knew but had forgotten. It is through this rural road that he is able to accomplish the inward travel necessary for him to become a more full version of Alvin Straight.

Posted by ninjasecret at 10:11 AM | Permalink | Comments (0) | TrackBacks (0)

I think Alvin's journey is similar to other films we have viewed in the sense that it is a road movie about self-realization, and how Alvin embarks on this journey to find peace and closure within himself and his relationship with his brother. Alvin decides to hit the road after he begins to realize that his health is detereorating, as his brother's probably is as well, and he needs to resolve things between them before it's too late. His journey is more about self-resolution than self-discovery. Through his rural journey, he never really leaves the peacefulness of the country, although he does encounter other familiarities of city life, like the "Bambicide" he witnesses, or the controlled burning of an abandoned house. He remains focused and determined to finish his journey alone, despite the pleas of people from his daughterto the people he meets along the way. He knows that this journey is for himself and himself alone, and that is how he must continue and subsequently finish the trip. However, I think that as much as the road shapes Alvin, he also enhances the lives of those he meets. From the runaway that he convinces to go home, to the twin brothers with whom he talks about brotherhood, Alvin helps others discover things about themselves as he encounters them on his journey. Alvin helps the road as much as the road helped him.

Posted by KoreanPrincss at 9:35 AM | Permalink | Comments (0) | TrackBacks (0)

Unlike the other roads we have encountered in other films, the road that Straight travels is a constant and unchanging one. Remaining in a rural space on the road causes the personal journey to be driven by those he meets, not by a dramatic change in landscape. Hailing from a rural community myself, I have to say that this was quite boring for me. I even caught them reusing shots in different montages. There was literally No change in the environment. This allowed the characters and Straight himself to be the drive to his self change. This is similar to other movies we watched, but the environment had a larger impact. Vagabond, for example, is about a woman who travels and is changed by the people and types of scenery she encounters. In Easy Rider, two men are running from a specific landscape to another, so the environment drives their action. Straight in A Straight Story is on a self driven journey.

Posted by Courtney at 8:49 AM | Permalink | Comments (0) | TrackBacks (0)

I think that the road in Straight's story is different because of the people he meets. Also it is a rural road and this is different in terms of the roads we have seen in other movies. Alvin is country-folk and he is traveling on a road through other small towns in the midwest. This is unlike other movies that we have seen because in many cases the characters are city-folk traveling through rural country. So essentially what we are seeing in Straight's Story is the same type of people meeting on the road. Everyone that he meets on the road understands his way of life and he understands them. Also as he is traveling he ends up meeting people who are curious about where he is going and why. We start to find out a little bit of the background about Alvin and the places he has been in life. He's able to use his life experiences to explain things to other people. He has this quality about him that makes the people he meets drawn to him and they genuinely like him. In the other road movies that we have seen, the characters are usually likeable enough but they always seem to have qualities that turn people off as well. Alvin really doesn't have that quality about him and I think the reason for this is because the people he meets can relate to the things that he's been through because they are all from the same background.

Posted by Irelandfanatic at 8:33 AM | Permalink | Comments (0) | TrackBacks (0)

From the relaxing strumming of a fiddle to the slow moving imagery of the midwest, it is easy to notice how the film Straight Story is a road film much different from any other road film we have watched in class before. The rural scene which is never left, like in most road films, provides the context for Alvin to experience his revelation of how important family means to him. Alvin leaves on his journey with a goal and knowing exactly how it must be done. He is not running away from someone or something, he is not unsatisfied with his life, he does not experience people who are unexcepting of him on the road. In fact, it is the exact opposite, Alvin receives a great amount of respect from the people he meets on the road. Everyone sees Alvin for exactly who he is, a man set out to complete a journey his own way on his own terms. I think the rural road allows for this realization, revelation, and actualization because it allows room for all to travel on the road regardless of socioecnonmic status but dependent on skill. There is also nothing rushing a traveler on the rural road, each individual can take however much time they need to complete the journey their way. With the freedom from judgement that comes with the rural road a person can find themselves on the road and not just a geographical location, they can find where they belong on the road of life and who they really are.

Posted by Gertrude at 8:20 AM | Permalink | Comments (0) | TrackBacks (0)

As Alvin Straight drives his lawn tractor across Iowa's rural roads, the rural road becomes a place where he and those around him reexamine themselves and achieve things they perhaps had not thought to do before. Alvin himself embarks on the trip after turning down offers of help and suggestions of ways to make his journey easier, saying that he has to make the trip his way (his way being by driving a vehicle not made for that type of long-distance journey and sleeping in a trailer made of an armoire). As he interacts with others on the road, his journey opens the door for him to impart wisdom and share memories--by leaving his comfort zone for the open road, Alvin likewise leaves some of his inhibitions; he talks about his family to the young pregnant runaway (who then realizes she should return to her family), his painful war memories with another veteran, and so on. He leaves his home as a stubborn old man who hasn't spoken to his brother in a decade and arrives at his brother's house as a man who wants nothing more than to repair his relationship with his brother (and when Alvin thinks Lyle may not be home, he looks almost defeated--the whole journey prepared him for the moment of reunion, and he may be denied that at the very end of the road).

Posted by ristee at 8:20 AM | Permalink | Comments (0) | TrackBacks (0)

In Straight Story, Alvin Straight travels on a rural road. This provides a unique type of road that leads to a new understanding of his own identity. I think that one of the main differences in this road from most of the other roads we’ve seen is that it is quiet and empty. The film showed a solitary character making this quiet, yet significant journey and I think that this emphasized the importance of self-reflection. Alvin was able to think about his life and put things in order on his own. It seems that it represents the ability to find one’s self independently, without the influence of other people, which could be seen as the ultimate understanding of your identity. The quietness, the solitude and the slow pace of traveling on a lawnmower all emphasize the independence of the main character. The film seems to tell us that the noise and the hustle and bustle of city-life can cloud our views of ourselves, and we lose our identity when we are surrounded by so much activity and people. When you take that away, you are left with all that you are, whether that is good or bad.

Posted by Beyonce at 8:15 AM | Permalink | Comments (0) | TrackBacks (0)

so during a "seriously? Lynch directed this?" moment i went to wikipedia and found out it's based on a true story. not that that's relevant at all, but i thought it was neat. well. it's kind of relevant in that it wasnt a creative decision for the writer to make it a narrative in which our protagonist technically leaves nothing behind, it was just factual. but for the purposes of the class I can ignore that.
anyway. I guess you could say that by staying within the area instead of escaping it, he roams his own inner workings, whereas in our other films the protagonists journey away and gain from their experience with others. If we were experiencing this movie from the prospective from say, the pregnant teenager in the film, I think it would fit right in with the other films we've watched. when Alvin speaks to the other characters, I dont think he's realizing all these things, I think he's coming to terms with the things he already knows. He has nothing to prove, nothing to run away from, and he's just chock full of that old man wisdom. So while he's dishing it out he reflects on it in the context of his present situation and learns from himself.

Posted by Bob Dole at 1:35 AM | Permalink | Comments (0) | TrackBacks (0)

From the initial sequence, Straight Story makes it clear that the film will focus on the “small� or rural by moving from a shot of the cosmic sky that slowly transfers to Straight’s home through a series of images. As Straight takes the road, some shots reminiscent of Easy Rider emerge, yet we are quickly aware that we are viewing a very different landscape and journey. The pace is slow and the music is the film’s country violin theme, giving the scene a simplistic, introspective nature. The fact that it is harvest time in Iowa is representative of Straight’s “new beginning� with his brother and the dying out of the old relationship. When Straight encounters the pregnant teen at his campsite, his Midwestern values and past mistakes become evident, as they are both reminded of the importance of family through Straight’s stories and the necessity for his journey. He is on his way to see his ill brother and fix a mistake of youth, something that resonates with the teen. It is in situations like these, when Straight stops, that we are made aware of the self-reflection that seems to be taking place during the lengthy driving sequences. The slow pace of the entire film allows for a more reflective feel then if the film was set in a place such as Los Angeles, like Set It Off. Instead of “gaining energy� from the places he visits, like Philbert in Powwow Highway, it seems Straight is purging himself of guilt while reflecting on his life. Through interactions with others and sharing his own experiences, Straight is able to accept who he is and the mistakes he has made (mainly the fight with his brother and the killing in WWII). By admitting these flaws and mistakes and moving forward on his on his journey, one can assume Straight’s death after achieving his goal, judging by the final shot of the night sky. The ability to campout and the means of travel – a lawn mower could seemingly only happen in a rural setting.

Posted by Rita Racine at 12:19 AM | Permalink | Comments (0) | TrackBacks (0)

The road in which Alvin Straight travels is different from any other because he traveling from, through, and to a rural area. I feel that this gives the road a sense of purity and innocence to it. It is not busy, congestied, or confusing like the highway roads surrounding big urban developments. He is able to just relax and travel at 5 mph on his lawnmower and no one bothers to say no. He is able to sit alone and watch the sky and gather his thoughts and this I think helps him to gain the power to see his brother again and I feel he also gians a sense of hope and pride in himself. Hope that his brother will want to see him and feel the same shame and sadness as he does and pride because he is tackling this on his own. He is doing it his way and he conpletes his goal eventhough numerous people tried to help him. I think another great thing about this film was that each person he talked with not only did they in some way help him along on his journey, but he too taught them a life lesson. For example, with the first gril who was running away because she was pregnant he taught her the goodness of family and how a family must stick together through thick and thin. By telling her about the twigs he realized how hypocritical he was being by telling this to his own children when he was not even staying in contact with his brother for some stupid argument that happened years ago. Overall, I think that the rural road works as a means of reveltation, realization, and actualization because of its purity and because it is not so cluttered by human life and urban development. It may take longer but it is much simplier.

Posted by Susie Q at 10:27 PM | Permalink | Comments (0) | TrackBacks (0)

In The Straight Story, the rural road operates as a space for realization, revelation, and actualization by providing a seasonal medium through which Alvin Straight can swiftly differentiate his formative life experiences from those of others and meditate on encapsulating moments without submitting to the mundane burdens of time. At one point in the film, Alvin remarks that he's been on the road for five weeks, yet this (apparent) journey has been truncated for the audience so much that such a claim seems astounding. This evoking of temporal standstill is reinforced structurally by the repeated musical montage motif (utilizing nearly identical shots) that suggest not only cyclical change akin to seasons or years passing by, but also, ironically, "noncyclical unchange"--Alvin really hasn't traveled so far, and his journey, while epic, is nothing compared to his accumulated experience. Alvin's frequent meetings with various people along the road give him, above all else, a sense of life's opportunities/challenges that he may not have practical knowledge of. It is in this respect that the road functions as a reifying force--while presented as a lyrical, dreamlike, nebulous expanse, it is also where the abstract is physically manifested in the form of, specifically, human understanding.

Posted by pete5676 at 9:50 PM | Permalink | Comments (0) | TrackBacks (0)

Straight story is a road film that is quite different from the usual or main road films that we have seen so far. It is different in a sense that in all the other road films, our main leads had a strong vehicle like bike in Easy Rider, or Bus in Pricilla, or a car in Little Miss sunshine, etc. Basically, in all the previous road films that we have seen so far dealt with strong vehicles. In this movie, the main character Alvin drove a lawn mower turned into a tractor, which was very funny. He drove that thing and spends about 16 weeks just to get to Wisconsin. This road film is also different from others in a sense that in this movie, our main character is not running away or trying to get rid of something. Instead, this movie is about a person getting to know himself. It is a sense of "becoming". Throughout the road, Alvin meets decent people on the road like that pregnant girl and the nice couple who gives Alvin a shelter when almost gotten into an accident. The scenery of this film was also quite different. In this movie, there was only the rural side. The environment is very quite, no traffics, not much vehicles around, farms all over the place, and nice calm people around the neighborhood. So, the experience that Alvin gets in this road film is very different from what others get in other road films. This could have been because of the rural side, Alvin's age, and sex. People that he meets on the road doesn't take him as someone who is dangerous and harmful. That could have been becuase of his age and also his health status. Alvin is a person who has knee problems and it's very likely that he won't be able to harm anyone. Through this 16 weeks, Alvin has all the time to think about his life and reflect upon what he has achieved and what he still needs to accomplish and things that he could do to make things better. The biggest lessont that he learns is when two brothers in this film have an argument and Alvin comes to make sense to them. However, what Alvin learns and sees is his own mistakes. So, I guess sometimes you don't see your mistake unless you see it in action from other people. Then, you are seeing someone else do it and you can remember that you have done that mistake previously and reflect upon the changes that you could make. Because, it's easy to comment on other people's mistakes and not yours own. So, when you comment on others, you realize that you have to listen careful to what you said and follow it yourself. this is the lesson that Alvin learns in the end.

For some reason, I think this could be quite similar to Vagabond. I mean, the main character does go around rural areas. one difference is that she has no vehicle at all. She is constantly hitch hiking. she is a girl and young. But, this movie is not about "becoming". Because the character doesn't learn any lessons, and dies.

Posted by Sakina at 9:12 PM | Permalink | Comments (0) | TrackBacks (0)

To me, it seems as though Straight Story is a space for realization, revelation, and actualization through the fact that the film relies more on discussion and dialogue, or the lack thereof, rather than on action. Unlike the other, non-rural films that we've seen so far, the impacts that the protagonist, Alvin, has on other characters, as well as the interactions between these characters, are very low-key compared to those of other films we've seen. There is little physical action or large events that take place that propel the plot forward; here instead, the plot's momentum is dependent on conversations and spoken, calm exchanges between characters (the evening by the campfire with the pregnant teenager, the encounter with the Bambi-slayer, the stay with the couple after Alvin careens down the hill). This is most evident at the film's end in the very quiet, emotional reconnection that Alvin has with his brother.

Posted by Emma Zoch at 6:10 PM | Permalink | Comments (0) | TrackBacks (0)

Alvin Straight's journey is much unlike any we've seen thus far in other films. Much of this is part of his "becoming", which differs from the "leaving behind" feel that other movies have showcased. In other films we have viewed, they are entirely showcased in an urban environment (Set It Off), coming from or going to an urban environment (Easy Rider), or experience an urban feel in one way or another. Alvin does not have this setting - he begins in a rural area, journeys through a rural area, and ends in a rural area. He never leaves behind said environment, it is part of his "becoming." It's part of what he grows into.

The rural road in Straight Story offers something that other films haven't had the opportunity to showcase. This road is exemplified by its serenity. There is a certain calmness that accompanies Alvin Straight on his path. There is more open space, there is less noise, and less traffic - whether vehicular or otherwise. Straight maneuvers with his tractor - something that forces him to take things slow and be alone with his thoughts for plenty of time. This all encourages and helps cultivate personal reflection that Straight required for his development. If it were through a city, Straight would have been constrained physically and probably mentally by a crowded city. We see the an urban contrast when semi trucks cruise past Straight's tractor, blowing by him and threatening his path.

The rural road offers more than just a physical environment to promote a certain serenity. The rural community contributes toward Straight's "becoming." He is able to express himself to others and be very open, and the strangers he encounters are very compassionate and caring, something that is not so prominent in urban environments from previous films. Through this interaction with characters who do a wonderful job representing the rural path, Straight furthers his development coming to important realizations about family, love and caring.

Both the physical environment and the community in the rural environment make large contributions to Straight's "becoming," and they give Straight the essentials he needs that an urban community entirely lacks.

Posted by ryanx422 at 4:13 PM | Permalink | Comments (0) | TrackBacks (0)

The rural offers something completely different than the urban landscapes of other films, such as Set It Off. The urban is defined by bright lights, loud noises, concrete, fast paced, traffic, and a sense of containment. In contrast the rural is composed of openness, serenity, ability to witness the elements, a slow pace, and down to earth people. Had Alvin traveled through an urban environment his journey would have been drastically different. First of all, he would not have been able to travel by his lawnmower/tractor. We saw the urban represented in the semi trucks, wiz past him, nearly running him off the road. The urban semis were juxtaposed against his slow moving John Deere. Therefore the pace of his journey was important to his "becoming". The lengthiness of his travels gave him time to witness the elements of nature, see the stars and open land, with no distractions and plenty of time to think. Had his journey been shorter he would not have met all the people he did on the road, who all added to his "becoming" and self realization by the end of the film. Alvin witnessed the generosity and open mindedness of rural people when he is taken in by the family. He forms a relationship with them while his tractor is being repaired, learning from them, and sharing stories, such as his war experiences, that he could not have spoken about before; here again, the slowness of the rural is crucial to his self actualization. Driving on a urban highway or heavily traveled road would not have given him these opportunities to interact with people and add bit by bit to his realization of the important things in life. Perhaps he wouldnt have even made it to his brothers had he not had the experiences that only the rural could offer him. We see a symbolic moment of his progress when he stops and allows himself to have his first beer in a very long time. Without his journey through the rural midwest he could not have "become" the person he is by the end of the film.

Posted by sigmundfreud at 3:46 PM | Permalink | Comments (0) | TrackBacks (0)

The road within this movie functions really clearly as a symbolism for Straight's internal changes. He is on the road, but not to to seek out something new, and not to find new adventures and not because he does not like the place he is in life. He goes on the road in order to reclaim his place in life, in order to understand it, and to really accept who he is. Most of out other stories involve people leaving their usual places, leaving their "comfort zones" even though they may not be comfortable there and finding change and difference in the world. The road that Straight follows never changes. It's always corn in the background, always semi trucks cruising by, it's small towns with normal people and good people. The narrative does not relish change or differences, but explores the sameness of the world around him, so that we truly see who Straight is, without distractions from the road.

The narrative of the movie is just of an old man who needs to rediscover himself and his bonds. He does have a good relationship with his daughter, but he is out to fix the things that went wrong with in his relationship with his brother. Straight is not trying to meet new people, though he does accept the friendships that come along. He is also not trying to find a new place, but going home, to his brother's home. This gets portrayed in the film by constancy of the scenery. He is taking a slow, very slow ride through the same corn fields and the same towns. Everytime he hits a town, it is not a special town or any place really noteworthy, just a stop along the way. So the road he is traveling really exemplifies the inner path that he is taking: it is 6 weeks of going through the same places.

This movie really constrasts with movies like Thelma and Louise, Easy Rider and Vagabond, among others. These movies focus on the scenery in order to highlight how it changes and how it is different as the protagonists move along. But a movie like Powwow Highway, or at least Philbert's journey within, seems to parallel Straight's story. Philbert travels through large parts of the U.S., but truly he is just travelling to sights that are important to his identity as a cheyenne. Its irrelevant that they are far apart, or that they are places where many different types of events happened, what matters is that Philbert is finding or at least expressing his identity through these places. In a story like Straight's, the lawn mower and the highway road are not representations of mobility, but in fact through their characterization (a lawn mower does not move fast, and the highway never seems to change at all), we get to see a man focusing on his internal healing and the bridging of his relationship with his brother.

Posted by whoa at 1:50 PM | Permalink | Comments (0) | TrackBacks (0)

The "Straight Story" is the first rural road film we have watched in this course. Comparing the rural environment with the urban environments in the other road films, we can feel a greater sense of compassion for the main character Alvin Straight with the basic and wholesome rural surroundings that we do not have for other main characters in urban settings such as Olive Hoover. The rural environment naturally comes across as being a less socially-demoralized environment than the urban environment. People in rural environments are not believed to consort with the sort of insalubrious activities common to the urban environment such as dealing with alcohol and drugs or prostituting. Rather, people in rural environments are thought to be closer to the natural environment, having a healthier state of mind and cleaner image. Their activities are thought to be less motivated by socioeconomic forces such as working for mere money or social status. Rural residents work in rural environments because they enjoy the work and their environment, even though typically rural work makes less money than urban environments. As a result, the rural environment allows us to see Alvin Straight and the characters he interacts with in a genuine light and a manner focusing on human-interest without drama or cheap film embellishments.

Alvin Straight meets a pregnant young woman and talks to her about why she should return to her family road. Alvin had genuine concern and care for her. When his lawn mower breaks down, a friendly couple allows him to camp in their yard, showing us the trueness of rural kindness. It would be rather awkward if an urban family helped a stranger in the manner they did. Alvin Straight shares war stories with a fellow World War II veteran revealing what he did to another solider. The primitive nature of the rural environment somehow allows people to bond with one another more easily with fewer distractions. Alvin is able straighten a pair of arguing brothers. Alvin reminds them of the importance of family. Overall, the rural environment allows the viewer to see the characters in a sort of genuine and honest environment. The natural and wholesome nature of the rural environment can allow us to get to know the characters and understand them without the urban distractions that can keep us from focusing on the true character of the people.

張惠妹

Posted by 張惠妹 at 1:46 PM | Permalink | Comments (0) | TrackBacks (0)

The most striking things about the rural road are the lack of distractions and the emptiness. There is not a lot of other traffic on the road, giving Straight a space to occupy that, most of the time, he occupies alone. This aloneness provides an opportunity for Straight to ‘become’ during his road journey. He enforces this aloneness even when he’s near others by sleeping alone outside instead of taking a room in the house or church. This is the time Straight uses to think over things and think over why he’s on this journey. The lack of distractions also allows that. He is hardly around people, they enter his journey for a brief time, providing help or encouragement and then he is alone again.

The rural road is the only road that can provide that level of aloneness, but also, his tractor is the ideal vehicle for that. If he had been driving a car his journey would have been a couple days at the most, hardly enough time to figure out anything about yourself. So he enables himself to ‘become’ seemingly out of no other available option by driving his lawn mower. Incidentally, the rural road is the only space he could use that vehicle in because, had he tried to drive that on a major highway, he would have been stopped or killed.

Posted by goldie at 1:19 PM | Permalink | Comments (0) | TrackBacks (0)

The road films we've viewed which took place on highways had much more fast-paced action than Straight Story. Because this road film takes place on a rural road and Alvin is riding a slow-moving lawn mower, Straight Story is not as action-packed. There is much more time for deep thinking and connection with nature. Alvin is able to view each landscape and greet each person he passes because his mode of transportation is chugging along so slowly. He has more deep conversation with people and is able to speak with them without interruption. This road film provides opportunity for self reflection in a more obvious way than the other road films.

Posted by felicia at 8:59 PM | Permalink | Comments (0) | TrackBacks (0)

When I look at you I see my failures as a father.

Dear Benji,

I am Anthony, I am Tick, I am Mitzi, I am also your father. I was afraid to tell anyone that I was a father when we left on our trip even though I knew you were waiting at our destination. I was afraid people would judge me to be a bad father. I know I am not a perfect dad. I haven’t been around for you as you were growing up. I am a show-biz performer and not the best role model. I was afraid my friends would tell me these things and tell me I wasn't worthy to be a father. Even though I think these things are true I didn’t want to hear them. However when I saw you again I was amazed that you are able to love me and do not see the bad things I have done. You admires me in a way I don’t even admire myself. Because of you I view my life differently. I am now most proud of the fact that I am a father. I will be a good father despite the miles between us. Come back and visit me in Sidney soon.

Love,
Your Dad

Posted by Alex M. at 7:00 PM | Permalink | Comments (0) | TrackBacks (0)

Unlike a film like Thelma & Louise or Easy Rider where the characters move from an urban crowded space to a more desolate wild one the main character of The Straight Story does not develop his identity by journeying into a less populated space. His internal journey occurs because the further away he gets from his home the more ways he is able to identify and understand its importance to him. By the time Alvin arrives at his brother’s house he is so afraid that his journey will have been in vain that we see him stop for his first alcoholic drink in fifty years once he reaches the town where his brother lives. Alvin’s journey occurs across a rural space which is very similar to his hometown. However by meeting strangers along the way he is able to open himself up in a way that his familiar surroundings would never have permitted him. He shares details about his family and his internal pain with various strangers along the way and each time he tells a part of his story he is able to come to terms with some part of his painful past. In the end of the film, sitting on the porch of his brother’s house Alvin has nothing left to say because he has finally become at peace with himself.

Posted by Alex M. at 6:27 PM | Permalink | Comments (0) | TrackBacks (0)

Dear Dad,

I want you to know how hard overcoming my childhood has been. And you denying any involvement in my molestation as a child has caused me even worse pain then before. I needed you dad! I needed you to admit it to me, to talk it over with me, then I could truly forgive you! But instead you completely deny everything and in doing so have stunted any possible progress I could've made. I want you to know that I will no longer be contacting you in the future. I don't want to see you or hear from you. It's only a trigger for me which brings back really painful memories. I refuse to be held back by you anymore. I don't plan on forgetting you, because I know that wouldn't make me heal. I plan on moving past you, and searching for a way to forgive you. I hope that you can forgive yourself dad. But in order to do so you must first admit what you did.

Please don't write me back.

Your daughter,
Angela

Posted by nels5199 at 4:23 PM | Permalink | Comments (0) | TrackBacks (0)

I believe since the form of mobilization was so different in this movie it set a very different tone. Because he decided to drive a tractor the whole way, it took him a lot longer then it would have had he taken a car. And if he had, he wouldn't have had ANY of the experiences that made him realize how important family was to him.

In the beginning of the story Sandy didn't seem very happy with his life or the direction it was heading. It looked to me like he had almost given up. For example, when he went to the doctor and he was told he must start making some drastic changes right away, or he would suffer really bad consequences, it was obvious right afterwards that he didn't intend to make any changes in his life. When his daughter asked him what the doctor said he replied, "I'm going to live until I'm 100!" Yet, as his journey begins he meets many different people and has various conversations that start to show him why it's so important that he get to see Alvin and make amends with the past.

This movie was very deep because Sandy's character was very stubborn, and he wasn't one to admit he was wrong or take no for an answer. So for him, taking this journey was a journey for himself and it obviously took a lot for him, emotionally, to admit that he had been wrong, and to be the first one to approach the situation and try to change it. I think he really started to realize how lucky he actually was, and value the life he had been given as it was, way more then any other road film we have watched this semester.

Posted by nels5199 at 4:06 PM | Permalink | Comments (0) | TrackBacks (0)

This movie and story was very different from the movies and stories we have seen in the past. The main character, Alan Straight is a man who is not running from something, he is running towards something, which is unlike previous characters in previous films. Straight has recently come to the realization that he is not as young as he used to be and neither is his brother. When Straight goes on his journey to see his sick brother he meets many people and helps them in ways that don't seem possible, especially since they are strangers. He helps these people as he helps himself and he see's that the mistakes he has made in his life can help the strangers in their lives. Straight knows what he has done wrong in his life and he wants to share his experiences with other people so they can change their lives for the better. I don't think that Straight was helped out in this movie as much as the other characters were helped by him. This is unlike the other films we have seen in class. Most of the characters in the other films are out to help themselves when they are on the road. They are looking to make their lives better, whether it be through money, fame, love, etc. Even though Straight's main goal was to see his brother and mend their broken relationship, he helped others more than he helped himself. I found him to be the strongest willed main character out of all of the main characters we have seen so far. The rural road is more trusting and calm than the other roads. There is more time for reflection and understanding, and Straight showed us that.

Posted by bella at 2:22 PM | Permalink | Comments (0) | TrackBacks (0)

The Straight Story is a different type of road film than we have watched previously in this class. The main difference is the main character of Alan Straight. He is much older than any other main character in a movie that we have watched. He has already lived a full life, and is starting to think about the end of his life, what would he leave behind, or what would he regret the most? The arguement with his brother is the only thing that he really feels uneasy about in his life. He wants to make everything in his life alright, to make sure that he can die in peace with no regrets, so he sets out on a journey to make ammends with his brother before it's to late. In this way Straight is becoming whole again, he is making ammends and making sure that he leaves no stray ends behind when he dies. It is not so much a leaving behind because there is nothing that Straight is ashamed of or that he is running from. He leaves his home with every intention of returning to his normal life once he completes what he set out to do.

Posted by Lady at 10:24 AM | Permalink | Comments (0) | TrackBacks (0)

caption here.

this will be the back of the postcard.

Posted by Jessica Giusti at 3:09 PM | Permalink | Comments (0) | TrackBacks (0)

Pow Wow Highway attempts to repoliticize the road by introducing a form of identity politics. The film manages the theme of identity politics by allowing the viewer to experience the lives of the characters of Buddy, Philbert, their family and friends. Throughout the film, the characters are marginalized by the white people that surround them in their everday lives. The characters also go through moments when they are seem only from the outside and not even looked at as human beings, but a different group of people.

Posted by tennischica at 7:23 PM | Permalink | Comments (0) | TrackBacks (0)

Pow Wow Highway is a good example of the attempt to repoliticize the road by introducing identity politics. The two protagonists are Native American men who set out to reaffirm and establish a political identity, as well as a spiritual identity. Throughout the film they are still marginalized by White people, particularly cops, however they always overcome as the road is their vehicle of non assimilation. While the white police officers treat Buddy's sister unfairly, the film makes a point of Buddy and, particularly Philbert, triumphing over the injustice and marginalization of minorities in traditional hollywood. They spring Bonnie out of jail with the ever faithful "pony," mocking the white officers and criminal justice system. They manage to speed away in the "pony" until the breaks give out. The dramatic scene in which they all think Philbert is dead as they watch the "pony" in flames, furthers the notion of the racialized other able to triumph on the road. Philbert walks out unscathed and it is at this point we realize that they may not have reached a destination but they've achieved spiritual identity, particularly Philbert.

Posted by sigmundfreud at 1:47 PM | Permalink | Comments (0) | TrackBacks (0)

Powwow Highway manages the theme of identity politics by allowing the viewer to experience the lives of marginalized people through the characters of Buddy, Philbert, and their family and friends. Their culture and society are regarded as being lesser by the greedy companies and corrupt officials yet is portrayed as being incredibly justified and powerful. Although this is a humorous and informal movie, the subject matter of the treatment of the Native American culture and society is a very serious matter. Philbert, a gentle giant can exemplify the theme of "identity politics." In the beginning of the movie, he has some problems regarding drugs and booze. He does not seem interested in traveling on the road. However, he begins to acknowledge his "Cheyenne" identity and realize what he is doing to his culture and himself. He becomes more cognizant and thoughtful of his people and his history, often stopping the car to spiritually express his thoughts. Buddy is rather the opposite of Philbert because he is already cognizant of the neglect inflicted upon the "Cheyenne" culture and society. Buddy is angry and does not seem very compatible with a person like Philbert. However, he becomes more or less accepting of Philbert when he defends him against the white man and his mob of followers. A Native American spectator comes to the rescue by throwing a traditional Native American weapon at the wall. The Native American people may have been mistreated and neglected throughout history however, they are all people who can stand up for themselves. As Native American people, to be able to become a stronger culture and society, they need to stand up for not only themselves but for others when they need help. The use of the road in this film can represent the escape from the corruption and harsh society of living in the Native American Reservation. They buy a car and drive to liberate Buddy's sister. Philbert with his calm energy and his spiritual connection with his "Cheyenne" initially annoys Buddy. After some time on the road, Buddy realizes that his angry and vehement opposition to Western influences is not a solution to their problems. Buddy bonds with his friend Philbert and realizes that the solution to their cultural problems is to work as a team and stand up for each other when needed.

張惠妹

Posted by 張惠妹 at 1:04 PM | Permalink | Comments (0) | TrackBacks (0)

Powwow Highway causes the viewer to focus specifically on the identity of the main characters. This occurs because the characters themselves, take immense pride in their heritage, history, and future even it if boils down to the color of their skin. The movie makes it so their race is the main point of the movie and leaves the plot generally in the background. I strongly disliked this movie, not because of the story that the writers wanted to imply, but the way that they conveyed it and focused so strongly on the color of their skin and the former ways of native americans. I know that this was the goal of the movie, but, to me, it seemed overplayed and drawn out and caused me to narrow in primarily on details that were not the complete essence of the movie. Powwow hightway is a different way of looking at this and I think that the identity of people needs to be addressed but it was played out and overdone in this movie.

Posted by Alexandra Goldman at 12:17 PM | Permalink | Comments (0) | TrackBacks (0)

Powwow Highway dealt a lot with the identity of the Native American in America today. The people as a whole are still being stereotyped as those who cannot speak proper english and who trade almost anything for alcohol. Powwow Highway addressed these issues and how a Native American can combat these stereotypes while still staying in touch with or discovering their roots. The two main characters in this film consequently to road to find their identities as Cheyenne brothers. What I noticed while watching this movie is how interesting it is that almost all oppressed people became so because of land and resources. It is difficult in America to subvert these ideas and reclaim what once belonged to a people.

Posted by releasethekraken at 11:47 AM | Permalink | Comments (0) | TrackBacks (0)

Powwow Highway dealt a lot with the identity of the Native American in America today. The people as a whole are still being stereotyped as those who cannot speak proper english and who trade almost anything for alcohol. Powwow Highway addressed these issues and how a Native American can combat these stereotypes while still staying in touch with or discovering their roots. The two main characters in this film consequently to road to find their identities as Cheyenne brothers. What I noticed while watching this movie is how interesting it is that almost all oppressed people became so because of land and resources. It is difficult in America to subvert these ideas and reclaim what once belonged to a people.

Posted by releasethekraken at 11:47 AM | Permalink | Comments (0) | TrackBacks (0)

The film Powwow Highway deals with identity politics through the two main characters of the movie. These two Native Americans men, Buddy and Philbert, begin by going out on the road to free Buddy’s sister, Bonnie, out of jail with a car from a car from a place like a junk yard. There was something that was not right about Bonnie’s arrest. Philbert who is the spiritual one finds faith in the journey, even though it is him who bought the old beat up car. These two characters face identity politics by the oppressive view towards the Cheyenne’s culture. Philbert appreciates his own culture identity. On the other hand Buddy is kind of aloof to his cultural identity until Philbert faith challenges Buddy’s tough and angry opinion on the world. He wants to fight for his reservation to save it from the “politicians in-fighting� and “developers.� When Philbert stops at various locations to appreciate the land given, Buddy just wants to keep going on their road trip. Through the road trip Philbert and Buddy find their self determination with Philbert’s faith changing Buddy’s view on the world and on their culture. They have an understanding of their own individuality.

Posted by tranx246 at 11:31 AM | Permalink | Comments (0) | TrackBacks (0)

Powwow Highway and the adventures that Buddy and Philbert experience on the road offer the two Cheyenne men with a new perspective with which they identify. Philbert, having never taken to the road, begins to realize the extent of the spiritual connections of the Cheyenne. Buddy, beginning with a very angry and vengeful identity, begins to spiritualize his Cheyenne identity. The identity politics of this film are represented by the inner and outer debates of Philbert and Buddy as they struggle to find their Cheyenne identity, despite the obstacles of racism and the pressures of American capitalism. The road aides the two men in claiming a new perspective on their identities as Cheyenne and as Native Americans.

Posted by Miss Blog at 11:28 AM | Permalink | Comments (0) | TrackBacks (0)

Identity politics have a rather large role in the film Powwow Highway through the two separate, yet intrinsically connected journeys. Buddy, who begins in the film as a heavy player in the economics and wellbeing of the Lame Deer Reservation, acting as an activist and voice for the folks of the Reservation, making sure that the government and big companies are unable to access the land for profit. When Buddy's estranged sister calls Buddy and needs to be bailed from jail he enlists his friend Philbert, who has just purchased a new car, his 'war pony' to drive him to New Mexico.

It is at this point where identity politics become a huge part of the plot. This is because the shift goes from Buddy, the outspoken activist, to Philbert, the soft spoken loof of a man. Philbert, who traded drugs and booze (and money) for his car, seemed to be a relatively politically and culturally uninterested member of the Cheyenne nation. However, upon the trip off of the Reservation Philbert begins to become infatuated with the idea of the men being "The Cheyenne," becoming interested in the history and teachings of his people. He often stops or makes unexpected detours in order to complete his spiritual journey, which begins to irritate Buddy. In the end, however, Buddy is appreciative of Philbert's quirky need to reconnect to their culture, because Philbert is the one who ultimately pushes the narrative and story along, liberating Buddy's sister from jail and caring for her two children. Philbert's spirituality and need for culture ultimately penetrates into Buddy's life, creating unity between the two men, a mutual respect that certainly didn't exist before the trip.

Posted by cici at 11:15 AM | Permalink | Comments (0) | TrackBacks (0)

Powwow Highway deals with identity politics by seeing the past through Buddy, Philbert, and other important characters within the film and acknowledging their culture as something powerful and important. Just the fact that this movie is based around the Native American culture, causes the audience to realize how serious the issues brought up in the movie are. This was even seen in the film during the scene when Buddy and Philbert stopped at the powwow and Buddy defended his friend against the white man and his Native American gang of followers. The argument ended when a guy sitting in the stands threw a tomahawk at the wall. The white man and his followers left, as if they sensed danger. This scene was significant to me because it represented the innumerable occasions the white man takes what he wants, and sometimes forgets that the oppressed can stand up for themselves, violently if necessary. And of course, the white man gets scared and runs away. As for the use of the road in this film, at first it represented mobility only, but as the movie continued, I could see the road hindering Buddy, but empowering Philbert. Without the use of the road and Philbert's pony, Philbert wouldn't have been able to see the sights that he saw and find his charms of luck. Buddy's road experience seemed at first a distraction, with Philbert making detours before they got to New Mexico. Eventually, we see both charters reaching a common bond during the scene with Buddy and Philbert singing in the river.

Posted by will1612 at 11:14 AM | Permalink | Comments (0) | TrackBacks (0)

Philbert and Buddy, two long time friends decide to hit the road in order to get Buddy`s sister out of jail. Both guys, though from the same tribe and same values have opposite ways of living. From their very childhood, Buddy and Philbert were already very different from one another. Philbert was the shy, little fat kid everyone made fun of while Buddy was considered as a cool kid. What`s really amazing is that Buddy`s temper and restlessness don`t seem to trouble Philbert at all during the trip. Philbert would always stop and perform "Cheyenne" rituals despite Buddy`s opinions. Right before the end of the movie, we start to notice a change in Buddy`s views of his own culture."You should be proud of it;wear it more often" was what he was told by Philbert about the traditional necklace he wore. In this movie, the road played a big factor when it came to revealing and somewhat changing one`s identity politics.

Posted by quevi003 at 11:04 AM | Permalink | Comments (0) | TrackBacks (0)

Two completely different people with different destinations are placed in the same car, on the same road. Philbert and Redbow both challenge the authorities with a lot of spirit yet in very different ways. Redbow can be seen from the beginning as an activist standing up for the economically suppressed Native Americans. Philbert, on the other hand, is laid back and lets things be how they are meant to be. He does not necessarily accept them, seen towards the ends of the movie when he breaks Bonnie out of jail. Redbow is aggressive and anger driven. When the owner of the stereo store was looking down on them thinking that they would not be able to afford the equipment they were looking at, Redbow was building up anger. He just needed a reason to go crazy. Instead of realizing maybe he did not know how to work the stereo, it was his reason to go in and trash the store. Redbow was also disappointed to hear that his friend was giving up the fight and moving to a safer place (a place Redbow considered all the coward people who were too afraid to stand up for their own people, lived). Philbert lived in his own little world full of signs from the gods believing that all things happen for a reason. He is driven by “The Cheyenne� and the courage that they had. It is seen that towards the end Redbow began to understand Philbert. Redbow started to understand that being angry all the time does not solve anything and that Phibert and him were fighting the same oppression just in different ways. In the beginning it seemed like Redbow was annoyed with Philbert but he’s love for Philbert showed at the end when he thought Philbert had died in the crash. Identity politics played a dominant role in this film, it definitely could not have been missed.

Posted by Lulu at 10:34 AM | Permalink | Comments (0) | TrackBacks (0)

As we have seen in so many films, the road more often than not has the power and does change people. In Powwow Highway, the road acts as a means for Buddy Red Bow and Philbert's identity politics more similar than they were when they were on the reservation. Buddy Red Bow is much more political and and is fighting for economic stability as well. Philbert is much more simple minded and lives by the way of his people. These friends have similar identity politics in that they are both Cheyenne but are very different in how they experience life and their culture. The road allows for change and growth. Traveling brings not only your body but your mind to new places. These friends act as challenges to each other, also allowing for new ideas and emotional and spiritual growth to happen. Identity politics are an important thing to examine because of the marginalization that comes with the loaded term. This already sets them apart from many experiences. Through this journey we see how their identity politics develop. The road is the means by which the development is allowed, when they leave their reservation, and take off.

Posted by believer. at 10:24 AM | Permalink | Comments (0) | TrackBacks (0)

Philbert and Buddy are two very different kinds of people. Philbert is very psychically oriented as opposed to Buddy who is very politically oriented. Buddy is embodiment of identitiy politics. He feels very wounded by the injustices done to his people and through that derives his views on the world around him. We see this most strongly in the electronics store where he nearly attacks a man thinking that he has sold him bum equiptment because of his racial alliance. Philbert meanwhile, goes with the flow, and figures out the machine. Philbert has faith in his surrounding- and much like his ancestors before him- looks for omens and finds his way. Philbert seems to be representing the past, and who his people were, and while Buddy is supposed to be an advocate of said people- they are very much at odds because of Philbert's dreamy nature.

Buddy seems to have lost sight of what he is protecting, telling Philbert to shut up while he is telling the stories of their people. Identity politics seem to play out further on the road due to the treatment the white men give them. First the man in the electronics shop assumes they have no money, later they are treated badly by the police. But mainly, in this film, we see the awakening of the Cheyenne identity in Buddy, Sandy and her children through Philbert's strength and persistance of spirit. The road gives them an opportunity to discover their inner Philbertishness as they conquer the land around them, on a journey, like their ancestors.

Posted by ninjasecret at 10:13 AM | Permalink | Comments (0) | TrackBacks (0)

Alright so I have never been good with politics or understanding them in general, let alone finding them in a movie. The most noticable case of politics from my point of view was the fact that there was a distinct sense of discrimination towards native americans in the movie. The fact that the main character's sister was framed for having weed on her was ridiculous, especially when the cop just happened to know exactly where to look and she knew nothing of it. Her treatment while in jail was also poor because of her heritage, which made me sick as well. When it comes to identity politics on the road, it seemed like there was a very big difference between the two men in how they see their people- one sees them as a majestic breed and another sees them as a corrupt system of bosses and money. I think that because there are two different points of view that are both very opposite, it creates a strange plot that is stil pretty interesting. Identity politics kept the big guy happy with his spritual journey and the other guy on edge because there was work to do and not a lot of time with the voting thing going on soon. I think without these two different vibes the movie would be boring and no one would be interested. This road journey in general to save a framed sister was how these politics were revealed and it was, in consideration of the general movie, somewhat a good movie.

Posted by ZoraMonkey at 10:13 AM | Permalink | Comments (0) | TrackBacks (0)

Pow Wow Highway operates within identity politics of marginalized people in the United States, dealing most significantly with kinship politics and economies of oppression. The road is very male in this film, with two oddly paired men out to save a woman who has been subjected by the white male capitalist system. Buddy and Philbert vividly play out the past-present conflict inherent to most identity politics. Do marginalized groups use modern methods of radical politics and protest to achieve their end? Or is it crucial to connect with the history of one’s group and movement in order to effectively fight the powers that be? In Pow Wow Highway, it turns out that you need both to liberate yourself. But more than that, the film says that identity politics are based in a kinship bond, people with the same background and the same interests staying connected and helping eachother with little question or suspicion. It feels good to watch a film in which people believe in eachother and make a community effort to lift themselves out of oppression. But it is also a constant war against the outside world, with little room for a person from within the hegemonic power structure to truly understand their struggle. I did enjoy that the only such person was a strong and sassy woman.
The road in the film is the trip to kinship bonds and escape from the white male capitalist system. As Professor Zita said in class, it is the road to non-conformity, a place where the characters do not try or want to become a part of the “other� world that has been coded as white.

Posted by Jenny at 9:49 AM | Permalink | Comments (0) | TrackBacks (0)

The film Powwow Highway is a road film that provides a journey that is not just physical, but is filled with self exploration that leads to establishing an identity. While watching the film I found myself lacking an identity that is as rich in history as that of Buddy and Philbert as they a strong understanding of their culture and where they come from. At the beginning of the film there are images of oppression to the Native American community through car dealership commericals and the attitudes of the business men trying to gain profit from the land that makes up the reservation.

As Buddy and Philbert go on a journey that represents their people that are being oppressed I search through my hertiage and realize that I have never identified as being a part of an oppressed group of people. My relatives may have come to the United States for more opportunities but the stories have never reached me. Unlike Philbert I do not have an oral history that teaches me of where I come from and who I am in relation to the world. For Philbert he has an understanding for all things in life and sees the importance of his history that gives him a different perspective, instead of feeling oppressed he believes that everything happens for a reason and that the spirits are there to protect him.

Buddy is fighting for his people in a different way than Philbert, it is more political but this causes him to create a separation of himself from the tribe that he is so active for. Throughout the road journey Philbert helps to reconnect Buddy to his true identity by stopping at many places along the way that have historical significance. Philbert gets Buddy to stand in a stream with him, dance at a powwow, and at the end of the film gain a true acceptance of who he is when his necklace that he received from being in wounded knee contributed to Philbert surviving the car crash. The road in the film provides a medium for Buddy and Philbert to take a journey that is not linked to a particular action or event, but is one that goes past the political relm and into each inividual that others can see and experience while watching the film.

Posted by Gertrude at 9:04 AM | Permalink | Comments (0) | TrackBacks (0)

The characters within Powwow Highway are going through different journeys. Buddy and Philbert are struggling with their identity, and their place in the world, that each is dealing with. The road and their physical trip become symbols for the type of emotional and mental growth and changes that they are undergoing. They are definitely experiencing very different changes, and their internal narratives and "traveling" do not coincide with each other. This is exemplified very clearly in their road trip, especially in the early stages. Buddy needs to go to get his sister out of jail (which symbolizes his internal struggles) but Philbert who is the driver is on a different course, that takes them to the Dakotas and throughout middle USA. It is interesting to see the intersection of their paths and how their understandings of their own identity shape their road trip

Philbert is on a journey to really connect with his indian heritage. He has reached inside himself to completely embrace his identity as a cheyenne. This acceptance is shown throughout the narrative, by Philbert traveling throughout the midwest looking for symbols of his heritage. His journey gets in the way of Buddy's plans. Buddy has to constantly try to get Philbert to hurry up, to not make extra stops on the road, to not got into a family's home and eat dinner.

Buddy has spent his life defending his tribe from the government and from white outsiders that are trying to take advantage of them. But he is reluctant to accept or embrace aspects of his heritage, like dancing rituals, clothing and some of the histories and narratives passed down through the generations. That is why he and Philbert are trying to go down different paths. It is through seeing Philbert really cherish the cheyenne past, that Buddy begins to himself accept and embrace it. Philbert is seen throughout the movie as being the lucky one; he finds a lot of money, he manages to free Bonnie from the jail and he survives a car crash. So the fact that he is sure of his personal identity is translated onto the trip as his luck at being at the right place at the right time throughout their trip.

Buddy also at the end begins to reach a place where he is comfortable with his identity. During a fighting scene he puts on a warrior ornament; the movie even shows him in a full traditional attire. The road trip is an expression of the internal ideas and ideals of these two men. Philbert, with his sure identity, is constantly in search of marks of his heritage, and is quite content and happy throughout all the trip. Buddy, with a evolving identity, struggles with understanding himself and understanding Philbert. But in the end he reaches a point of acceptance and embrace of being cheyenne, which is truly shown when Philbert gives Buddy the Buddy's warrior neck ornament that Philbert saved from the car fire.

Posted by whoa at 9:03 AM | Permalink | Comments (0) | TrackBacks (0)

Buddy Red Bow and Philbert Bono both exemplify the concept of identity politics in this movie, although they approach the issue in very different ways. Although these men have a similar background, the film begins with them in very different places: Red Bow is much more politically active while Bono focuses on the spiritual and the old ways of his people. However, when they take to the road, they begin to work for the same goals. Identity politics really comes into play at this point as they are both learning more about their culture and what it means to be Cheyenne. Red Bow becomes more interested in the traditions of his culture (such as when he dances at the powwow) and Philbert continues to try to understand the way things used to be done and looks for signs. If it weren't for the road, they never would have been given the chance to grow as much as they did, and wouldn't have understood their culture as much as they did by the end of the film.

Posted by orour078 at 8:54 AM | Permalink | Comments (0) | TrackBacks (0)

Identity politics are front and center in Powwow Highway as we watch Redbow's violent reactions to any perceived slight by a white person (e.g. trashing the electronics shop after and struggling against being forcibly removed from the New Mexico police station). Redbow most overtly challenges the dominant and oppressive white culture and is visibly angry with the way Native Americans have been treated historically and in recent years, while Philbert takes pride in their Cheyenne heritage (as seen through his repeated proud pronouncement that "We are Cheyenne") and takes to heart the folklore and traditions of the tribe. Yet while Redbow is the visible rebel, Philbert also challenges white dominance and conventions--he, not Redbow, breaks Bonnie out of jail and steals enough money from the police to replace Rabbit's $2000 and the money given to Redbow for livestock. Identity politics play a role in getting Redbow and Philbert on the road, as well--the federal authorities who are "after" Redbow arrest his sister in order to get him off the reservation during an important vote and perhaps to arrest him, as well. As our two heroes travel, the people and places they encounter along the way highlight their Native American heritage and the hardships that came from interaction with whites. Even within reservation communities, like the one where Redbow's fellow activist lives (before leaving for a nondescript housing development), dissention seems to be based in identity politics. The (white) government's involvement in reservation life is a contentious point for Redbow and others, and one that Redbow can't escape by leaving his own reservation. As Redbow, Philbert, Bonnie, Rabbit, and Bonnie's children flee the police and the feds at the end of the film, they drive Philbert's dilapidated "war pony" as fasy as it will go while the white authorities chase them with a ridiculous amount of manpower for catching a group of unarmed people, two of whom are children. Their escape reveals a moment where they are free from the dominance of the white culture--but only because the white pursuers presume they are dead.

Posted by ristee at 8:34 AM | Permalink | Comments (0) | TrackBacks (0)

This film really highlights the aspect of identity politics dealing with a group bonded together with shared historical injustices. We are shown very vividly the abject poverty, harassment, and corporate swindling that Native Americans are subjected to due to past tragedies. All Native Americans in this film seem to think they share a common bond as illustrated by the truck driver Philbert converses with, the couple in South Dakota, and Buddy's friends.

To me, it seemed that Philbert and Buddy had very different ideas of what being Native American meant to them personally, as commented by my fellow classmates. Philbert seems to want to continue the 'old ways' while Buddy focuses on trying to better life for those who are left. What I found really interesting was the way that Philbert kind of dragged Buddy into his view during the film. His continued stops at sacred sites forced Buddy to learn how Philbert viewed 'Cheyenne' and Native American. It seemed to me like Buddy was dragged into rediscovering the traditions of his people along the journey. This shows how categories can change, especially as defined by the person identified as belonging to that category.

Posted by goldie at 12:53 AM | Permalink | Comments (0) | TrackBacks (0)

Red Bow seems much more interested in the current state of his people than the history. He is tired of the image they have been given. He thinks Philbert is wasting time on his spiritual journey, yet eventually joins him in actions of Cheyanne pride, like singing. While searching for a car stereo, they are offered the poorest quality equipment by the white salesperson, who mocks them when Red Bow choses the most expensive equipment, and then jumps to the conclusion that he had been cheated. As irrational of a decision as this was, he simply wanted to make the point that he should not be patronized for his skin.
Philbert doesnt see himself succumbing to westernization because in his mind, he's on a mission for the cheyanne and proudly envisions himself no different from his ancestors . He expresses sorrow when he is told few people remember one of the Cheyanne's prophets and the man to whom he was speaking sighs "no one cares about history these days." Ironically, he uses a scene from a Western film, oftentimes degrading to Native Americans, as inspiration on how to spring Bonnie from jail, who was imprisoned under false circumstances anyway.
Bonnie's children have been removed from their roots, they didnt even know what tribe they were, and like many white Americans do, clumped their collective history together as "Indian." But through this journey they learn who they are. happy ending this time.

Posted by Bob Dole at 12:17 AM | Permalink | Comments (0) | TrackBacks (0)

In Powwow Highway, identity politics are dealt with and played out/revealed through predominantly Cheyenne-related engagements on the road. The most interesting aspect of this particular film's relation to identity politics is that the two main characters are bound not only by their shared Native American religion and race, but also their social background. This is not to say that Buddy and Philbert share the same viewpoints concerning these constructs, but merely that there is a broad range of common ground for the pair to form rebellious political alliances that aim to deviate from traditional American party lines. For Buddy, overt references to identity politics are teased out through conflict. Throughout the film, Buddy rails against injustices imposed by the lingering remnants of European imperialism, and this reaches its culmination in the deliberately incoherent defense he makes against pursuing police cars--his violent transformation into a fully embellished Indian warrior signals not only a metaphorical escape from exploitation and prejudice, but also an awakening of Buddy's Cheyenne heritage that he previously seemed to embrace only hesitantly. For Philbert, an identity as (specifically) Cheyenne is thoroughly presented through the recurring visions he experiences, his overt reiteration of his tribe's importance, and his constant appreciation for nature and the deepest roots of his ancestry. Philbert is much less politically fervent when compared to Buddy, but the effect of his journey on the road is still that of awakening and transcendence. Indeed, the rusty, "unfair" confines of his vehicle are overcome--not only does the car continue to function without seemingly necessary maintenance, but the film is, in a way, allowed to end once the car is destroyed.

Posted by pete5676 at 10:46 PM | Permalink | Comments (0) | TrackBacks (0)

Identity Politics play out in

Powwow Highway

Posted by felicia at 10:03 PM | Permalink | Comments (0) | TrackBacks (0)

Powwow Highway gives a sometimes humorous and sometimes poignant look at the identity politics of the Native American main characters Philbert and Buddy during their journey across Western America. The people and institutions that surround these men on their journey places them in a situation and a culture that defines them as something other than average Americans. During their trip they encounter a variety of individuals who help facilitate their journey and who identify them along the road as part of the Native American community. Philbert aligns himself with a more spiritual form of his Native American past and present. Buddy on the other hand is a part of the militant and political factions of his people. Together both of these men represent different parts of their community. A lot of the humorous conflict of the movie comes about because of the two different lifestyles of Philbert and Buddy. However what enables these two men to make the journey together is what they have in common – their Native American identity. One of the most poignant scenes in the movie is when Buddy’s niece and nephew are trying to get change to call Rabbit. They ask the old woman sitting on the ground if she is a Native American. The kids say “our mom is too.� It is through the children’s exposure to Philburt and Buddy that they understand that they too are part of a community.
Philbert ad Buddy’s identity politics both hinder them and enable them on their journey. When people discriminate against them because of who they are it makes their journey more difficult. An interesting part of this film happens during the powwow when one of Buddy’s old nemesis who represents a faction of the population that is at odds with Buddy’s political views allies against him. That interaction blurs the lines between those who identify with Native Americas and those who are only interested in exploiting their fellow human beings. I the end of the movie the happy ending occurs when all of the characters escape from the law. Their identity at the end of the movie is decidedly outside a mainstream American existence and definitely occurs only because of their identification together as Native Americans.

Posted by Alex M. at 10:03 PM | Permalink | Comments (0) | TrackBacks (0)

In the film Powwow Highway, identity politics play a role in both Buddy and Philbert's actions in that they are trying to better their culture, both within the reservation and society at large. While on the road to bail his sister from jail, Buddy shows his emotions towards the company trying to access the reservation's natural resources. He knows that the businessmen are just trying to take advantage of the Native Americans and in turn has been trying to promote awareness about this issue. Buddy's anger has built up towards these businessmen, so much so that when he confronts Sandy Youngblood in the bar and uncovers Youngblood's ploy to get Buddy off the res, he physically takes out his anger by punching Youngblood. Philbert tries to better Native American society in a much different, peaceful manner. He relates most of his actions to the way culture used to be. In his horse, he sees a stallion; in every trinket he comes across, a sign from the ancestors or above; and in places his ancestors visited, a connection with the past. He provides a good example for the rest of their society in terms of culture and respecting their ancestors.

Both men identify with identity politics in a different way, but attempt to make changes together. One could argue whether or not stealing from the prison and breaking out Red Bow's sister was the right way to go about it, but they certainly made a point.

Posted by Pumpkin at 9:36 PM | Permalink | Comments (0) | TrackBacks (0)

In Powwow Highway, identity politics are revealed through the embrace of Native culture by Philbert. Unlike his friend Red Bow, Philbert completely identifies with his culture and rejects white/Western culture through his actions and identity. One first sees this affirmation of his culture when he sets out to buy a car. After a reverie of wild running horses in place of static rusty cars, he gets into his newly bartered, not bought, car and promptly throws out the Madonna icon on the car's dashboard. The fact that he bartered the car is significant in that Philbert does not subscribe to the traditional Western practice of exchanging money for goods and services but instead initiates a more traditional trade. It is interesting to note that there is no signing of papers to document and legalize the transaction, indicating that there can not be any ownership in this case. The tossing of the Madonna icon also points out a rejection of Western culture and Christianity, a religion that has long played a part in the suppression of cultures and races in the name of goodness and salvation. Here Philbert could be seen as acting out pent up aggression against a dominating and hostile culture that has nearly wiped out all Native American peoples.

Posted by Emma Zoch at 8:51 PM | Permalink | Comments (0) | TrackBacks (0)

Identity Politics are displayed throughout this movie as the characters begin to identify with one another. They relate in certain ways because of what they have in common, even though some of their views and opinions might have previously been quite different. This movie and the identity politics within, brought the characters of Pow Wow Highway together as one group. Redbow was very politically involved and Philbert was very culturally involved or wanted to be more so. They both had different missions in this movie and their missionswere combined as they formed a new bond through identifying their similarities with one another. The road put the two main characters in a situation that wasn't something normal for both of them, and the two of them had two different missions, one being the obvious, getting Redbow's sister out of jail, but Philbert's was a cultural, spiritual exploration. Although they had different motives on their trip, they came together in the end. Identity politics on the road brought the two together in a way they might never had experienced.

Posted by Holly Golightly at 8:29 PM | Permalink | Comments (0) | TrackBacks (0)

Identity politics involve political action to advance the interests of a usually suppressed group of people. This is a very prominent issue in the film Powwow Highway. The film highlights two Native American men (Buddy Red Bow and Philbert) who try to preserve the beliefs and customs of their people in a changing world.

The two of these men go about their similar trial in very different manners. Buddy Red Bow uses a more contemporary effort to help with Cheyenne preservation, while Philbert tries his best to stay true to customs and traditions that have been passed down - customs that may carry more weight among the Natives involved, but would be a tough sell to the politicians and corporations involved. During this journey, the two men eventually become somewhat accustomed to the alternative ideas. Buddy Red Bow embraces his faith and the decorated culture of his people, while Philbert involves himself politically to some degree. As the men spend more time with each other on the road, this is much more evident, and it is something that helps the men experience and help their heritage in a much more broad manner.

The only problem I had with this movie is that it seemed to depict strong stereotypes of Native Americans - which may have been slightly more appropriate given the 1989 film release. However in personal experience, my Native friends often compose themselves in a manner that isn't given attention in the movie - a manner that is often shared by people of all cultures. I don't believe this film did justice to identity politics with a bulk of people, including Native Americans. However the political activism and cultural tradition used to fight for preservation was obvious nonetheless, and convey the identity politics which the filmmakers likely wanted to demonstrate.

Posted by ryanx422 at 5:25 PM | Permalink | Comments (0) | TrackBacks (0)

I enjoyed the film Powwow Highway and it highlighted many different aspects of identity politics. However, I thought that it played into Native American stereotypes a little too much. The stereotyping masked many of the deeper messages it could have been conveying. I agree with Susie Q in that the film portrayed two extreme Native American stereotypes. The main characters, Buddy Red Bow and Philbert Bono both identify with their heritage in different ways. For example, Red Bow tries to protect his people from being taken advantage of by the corporations. In doing so, he depicts a sense of pride and identification with his heritage. On the other hand, Philbert stays true to his Native American heritage in his beliefs and follows the traditions of the Native American people.
The road in this movie represents the journey that each man takes that leads them closer to their Native American heritage. By the end of the film, they come to a better understanding of not only each other, but of their common culture.

Posted by Beyonce at 3:46 PM | Permalink | Comments (0) | TrackBacks (0)

Okay, first of all I think this movie was a great film. It was very interesting and totally brough other sides of the Native American. However, I am truly confused for the reason behind why we watched that film. Because so far in this class, we have seen road films that are centered on women. And this film doesn't have any main female characters and doesn't at all revolve around a female character. So, it was weird to watch a movie about a colored person that too of a male.

To answer the blog question. i would say that the film revolves around the stereotypes that are used on the native american. It also deals with the political side. Because in the movie, in the beginning there was a meeting going on where these business men are asking the native american to vote them to build mines in their place. And the person who is talking seems to be a native american as well. So, he sort of represents the native american who work for the white people and is sort of betraying his own people. There are two main character for this film. One of them is totally against the stereotypes of native american. i don't remember his name, but he doesn't really believe in religion, doesn't have faith, doesn't respect his culture so much. But, he works for his own people and are against the whites with building mines at their place. And on the other side, there is this another main lead who is sort of like the typical native american that we would imagine or the stereotypes that we have. He is very religious. Some of the things that he does throughout the film may seem very weird, but it represents his beliefs and faith. So, this film tries to justify the movie by showing both characteristics of the native american people.

Throughout the film, the man who is very spritiual keeps saying "we are cheyenne". I don't know what cheyenne means, but it seems like a nationality or a tribal group. But, in relation to the context that it is used often, I would say that cheynne means 'united'. Because whenever we say 'we are american', of course other person knows that we are american, but we truly mean is that we are the same people, we are united, and we should help each other. So, i believe 'we are cheyenne' is also same as how we say 'we are american'.

over all it was a great film.

Posted by Sakina at 3:00 PM | Permalink | Comments (0) | TrackBacks (0)

I really liked Powwow Highway eventhough it really played on this idea of identity politics and stereotypes. This was evident in both our main characters, Redbow and Filbert. They were both portrayed as the the two extreme types of Native Americans. Redbow in away denies identity by disbelieving in things like the native spirits and the tricksters. However, it is interesting because he is also the one protesting to save his native land from white coorporations eventhough he too has a whiteness about him by denying his tribal beliefs. Filbert, on the other hand, is extremely spiritual and wants to see all of the precious lands that were apart of his culture. He is more of the stereotypical Native American, and I feel that more people see the Natives as him rather than as Redbow. I think that both of these men were born into this identity as being spiritual and having a connection to the land but Redbow denies it while Filbert embraces it. Another interesting thing to look at in this film is the identity politics shown towards white people. The cops are all made out to be racist towards the Native Americans and they seem to have a "I'm better than you," attitude towards them. I thought it was interesting that a female cop brought Bonnie's kids to visit her in the prison cell and kicked them out after a minute as opposed to five because generally females are more companssionate and one would think that she would have sympathy towards her, but she does not. Another interesting character is Rabbit because she is the only white person who does have sympathy for Bonnie and the Native Americans, she even hits on Buddy Redbow. Overall, I thought it was a good movie but it does play on stereotypes and identity politics to an extreme.

Posted by Susie Q at 12:53 PM | Permalink | Comments (0) | TrackBacks (0)

Identity politics is found clearly in the movie Powwow Highway. Even though the main characters, Buddy Red Bow and Philbert Bono, are extremely different in their beliefs and ideas about their band, the Cheyenne, they share experiences in regard to the injustices brought upon them. With Philberts ideas on how to preserve his people, stemming around the old stories and preserving the old ways of the Cheyenne, and Buddy's ideas on how to preserve his people, stemming around laws, legislature, and political activism as a way to preserve his people, these two men couldn't be any different in their ideas. Even though they go about things in different ways, they both have a common goal. Their ideas will merge on the road and they will see the other as equals and they will both share in the other's ideas and experiences on how to preserve their people. Buddy becomes more spiritual and shares customs of the old people from his band while Philbert, though remaining spiritual, displays acts of political activism and "damn's the man" when helping Buddy's sister out of jail and stealing the money from the police station. If these men can band together to help their people, anyone can band together in search of a common goal. This movie brings hope to the hopeless and inspiration to the uninspired.

Posted by bella at 12:44 PM | Permalink | Comments (0) | TrackBacks (0)

Powwow Highway is a unique narrative that deals with Native American identity politics and takes them on the road. The filmmaker sought to highlight the massacre at Wounded Knee in 1850 with the stand-off and siege of Wounded Knee in 1973, having both incidents haunt the memories of our protagonists Buddy and Philbert.
Buddy is worldly and business savvy, having both been a veteran of Vietnam (the purple heart) and of the 1973 incident at Wounded Knee. While Buddy works for his people (the Cheyenne) and helps protect their business interests, he has a disconnect from his culture, thinking that the old ways are bullshit. Philbert, on the other hand, has a deep connection to the old ways, looking towards them in his attempt to become a Cheyenne warrior. Philbert appears to have never been off the reservation and seems unaware of the deep vein of hurt that comes with the oppression of his people by outside interests.

The men travel southward towards Santa Fe and they hit a few detours (courtesy of Philbert's path to becoming a warrior). Along the way, they meet up with some of Buddy's fellow Wounded Knee veterans, attend a powwow, and stop and pay respect to several places considered sacred by the Cheyenne. These pit-stops introduce Philbert o the highly complex politically-charged world outside of the reservation -- the reasons why identity politics were established. They encounter betrayals by both outsiders (dominant culture) and from within (those who work in the interests of the dominant culture), the difficulties of maintaining a lifestyle in co-ordinance with one's culture outside of the reservation, the lack of any aid for Native American war veterans, and the disconnect one can develop with one's own culture. At the same time, we are introduced to the Cheyenne spirit -- a respect for nature and others, as well as a spirit to endure and persevere through all obstacles.

Both men find in each other that which was missing from their warrior paths. As Philbert's understanding of the complexities of the politics surrounding Native American life grows and becomes more worldly, Buddy finds himself opening up to a reconnection to his culture. By the end of the adventure, both men have moved much closer to the middle -- a combination of reverence and respect for one's own culture and an understanding of what lies outside -- which seem to be traits of a warrior. In the end, both men are well on their way to becoming true Cheyenne warriors.

Posted by Sweeper887 at 11:05 AM | Permalink | Comments (0) | TrackBacks (0)

Powwow Highway deals very directly with the topic of identity politics through a frequently ignored oppressed group – the Native Americans. Buddy Redblood best embodies the modern quest for justice and identity among this group. An avid activist in the American Indian Movement, Buddy takes an aggressive, at times even militant approach to securing his freedom and pride. There are several examples of this throughout the film including his standoff with Youngblood (both times), his fight with the white electronics clerk, and the hurling of glass at an oncoming police car. His rash actions demonstrate how the rage multiple decades of oppression manifests itself. As a member of the oppressed group in the film, Redblood is allowed to get away with his criminal actions, affirming the cause he is fighting for and his angry feelings. Philbert represents the search for identity and resistance to oppression through traditional Native American means, such as visiting sacred ground and retelling stories with an important message.

On the road, the only positive interactions that take place between whites and Native Americans occur with Bonnie’s friend Rabbit. Bonnie seems to be acclimated into white culture, having lived off of the reservation and having half white children (perhaps this is why Redblood hasn’t talked with her in years?). Redblood perceives Rabbit and even his own “acclimated� people as threats to his being and way of life. After the men leave the reservation, Redblood’s actions seem out of line, and yet at the meeting with Youngblood he seems like a fervent young man speaking out for those surrounding him. A consciousness rising occurs in Santa Fe among Bonnie’s children, Skye and Jane. The children do not know their identity as Native Americans, but quickly find out from Bonnie and Philbert after posing the question. Defining places of identity are found in Philbert’s frequent stops along the Midwest. He visits his ancestors, witnessing the grounds of their oppression and drawing strength to continue the journey. The Native American identity is at the core of this film, concluding with the group walking away from the camera, free from white oppression - for the time being. They are still on the run from the law and will more than likely only achieve peace back on the reservation, continuting the battle of having their identity accepted and respected among popular culture.

Posted by Rita Racine at 11:19 PM | Permalink | Comments (0) | TrackBacks (0)

I think that, despite Philbert's naïveté and dreamerlike qualities, he is more solid in terms of knowing who he is as Cheyenne. He takes pride in his heritage and background, and uses the road to further find ways of connecting with who he and his people are. He is unlike Buddy, in that he is slightly aware of Cheyenne (or American Indians in general) struggles and wounds of the past, like Wounded Knee, in which Buddy was involved. He is an optimist and like a breeze of fresh air compared to Buddy. I think the road trip was more beneficial to Buddy. The flashback to when he and Philbert were children was vivid, and showed the differences in their characters, in that Buddy remembers being mean to Philbert, but Philbert doesnt remember the bad. As he spends more time with Philbert, his cold demeanor starts to thaw, and he starts to embrace more of his Cheyenne heritage, like when they go to the Powwow in the gymnasium. He is against participating in what he sees as useless, but gives in and dances, and actually seems to enjoy himself. By the end of the movie, he comes to realize that Philbert means more to him and his personal identity than he knew. They set out on the road to help Buddy's sister, but the road ended up helping Buddy.

Posted by KoreanPrincss at 11:12 PM | Permalink | Comments (0) | TrackBacks (0)

Of all the characters that entertained me, Olive did the most. She is such a small person to begin with and you know that when she grows up she will still be a small person. Her character is not neccessarily full of hope though, or at least not as much as I had expected. Although she is the youngest and asks questions that no one else can because of the sometimes brashness of it, she never made me feel good about what she did. She just seemed like another character in the story that happened to be along for the trip. What I do think she did though, was provide a way for all the other characters to show a side of them, a more sensitive and loving side, that would otherwise usually go unseen. She never has a negative feeling around her and because of that, all other characters have a sense of love around them while talking about or to her. For example, when her older brother found out that because he is colorblind he can't fly (which, by the way, was the saddest scene I've ever watched in my life) and ran out the van, Olive enabled it to be less of a depressing situation by being cautious while walking down the slope to get to him and making us laugh. Then when she is walking back up with him, she is having somewhat of a hard time, giving him an opportunity to help her out, which he does, and show some love! Her character alone bothered me a bit just because she was too naive for my taste, but around other characters I thought she brought out the best in them.

Posted by ZoraMonkey at 11:44 AM | Permalink | Comments (0) | TrackBacks (0)

Someone needs to tell Richard Hoover that an ordinary family isnt what we used to see on Leave it to Beaver. What Little Miss Sunshine tries to expose is the life of the modern american middle class family, in all it's imperfections. Richard doesnt want to accept this, failure has never been an option. We are raised to look in the mirror and say we can do whatever we want when we grow up. It's the American Dream, a concept for which millions flooded to this country and found themselves cheated. Richard needs to be the man of the family. He's the provider and you better listen to what he has to say. Now he's failing at that role though, and begins to feel his sense of order is being threatened. Shushing Frank for exposing his children to the truth of a world where people are capable of being miserable enough to end their lives. if you are miserable, you have given up on your fate, and you are a loser. Later he learns to accept that his daughter doesnt fit in with the pageant world and that sometimes we dont fit the mold and that's ok. He's unlikely to keep this frame of mind but whatever, it's a happy movie.

i couldnt find the right category. and it just occurred to me this was supposed to be done by noon. sorry.

Posted by Bob Dole at 5:56 PM | Permalink | Comments (0) | TrackBacks (0)

America the beautiful. The land of opportunities...if you're a winner. Richard Hoover is a very driven man. He strives to be perfect and to attain his goals. In his ideal world, he would be running a bery tight ship with his family, but no one really listens to him. When Uncle Frank comes to live with them, he tells Olive that "uncle Frank gave up on himself, which is something winners never do." The only point in the movie when Olive questions her identity and herself is when she is with her grandpa and she cries because she doesn't want to be a loser. There is such an importance put on success in America. There are also so many self help groups and books and fliers. There is a constant need to keep up with society and be normal. This is why I think that Richard's transformation is so important. He learns that it isn't important to succeed at everything. What's important are the people who care for you and the relationships one builds in life. The road to success is sometimes very lonely.

PS. sorry this is late...I spilled diet pepsi on my keyboard...figures

Posted by releasethekraken at 12:32 PM | Permalink | Comments (0) | TrackBacks (0)

Duane, the awkward adolescent, offers a glimpse into what it is like to be a teenager in America. He displays the qualities of the "emo" counterculture and the behaviors deemed normal at his age, hating his family and withdrawal from society at large. Most of us can relate to this stage in life, remembering how we strived to fit in, yet set ourselves apart at the same time, trying to formulate who we are. He adds tension to this film in his silent quest to become a pilot, shattered when he discovers his colorblindness. His teen angst stumps his parents, like when he breaks down and runs out of the van screaming. I think his character also grounds his parents in that they want to satisfy him.

Posted by Pumpkin at 12:28 PM | Permalink | Comments (0) | TrackBacks (0)

I think that Olive, in her lack of self consciousness and element of gender non-conformity, offers a wonderful critique of how one is supposed to grow up “female� in the American middle class. Olive lacks the uncertain and timid qualities that often characterize young girls and women in films. In contrast with the pageant contestants in movies like Miss Congeniality, Drop Dead Gorgeous, Olive doesn’t have a sense of her identity performance. Even while on stage, Olive makes little to no efforts to perform the way the other girls do, neglecting to smile, shake her butt, or show enthusiasm. She doesn’t manipulate her body or appearance to resemble that of an adult woman, as the other contestants do, allowing herself to stay appropriately childlike. Off stage, Olive doesn’t consider her body as a commodity in her performance. It’s her family and the adults around her that make attempts to fit her body in to certain standards. She also isn’t shy or aware of her nonconformity. The dance performance at the end has Olive happy and somewhat unaware that her performance differs from the other girls. She has a few moments of doubt or uncertainty, but always chooses to (as her mother says) “let Olive be Olive�. I think her character critiques middle class American womanhood by establishing a person who chooses her own way and resists definitions and evaluations based on her body or her relationships with men.

Posted by Jenny at 12:06 PM | Permalink | Comments (0) | TrackBacks (0)

Dwayne’s experience on the road trip adds to the mosaic critique of American life offered in this film Little Miss Sunshine. He begins this film choosing not to speak at all until he gets into flying jets for the Air Force Academy. He does not even communicate to his family, but through a notepad. While Dwayne meets Frank, their uncle, he asks him who he hangs out with. He writes “I hate everyone.� Then, Frank asks what about his family, and he points out “Everyone.� This is a typical teenage attitude to most American families. When asked to go on the road trip with his family he does not like the idea, and tells his family he will agree to go but will not have any fun. When his grandpa dies, and the mom is crying he writes to Olive to go his mom.
When on the road trip Dwayne finds out he is colorblind. Frank tells him he cannot fly jets if he is colorblind. He is very angry and his family says that they are still his family. He tells them he is not their family, and does not even want to “be� a family. He tells them he hates them. He yells to his mother, she is “divorced,� to his father, he is “Bankrupt,� and to his uncle, “he is “Suicidal� during their road trip. He then apologizes to his family. In the end when his family is at the beauty pageant Dwayne realizes that American life has a cycle, he will do what he loves, and get past what obstacles he has. He also shows he accepts his own family. He tries to protect Olive from all the fake people in the pageant so she will not make a fool of herself. In the end he dances on stage with the rest of his family.

Posted by tranx246 at 11:34 AM | Permalink | Comments (0) | TrackBacks (0)

Sheryl Hoover's experience on the road trip best holds up the All-American stereotypes placed upon a white family on the road. Through everything, she is the support that holds her family together. Before they even get to the road, she invites her brother (Frank) to stay with the family. She accepts him being gay and suicidal, and gives him the support system that he seemingly needs. Sheryl is the one to comfort Dwayne on the road, when he finds out that he is colorblind and will never make it into flight school. She believes in Olive throughout everything, even when everyone else reaches the pagent and realizes that maybe Olive doesn't fit in with all of these creepy, little pagent girls. In the end, her whole family seems to follow in her love and acceptance and get up on the stage to dance their hearts out.

Posted by magatron at 11:29 AM | Permalink | Comments (0) | TrackBacks (0)

This “All American� white middle class family was seemingly normal, until all of their personal battles were shoved into one broken down van for a last minute road trip to, of all things, a little girl’s beauty pageant. Their individual problems were all combined in what would seem to be a disastrous ending, but in the end the family had shared their battles with one another and came away from the situation a stronger group as a whole, with closer relationships and personal growth. Richard Hoover’s battle seemed to be his fight to be the bread winner for his family. He was obsessed with his work, and when his deal didn’t work out, his motives seemed to change. At first he only seemed concerned with his daughter not eating ice cream and getting fat, but in the end he learned that just because she did not win the pageant she was not a LOSER. At a certain point in the film I questioned his motives, and his desire to get his daughter to the pageant. Was it so that she would be a WINNER and get prize money for the pageant to help the family financially? It would certainly take a lot to lift your father’s dead body out of a hospital window and stuff him in the trunk of your car on a family road trip. I think any normal, all American family, would have ended the trip there. But something made him keep their promise to their daughter, and for him, at first, it might have been for himself rather than for his daughter. In the end I feel like he learned a lot from his experience on the road trip. For example, that Olive needed to be a kid and eat ice cream, and not be a WINNER all of the time.

Posted by Holly Golightly at 11:27 AM | Permalink | Comments (0) | TrackBacks (0)

The pieces of Sheryl Hoover in “Little Miss Sunshine� are something to be compared to mothers elsewhere in the middle class mosaic. Sheryl is the silent overassertive motherly type. A hard working mother, she holds a death grip at the ends of her family’s ties. She is consistent with her children, supports her now second husband in his career endeavors and has no problem scooping up (and into the family) her miserable brother at the slightest announcement of suicide. So it’s no surprise to the viewer that she would initiate this trip for Olive; even if she does wish she could pawn it off to her sister who apparently started this whole dream of stardom in Olive. It is qualities like this, which the viewer sees, in Sheryl that establish a certain level of familiarity with women in the American white middle class. Because of this familiarity we see in Sheryl, it makes it easier to identify even the slightest little comments she makes throughout the road trip. Amidst car trouble, the long drive and vulgar company, she falls tired and just lets grandpa and her husband dispute amongst themselves. Moments like this signify to the viewer that she really is a weary mother who has probably lost taste of her own personal desires. And still we see her support those who cause wear and tear in her life; Olive’s guilt (from her father) about ice cream, Dwain’s silent goals, Richard’s unstable career deals, and just the fact that she allows her brother and husband’s father to also be so knowledgeable of the way her family operates.

Posted by muen0036 at 11:21 AM | Permalink | Comments (0) | TrackBacks (0)

In this film, I believe that all the characters represent different facets of the white, middle-class American family. Each character, be it Olive, Sheryl, Richard, the grandfather, or the brother, represents some stereotypes, and some deviations from typical representation. Concentrating on one character, Sheryl, and her conformity as well as deviations from the middle class mosaic. Sheryl is overprotective, not accepting the fact that Olive may be able to understand aspect so of the real world, aka her brother's suicide attempt. She also maintains a positive influence on the self-esteem of her queerky daughter, at the same time trying to protect her from being herself. Sheryl works hard, has been through a divorce, has problems in her second marriage, but still attempts to hold the family together as best she can. She begins to support her daughter and accept that her daughter must be herself and not mold into what others expect of her, a deviation from the pressures of conformity and secrecy of the suburban middle-class world.

Posted by Miss Blog at 11:18 AM | Permalink | Comments (0) | TrackBacks (0)

In this film the contrasting character dynamics of Frank and Richard represent a collision of a modernist ideology with traditional values expressed through an individualist society. Richard conveys life lessons to his Olive with her drive to win the Little Miss Sunshine pageant stating that if you think you can win you will win. He feels that failure shows weakness and therefore will not allow himself or his other family members to be anything less than the greatest version of themselves. Through his nine steps he tries to emphasize the importance of the carrying out your own journey to personal success in your life. As a western society we have commonly been seen as individualist through out focus on the self. Richard’s character is continuously looking for ways that the members in his family can also reach their own personal success in which there is constant conflict present with Frank who is presented to counter and critique traditional American life.

Being presented as a homosexual scholar who has recently committed suicide Frank is already presented as a force used to break and question social norms. He critiques traditional American life suggesting that everything can not always be planned out through a nine step program; success cannot be measured through such means. Frank is seen as a mentor to other characters in film through the pain that he is experiencing. He strengthens the idea that life is quite messed up and cannot always be defined in such simple terms and standards that we commonly put on ourselves.

Posted by Megatron at 11:04 AM | Permalink | Comments (0) | TrackBacks (0)

Grandpa Hoover's role in "Little Miss Sunshine� was the liberalist. He was liberal with his actions and at the same time, he's sincere and genuine with Olive. For each person he talks to in the family, he knows how to relate to them by understanding their feelings. When he spoke with Dwayne about girls, he spoke to him as a hormonal old man. When he spoke with Richard, after finding out Richard didn't get the book deal, he spoke to him as a loving parent. You would never know that he was a cocaine addict, since he always showed a humane side to him. His humane side was being a grandpa, being supportive and caring for his family. We can't say that everyone else in the family served a "normal" role, and Grandpa Hoover offered that bit of normality that the family needed. When Grandpa Hoover died, it seemed as though his spirit was left with the rest of the family. Their determination for Olive became so clear that the family, together, was willing to do anything. His death brought the family closer, and in many cases thats what seen in families today.

Posted by will1612 at 10:49 AM | Permalink | Comments (0) | TrackBacks (0)

"Little Miss Sunshine" is as real as it gets when it come to the on screen portrayl of the white, middle-class family. This story doesn't sugar-coat the family situation like so many other hollywood movies. We all have a gay relative, an addict of some sort, a personality who is intense all the time if you really stop to think about it.

The character who intrests me the most though in terms of family is Cheryl, Olive and Dwayne's mother. I think it is because she reminds me so much of my own mother. Everything from the smoking habit to the way she clips her hair up. Cheryl represents middle-class moms in this society. No where near perfect, she is stressed by finances, other members of the family, and keeping up with life in general. However, she is still the gentle caretaker. She will take anyone in even if she doesn't have the space or the time, for example her suicidal, gay brother. She tries to support her husband, but argueing is realistic in marriages, this is her second. Most of all, she loves her children unconditionally and wants them to be the best that they can be. In ways, Cheryl's character presents a sadder, softer side as you wonder in all of this when does she get time for herself. To make sure she is happy.

Posted by peanut at 10:43 AM | Permalink | Comments (0) | TrackBacks (0)

*There was no category for Little Miss Sunshine*

Everybody seems to have forgotten about the how the experience of Edwin Hoover (Grandpa) on the road-trip adds to the critique of American life.

Grandpa was a foul-mouthed, heroin-snorting horn-dog with a general distaste for his son Richard's smugness and air of superiority. The character serves as a commentary on an elder looking back at life with some perspective and determining that in life, he did some things the wrong way -- so he insists upon imparting his knowledge back to his family.

Thus, we have the lines, "I got no reason to lie to you, don't make the same mistakes I made when I was young. Fuck a lotta women kid, not just one woman, a lotta women," as he talks to teen Dwayne on the road-trip. These lines imply regret concerning how Edwin obeyed the sexual norms of his time (not a lot of sexual partners). Additionally, when questioned about why he snorts heroin, he says when you are young, you are crazy to do drugs, but, "When you're old you're crazy not to do it." When he was young, he had the energy to live life, but he 'wasted it.' Now, in his older days, the heroin gives him the energy to do the things he needs to do. Energy (and zest for life) is something that one generally loses as one gets older, but because of the heroin, Edwin seems to have it in spades.

Grandpa does have a softer-side to his gruff exterior. In the van after Richard has learned of the failure of his program to launch, Grandpa (who has been very vocal about his distaste for Richard's plan) admits that he finds it brave of Richard to take a chance on his dream (which is something he never did). There seems to be a bit of wisdom splashed with regret in this comment in that he never took that chance. Also, when Olive wonders whether she is a 'loser' or not (per Richard's comments about winners/losers), he says, "Losers are people who are so afraid of not winning, they don't even try." This, of course, sets Olive at ease.

This comment about losers being people who don't even try could be considered the overall theme of the film. One is a loser if he or she is so afraid of not winning that they are paralyzed, so take a chance, be yourself, and (to quote Dwayne) 'fuck the rest'. Edwin only began to live by this philosophy at the end of his life, but by the end of the film, the entire Hoover family adopted it.
Somehow, I think Edwin (wherever he may be) would be proud that his family has let go and embraced life. :-)

Posted by Sweeper887 at 10:32 AM | Permalink | Comments (0) | TrackBacks (0)

I think that the role of Sheryl's experience during this road trip contributes to the typical image of the white middle class family. She is a working mom, with two children, and once divorced. She is dealing with her own family issues, since her brother has tried to kill himself and she must provide the care for him since there is no one else to do so. Her husband is trying to fulfill his dreams of being a motivational speaker, while there is little stated throughout the movie about Sheryl's dreams or passions. It seems to be assumed that making sure that her two children are raised well is all dream that she needs to have. She fights with her husband about money, how he is not contributing his share or doing what he needs to in order to support their family. She is overprotective of her children, not want Richard to affect his daughters self image by being told that she'll be fat if she continues to eat ice cream. In the movie it is always Sheryl who is protecting the children by telling them what's going on, like when their grandfather dies. In this movie Sheryl portrays the typical, average, white, suburban mother who is completely focused on holding the family together during this crazy family road trip.

Posted by Lady at 10:27 AM | Permalink | Comments (0) | TrackBacks (0)

The character of Olive is a perfect commentary on the expectations that little girls are faced with in our modern society. A large emphasis is placed on conventional beauty, and this is engrained in our children from a young age. The beauty pageant is the epitome of this, and teaches them that beauty is one of the most important things. Olive is an example of someone trying to fi into this norm. Although her family doesn't force her into anything, her father often promotes these ideas by telling her that she has to be a winner (which means that she has to be beautiful if she wants to win the pageant). This film, and the character of Olive, chalenge the standard's of American life, and call in to question this beauty ideal. Olive, although not beauty pageant beautiful, is one of the most likeable characters, and the audience roots for her even when most people in the film are not. She shows that societal standards may need to be reconsidered.

Posted by orour078 at 10:20 AM | Permalink | Comments (0) | TrackBacks (0)

Richard Hoover starts the movie as perfect and seeks only perfection, not only from himself but from his children. He, like most Americans, has an idea of winners and losers, a strong sense of competition and a strong sense of self determination. He is a heteronormative male who is quick to judge, with Frank in the house he quickly brands him as a "loser" infront of Olive because he has given up on himself, but also because of the fact that he doesn't fit in with the ideals of the American Family. His ideas change only when he himself discovers that there are obstacles that he cannot conquer, his book deal falling through and Olives dance moves. This is the ultimate critique on the perfectionist over achiever as he realizes that America is not as much of a place of opportunity an freedom as he had originally believed.

Posted by ninjasecret at 10:17 AM | Permalink | Comments (0) | TrackBacks (0)

To me, the perfect character to embrace American family values is Richard Hoover. As the husband and dad, Richard is somewhat the "leader" of the family. And what kind of leader would not infuse winning values in the ones that are dear to him? But Richard happens to be a little out of it when it came to his children`s emotions. Being so concerned about how he was going to provide for his family and set an example on how to always be a winner, he never paid attention to his son`s feelings nor letting Olive just being a kid. Obviously this family was far from being perfect; that might be a reason why Richard wanted to believe and make then believe that they were all winners...As every American family should be.

Posted by quevi003 at 10:04 AM | Permalink | Comments (0) | TrackBacks (0)

I think that Sheryl is a stereotype of not only middle class motherhoood, but I found her relatable when compared with other Midwestern family values of which I personally am accostomed. No matter what obstacles she encounters, like her brother's suicide attempt or Dwayne's discovery of being colorblind, she tries to make things positive for the rest of the family, because she is the glue holding them together. She knows that, no matter how stressed she might feel, if she lets that show through, it will also stress and owrry the rest of the family. I think it is typical that many mothers feel that, regardless of work outside the home, they have their second-job of being the keeper of the household. They provide the dinner, in this case, endless nights of chicken, and they support and help their family. Even though Dwayne feels like it is in Olive's best interest for her self-esteem and self-image if they pull her out of the beauty pageant, Sheryl stands firm in her belief that Olive needs to do this because it is what she loves. Sheryl knows that, even if Olive is hurt, she will be there to support and heal her afterwards. Ultimately, this family encountered a whole slew of interesting setbacks, and yet were able to persevere in an entertaining story of family values. (save for Grandpa's cocaine habit)

Posted by KoreanPrincss at 9:16 AM | Permalink | Comments (0) | TrackBacks (0)

In "Little Miss Sunshine" Oliver Hoover becomes the commonality that brings the family together and helps each member cope with their hardships. Each member of the family has his or her idea of the American Dream but does obtain it. From the beginning of the movie Cheryl Hoover longs to fit the "cookie cutter mold" of the middle class American family, she gives Richard a hard time about his book and not making money, she is bitter that she is the bread winner, she insists on the all American family dinner, and denies Olive the okay to discuss Uncle Frank's injuries. As the disfunctional family sets out for the road, they all learn about their own shortcomings and come to terms with them. The entire family, even grandpa, cram into the VW van (which is as disfunctional as the family) and head to Olive's beauty competition. Along the way each member of the family runs into trouble that interfers with their life. Uncle Frank sees the love of his life with another man, Richard book is rejected, Dwayne finds out that he is color blind, and grandpa dies. Initially, the members of the family are completing destroyed by problems they face, but because of Olive and the drive to make her dream come true the family joins together to make the best of the trip and overcome their individual battles. The Hoovers realize that there are other things to live for and that family is all you need. They all try and protect Olive from the embarassment of the competition but end up joining Olive on stage when they realize the competition is Olive's dream. They develop the attitude of "who cares" and abandon all reservations in order to support Olive. Dwayne says it best, "do what you love and fuck the rest!" Live for yourself and for the people you love.

Posted by littlegreenapples at 8:53 AM | Permalink | Comments (0) | TrackBacks (0)

In the film Little Miss Sunshine the Character FRank becomes apart of the mosaic critque of American Famlily life by challenging and reinforcing the white middle class family values. Frank enters the film and the family as an outsider by being forced to live with the Hoover family because of his attempted suicide. His opennes about what lead to his suicide set the tone for the road trip later on by creating more open and honest communication with the family. With Frank's career in academics where he was able to be an indvidual and pursue want he wants transends to his relationship with Dwayne. Being an example and offering his life story allows Dwayne once again to talk to his family and see the value in being apart of the Hoover familly instead of hating it.

Frank also offers a postive thinking much different from Richard and is not focused on winning and losing, but instead the experience. With preparation for the Little Miss Sunshine competition, Frank provides support for Olive by placing an emphasis on the experience and not perfectionism by encouraging a positive body image at the restaurant when Olive contemplates eating ice cream.

The investment in Olive brings the family together with the assistance of Frank and the new perspective that he brings to the family. In general, Frank aides to the mosaic and to the family's experience on the road by being himself. Frank reinforces the idea that families are structured in other ways beside the traditional nuclear family. Frank also provides the understanding that families are not perfect and that they are not suppose to be because we would not gain anything from it being that way.

Posted by Gertrude at 8:38 AM | Permalink | Comments (0) | TrackBacks (0)

Little Miss Sunshine's sullen and silent teenager, Dwayne, represents two stereotypes of American teenagers that are usually incompatible--first, he is the oppositional, Nietzsche-obsessed teen who rails against American society (or would do so if he weren't silent for the majority of the film), hates his parents, and generally embodies teen angst. At the same time, he wants to go to the Air Force Academy and fly jets, putting him under the umbrella of the patriotic ROTC-bound teen, usually the very antithesis of Dwayne's angry alter ego. By embodying both of these stereotypes at once, he represents every teenage misfit--and every teen who has ever been forced on a road trip with their family--making him the universal representative of the teenage experience in America. Dwayne flies under the radar (so to speak) for much of the trip, until he discovers he is color blind and must give up his dream of flying jets--his American Dream, if you will--which his family has supported and encouraged (and exploited, as Sheryl does to get him to come on the trip). Yet despite having to give up the specific dream, Dwayne is determined to hold on to an aspect of the goal. His experience and determination are a distillation of the where-there's-a-will-there's-a-way American mindset--despite his cynical facade that leads him to reject what he calls the beauty contest of American life, he has a very stereotypically American mindset when it comes to his hopes and dreams.

Posted by ristee at 8:29 AM | Permalink | Comments (0) | TrackBacks (0)

I think that Frank adds alot to the American family concept of the

Little Miss Sunshine.

Posted by Irelandfanatic at 8:24 AM | Permalink | Comments (0) | TrackBacks (0)

Sheryl’s experiences as the mother in Little Miss Sunshine are a representation of family values of middle class America. Sheryl is the glue that holds everyone together, keep everyone calm when things do not go well. She struggles with stress but does not let that interfere with her taking care of everyone in the family. There is a breaking point where she realizes they are not going to have enough money for the family but despite her anger and disappointment she sticks it through and makes sure that her kids know that they will be fine. Sheryl is optimistic and believes that Dwayne and Olive can be whatever they want to be. Olive gets accepted to go to the finals for the Little Miss Sunshine competition, Sheryl did not hesitate to take her no matter by what means. When Dwayne realizes that he will not be able to be a pilot due to his color blindness, Sheryl still has that calm attitude that somehow it will still work out for him. The microbus breaks down over and over again so they have to push it each time and get on one by one to get it going again (even the horn is jammed towards the end). Sheryl remains optimistic, she makes it fun for everyone else. She tends to be the first to laugh and smile as they are running for the bus. When their grandfather dies she was the one to prepare Dwayne and Olive for what to come. This is the part when Sheryl breaks down, her guard comes down and she becomes very emotional. Sheryl does try to keep her family in a bubble, but towards the end when she sees all her family dancing on stage she also climbs on and joins them. This shows the world all their flaws and they do not care. I think Sheryl really represents the all American mother, the one that tries to do everything and anything for her family.

Posted by Lulu at 7:48 AM | Permalink | Comments (0) | TrackBacks (0)

You can be it!

I see Dwayne’s story as the embodiment of the ‘American Dream’. He is determined to get into flight school for the majority of the film. He takes a vow of silence and works out daily to achieve this goal. This is really what the American dream is about, the idea that anyone can be anything if they work hard for it. Of course, Dwayne’s dream receives a massive blow when he learns he’s colorblind. At this point, the viewer assumes that Dwayne will never be able to fly and achieve his dream, so it seems to be a critique of this American ideal.

But Dwayne doesn’t see it that way. Near the end while talking to Frank he says that he’ll find a way to fly if he wants to. This is a revitalization of his dream, and he really believes that he’ll be able to find a way to fly. The viewer gets caught up in this belief too. Simply hearing Dwayne say he will find a way, makes the audience believe that he will and they don’t question how. So what seems to be a critique of the American dream turns into a story that perpetuates it.

Posted by goldie at 12:37 AM | Permalink | Comments (0) | TrackBacks (0)

In America we have the belief in the American Dream, where America is the best place on earth because you can grow up with nothing and still become whatever you want to be. Though this is an excellent idea, most of us know that it is still extremely hard for one to be what they want to be because life throws many curves balls at you, and that is one thing that Dwayne learns on this road trip. Going through the toughest time in his life, Dwayne rejected his family and "hates everybody." However, he too had one wish and that was to become an Air Force pilot. Unfortunately, while on the road he gets his first curve ball when he finds out from a simple test given to him by Olive that he is colorbind and therefore can not be in the military. He freaks out and yells at his family insulting all of them for their faults. Eventually he does get back in the car and apologizes for the things that he had said. I think that an important moment in this film, especially for Dwayne, is when he is on the pier talking with his Uncle Frank and Frank tells him that suffering is the best part of life because it makes you who you are. It is here that I think Dwayne begins to realize that what he is going through will pass and that his dream and life are not over just because he will not be able to fly in the military. He then states, while still talking with Frank, "You know what? Fuck beauty contests. Life is one fucking beauty contest after another. School, then college, then work... Fuck that. And fuck the Air Force Academy. If I want to fly, I'll find a way to fly. You do what you love, and fuck the rest." He is still very much determinded to fly and do what he wants. Also, I think that it is here he begins to accept his family, which is also evident when he too goes up on stage to dance with his sister.

Posted by Susie Q at 10:06 PM | Permalink | Comments (0) | TrackBacks (0)

In Little Miss Sunshine, Dwayne's transformation from a moping teenage "emo" to an accepting and (potentially) stable youth attempts to add to the film's mosaic critique of American life--he epitomizes the need for collaboration and contribution. The primary motif through which these themes are exemplified in the film is that of Dwayne's silence. A complete and utter lack of communication entails a lack of, essentially, humanity. If the film is to focus mainly on the American family as a unit requiring maintenance, Dwayne must be, literally, "socialized" in order to help cure the family's dysfunctional habits--namely, those which ironically contributed to Dwayne's irrational rebelliousness in the first place. Furthermore, Dwayne's goal toward military placement, in a narrative sense, must be stopped at all costs. Whether this is morally justified under the film's overarching ideology is another question, but here it is clearly framed as merely a path toward destruction and warfare--the opposite of the familial union that marks the film's most obvious resolution. Even more dubious is the fact that color blindness is the cause for his disappointment--this implies that his perception of the world has been distorted by unavoidable physicality and not as a result of familial problems. Basically, the film undermines itself and suggests that the causes of strife are not to be found in the family, but the individual. Thus, Little Miss Sunshine's "critique" of the American family is veiled under false pretenses--Dwayne is not really a product of his upbringing, and his well-intentioned progression toward bonding and communication is unfortunately irrelevant given the specific circumstances presented in the film.

Posted by pete5676 at 9:47 PM | Permalink | Comments (0) | TrackBacks (0)

To me, Richard Hoover embodies "everything" that is "American". His traits and ambitions in this movie contribute to the ideals associated with the white middle class American family. To Richard, tangible success is the only important thing in life and his way of measuring it is classicly white, male, and American. Richard's nine step program emphasizes winning, and Richard uses winning to evaluate every life experience. He tells Olive that there is no point entering a contest you don't think you can win. Richard doesn't completely support Olive in her dreams, but does decide to make the 800 mile trip to Redondo Beach. Though in the end he doesn't support the beauty pageants, he does allow Olive to participate and take part in their gender performative rituals. Evaluating people based on how well they fit their assigned feminine or masculine role is very American; and this is risky for me to say, but I also think it may be acceptable for men to accept women fitting into roles like the ones we see at the little miss sunshine pageant. I also think that Richard has trouble not being able to perform as the typical masculine head of the white middle class household; he is unable to provide for the family financially or emotionally. Richard fills in this piece of the standard middle class white family. The only way to be measured is through comparison.

---The categories aren't really showing a Little Miss Sunshine one.

Posted by Courtney at 9:09 PM | Permalink | Comments (0) | TrackBacks (0)

* I did not see an option for Little Miss Sunshine in the Primary Category selection. 4/13/08

The character I select is Sheryl Hoover. Sheryl’s experiences on the road trip that add to the mosaic critique of American life include moments of stress, control, money issues, education, imperfection and a hunger for balance and stability. More specifically, there is a scene in the movie when Richard finds out that he isn’t going to get the financial boost he was hoping for. Sheryl immediately starts yelling at him, asking what they were going to do, how where they going to support the family. This outburst is partly due to stress and a lack of balance and stability The outburst of anger due to money issues is one of the most common responses and issues in relationships, which makes it part of American life. The level of money you make is also how others critique one in American society. There is another scene in the movie that embraces education and imperfection. In this scene, Sheryl, Richard and Dwayne are talking to Olive and telling her that they accept her for who she is and she doesn’t need to feel like she has t exploit herself to be accepted. The family is educating their young daughter on values and acceptance. They are also acknowledging the fact that they aren’t perfect and their imperfections are what make them a loving family. All of these elements are what add to the American life and the critique of American life among society.

Posted by tennischica at 9:07 PM | Permalink | Comments (0) | TrackBacks (0)

In Little Miss Sunshine, the uncle Frank seems to add to the mosaic critique of American life by virtue of the fact that he does not conform to the role that adult males are supposed to fill in the family unit. In this film, not only is Frank unmarried and thus not filling the family role as father, but he is gay and therefore it is not possible that he can fit into this heteronormative ideal. While it may be sufficient enough that he is a homosexual, I think it is a bigger discrepancy that he is an adult and yet he does not seem to fill the adult role.

Throughout the film Frank is treated by both the other characters and the film maker as a child. Due to the fact that he has recently attempted suicide, it is deemed necessary that he be supervised at all times. This is worsened even further that he is patronized by his own sister and her family. He is forced to follow rules that would be typical for a child: he cannot be in a room by himself with the doors closed, he is not allowed to use or have sharp objects, nor can he have access to any medicine that he may intentionally or accidentally consume. In a scene he is further patronized when Edwin sends him to by nudie mags and then tells him to "get [himself] a treat," much like a grandfather would say to his grandson. There is also another point where he argues with Richard in the car and when confronted by Sheryl, he reacts with the typical childish response of "he started it."

Frank's role as the child is further reinforced by the mise en scene of the film, particularly before the family has even left the home. At the family dinner he ends up with a cup bearing the image of a Ronald McDonald character, which would be typical of a child. He is even relegated to use a pillow that has a Sesame Street pillowcase, which, when contrasted with the starkness of Dwayne's bedsheets and room, makes him appear even more immature.

Posted by Emma Zoch at 8:03 PM | Permalink | Comments (0) | TrackBacks (0)

Richard Hoover is an essential aspect of the mosaic that challenges the American family model. Though Richard throughout the movie speaks of his plan for his steps to success, he is not the primary breadwinner. He is very forward about his beliefs and sometimes downright rude. His transformation in this journey to California is essential to the change in the family dynamic. By the time they take to the road to head home to New Mexico, Richard’s attitude to his family has changed. His father’s support after he finds out that the business deal to promote his book falls through and his father’s death are two significant events that helped shape his transformation.

The greatest manifestation of his dramatic change is when he gets on stage to take Olive off stage and instead dances with her. This is the greatest sign of support he could have shown at that point. This sparks the whole family to ultimately get on stage and dance with Olive as she finishes up her outrageously unique routine. Richard sparking the family to dance on stage was critical in that it represented the emotional journey he had come on through this trip to California that he was forced to go on in the first place. His change allowed the changes of the rest of the family.

Posted by believer. at 4:10 PM | Permalink | Comments (0) | TrackBacks (0)

First of all, I wish i had the other group questions. I will just answer both groups question. I think the journey is not just Oliver's journey but the whole families journey. Throughout the journey, the story progresses as the relationship between each family members start to break down and ends as it gets stronger and stronger. So, the whole family members change through these whole journey. If not become a stronger person, then they atleast learn about each others strength and weaknesses. They learn to how to work it out and become a stronger and a happier family.

As far as the characters go for the second question. I think every character in this family represents the mosaic critique of american family. If not mosaic, then at least your general stereotypes of how the american families are. The film is a combination of all the different characteristics of american family from different movies come together and put into this Little miss sunshine. To pick a character would be very difficult. But, i guess i will use the mom as an example. She is this strong woman who has a say in everything that happens in the family. Being from a third world country, i can say that we see the american woman as more independent or open-minded or open-mouth than the third world country. For example, in every issues and problems the family has, the mom is always there to talk things out. The scene where she just takes out a meal or chicken bought from KFC is also a typical opinion that we have of american movies. I mean, most third world country women would see american woman as a hard-working woman who works all the time and has no time to cook a good or proper meal for their family. similarly, teh part where the mom just takes out the KFC chicken, microwaves it, and just tells Dwayne to put it on the plate, is very stereotypical portrayal of american movie. Also, the grandpa says, "Oh not again!". Meaning, that this is probably like the second or third time they are eating the very same meal or chicken. or probably, that they already ate the chicken once in the morning and now they are having it again for lunch. So, the mom's character adds up to the mosaic critique of american family.

Posted by Sakina at 3:01 PM | Permalink | Comments (0) | TrackBacks (0)

Olive is at the center of the narrative of this film; the road trip began because of her and most of the adventures within the film are a struggle to get her to the beauty pageant she wants to be in. She is also an interesting representation of a young girl growing up, with dreams and aspirations, and the formation she is receiving from those around her. In this movie, we see Olive undergo part of the process of becoming a woman. She is still a young girl, but she idolizes pageants contestants, and struggles to become a part of that world. Olive receives cues on how to be a woman from the pageants she participates in, from the older pageant contestants and from her family surrounding her. Her process of becoming a woman is highlighted within the film, and then critiqued.

Olive, as such a young girl, is undergoing the process of becoming a woman. One main source for womanhood comes from beauty pageants. At the beginning of the movie, Olive is watching and rewatching scenes from a beaty pageant. She watches these women and imitates their actions. The pageant women are representations of idealized femininity. They decorate their faces and their bodies, they move, talk and present themselves in restricted and ritualized ways in order to present a heightened form of femininity. Olive seems to lovingly adore these women and their presentations. She rewinds the tape in order to imitate how the women wave and cry. She goes even further by wanting to participate in these types of contests

Olive also receives instruction and information on femininity from the people around her. Interestingly, some of the more blatant examples of this come from the male figures in Olive's life. Her dad, Richard, gives Olive some clear cues about what Olive needs to do. In a scene at a restaurant, where the whole family is eating Richard tells Olive to not eat ice cream. He tells her continuously that she needs to watch her weight by not eating ice cream. He tells her that the pageant women, that she so admires, don't eat ice cream, and indirectly tells her that she needs to be skinnier. Olive takes her father's opinions to heart, even when the rest of her family convinces her that she should just enjoy the ice cream. Olive actually asks a pageant winner if she likes to eat ice cream. This shows that Olive does have a desire to follow a certain path to femininity, and if ice cream is not conducive to that ideal then she was probably willing to give up on that indulgence.

Her grandfather also plays an instrumental part in "training" Olive. He is her personal trainer, training her on the several parts of the beauty contests. He teaches her the dance routine that she dances at the competition at Redondo Beach. The dance gets everyone's attention because it is highly sexualized, with Olive stripping off her clothes and dancing in a provocative manner. The dance comes to a surprise to her whole family and all the audience. It is clear that, despite being in a beauty contest, the performance was way too feminine and mature for the audience to accept. It was an old man who taught the moves to Olive

The movie highlights the ways in which Olive receives her information on how to be a woman. A clear source is her participation in and love for beauty pageants. But people in her day to day life also affect her womanness. The movie manages to highlight how it can be men who perform this training. The main characters that affect Olive are her father and grandfather. Olive's mother actually plays a more passive role, she accepts her daughters participation in the pageant and helps her, but she is not as instrumental in guiding her to some ideal of womanhood. The critique within the movie comes from the ridiculessness of this young girl participating in these rituals. She is clearly in a learning process of becoming a woman (which is a critique about the inherentness of femininity), but the audience is shown that some of the parts she is leaning are innappropriate or wrong. Why shouldn't a girl be able to enjoy eating ice cream? The greatest example, though, comes from the final dance scene. It is incongruous to see such a young girl performing such sexualized dance moves. Even though beauty pageants for young girls are accepted, Olive crosses some sort of unspoken line, which ends up highlighting the true nature of these contests.

Posted by whoa at 2:25 PM | Permalink | Comments (0) | TrackBacks (0)

Dwayne offers a lot of substance to the portrayal of the all-American middle class white family. His presence, ideas, and actions all contribute to a very mosaic of the American life seen in this film. Part of his character is very ordinary of a white American teenager, while other aspects are very extreme and notably different.

Like many other teenagers, Dwayne has a high level of angst and rebellion within him. He often has a short temper with his family, and is quick to go against the grain they present. He has his values and beliefs and sticks by them to the best of his ability. Dwayne is stubborn, but in a much more intense way than other teenagers would be. He had taken a vow of silence until he becomes a fighter pilot - something very important to his character. He can express these emotions and certain temperaments without needing to speak - whether it's through notes or simply rolling his eyes. Dwayne managed to convey emotion representative of a large group of teenagers in a very obscure way - entirely different from the typical teenagers he may represent. Dwayne first begins to show something besides indifference when the mother is crying, and he writes a note to Olive to "go hug mom." This shows a "big brother" and even a "caring son" aspect of Dwayne that hasn't been seen. Despite being the rebel who even said he hates his family, he (like so many other teenagers) does care a lot more than he is willing to show.

Dwayne agrees to go on this road trip with his family, expecting and stating that he won't have any fun. In fact, the only thing he holds on to for any sort of hope is that dream of being a fighter pilot - a dream that is crushed during the road trip when he finds out that he is color blind. Immediately he realizes that his dream is shattered, and he runs out into the desert to give an emphatic "FUUUUCK!" All of the emotion he held in and all this crushing, sinking feeling are all unleashed in a single shout. This is the first real emotion we see from Dwayne who has been indifferent to most everything. He continued to settle back into a typical teenage state when his vow of silence is broken. It's easier for him to express himself, and the audience continues to find a more casual side to Dwayne. He is seen as a "big brother" again with Olive when he is trying to help her stave off the typical pageant girl bit. Ultimately he lets go of his angst against his family and lets loose to have fun with them on the stage, to throw some family pride at the upscale pageant-goers. Through these events we find that there is actually a lot more to Dwayne than originally thought. These aspects are representative of a lot of white teenage boys in the United States, but can still cover some extreme cases, adding to the mosaic this family displays.

Posted by ryanx422 at 2:01 PM | Permalink | Comments (0) | TrackBacks (0)

Dwayne is an interesting character to look at in the film and one of the most representative of the diverse mosaic that makes up the American family. He represents the typical teen...steadfast in his beliefs, misfit, slightly akward, and rebellious from his family. His vow of silence illustrates these characteristics, because he doesn't even need to speak to get across the typical teenage attitude and battle between family and autonomy. His body language is crucial to this; he roles his eyes, masters the death stare, and shakes his head in dissaproval. We see this most strongly at the dinner table scene when his family is trying to convince him to make the trip to Rodondo Beach. He can't stay alone, but most definitely doesn't want to go with to a beauty pageant, which couldn't be more opposite of his personality. He is caught between establishing his autonomy and being a part of the family. While he fits the bill of most teenagers, apparently disgusted with his family, he also illustrates the other side of the coin for most teens. On the surface he comes off rebellious and aloof, but deep down he clearly cares for his family members and is a crucial part of the family puzzle. We see this at the hospital when Cheryl is upset. He writes to Olive..."Go hug mom." Even after his dreams are crushed, a simple loving gesture from his sister, gives him the push to suck it up and do what's best for his family. The end clearly illustrates his love for his misfit family when he jumps on stage and participates in the free for all Hoover dance session. Dwayne represents a little piece of every teenager that makes up the american family.

Posted by sigmundfreud at 11:39 AM | Permalink | Comments (0) | TrackBacks (0)

Dwayne grows the most throughout this film and is shaped by the road in the most evident way. Despite his efforts to avoid the family trip, he is tagged along and we see the underlying attachment between Dwayne, Frank and Olive. It seems the Dwayne can only respect and understand people who are simple and lay everything out on the surface, something that Frank does through his honesty and Olive does through her innocence. His vow of silence is obviously the most pressing issue in his life, until he becomes a fighter pilot. The memorable scene of Dwayne in the car playing an eye game with Olive is when he life turns hard when Frank informs him that he is colorblind and therefore cannot fly planes. Emotions mounting- confusion, anger, sadness and maybe relief, the car is pulled over and Dwayne flies out and screams an heart wrenching "FUCK!". Even though this is in deep despair, it seems like somewhat of a let out of complete emotions he has been bottling up through this vow of silence. We later see him talk with frank and Olive and stand up for what he believes in and becomes an intricate part of the family again. He eventually loses all inhibition and dances up stage, hand in hand with his entire family, showing that he has grown and shaped a new person of who he is going to become.

Posted by Alexandra Goldman at 11:35 AM | Permalink | Comments (0) | TrackBacks (0)

Sheryl Hoover is a classic example of a white, suburban, middle class mother. She is always on the run trying to do the best for her children. She wants her children to be happy in whatever they choose to do. She doesn't want to push them to be anything they don't want to be. She doesn't judge them and wishes nothing but the best for them. She is also a typical middle class wife, sister, and daughter. She cares for her family deeply but doesn't have a problem saying what is on her mind. She loves and supports her husband but speaks up quickly when she doesn't see the families best interests in mind. Sheryl also wants to help and support her brother, who tried to kill himself. She takes him under her wing and treats him much like she treats her children. She loves him unconditionally and wishes nothing but the best for him. He is who he is and she wouldn't change it for the world, she just wants him to be happy. I see myself in Sheryl Hoover. I like to think that I am extremely supportive when it comes to the people I love and I want nothing but the best for them. I want them to be who they want to be and I try to support them in all that they do.

Posted by bella at 10:39 AM | Permalink | Comments (0) | TrackBacks (0)

The disparity between the Hoover family and the conceptual "normal" American family is primarily highlighted through the character of the mother in Little Miss Sunshine. Cheryl is the breadwinner of the family. She also feeds her family during two scenes of the movie but this food (fried chicken in one of the first scenes of the movie) is not home-cooked and the grandfather complains loudly that dinner is always chicken. Cheryl manages her children in a decidedly non-traditional way. In order to get her son to go on their road trip to California she bargains with him agreeing to give him permission to attend flight school if he will come. She actively works against her husband's ideas about childrearing. During a scene at a diner Richard is telling Olive that if she eats ice cream she may get fat. Cheryl disagrees and with her encouragement the rest of the family helps Olive to eat her ice cream and reject normal beauty pageant standards. Cheryl is finally most clearly portrayed as a different type of mother when she helps her daughter grow by not protecting her child against possible ridicule. Her son tells her "You're the Mom. You're supposed to protect her" and Cheryl replies that she is going to "Let Olive be Olive." Over all Cheryl is a good mother but she is not the mother we have seen projected on the screen so many times before. She is strong and determined, a business woman and a thinker. She manages her family from outside the strangling role that her femininity could potentially place her. Because of Cheryl the Hoover family is able to hold together despite their many unusual family members.

Posted by Alex M. at 10:29 AM | Permalink | Comments (0) | TrackBacks (0)

Edwin Hoover can represent a mosaic critique of American life from an elderly perspective. Edwin is kind and supportive of whatever his granddaughter Olive Hoover, chooses to do whether it conforms to the current culture of beauty over character. He supports her, telling her that she is beautiful whether society believes it or not. He teaches her the meaning of strength and perseverance. As a grandfather, he takes it upon himself to teach her everything that is "right," not what society encourages people to be like.

Examples of how Edwin Hoover uses his knowledge from being elderly to teach his young grand daughter, Abagail Hoover can be noted in a variety of scenes. For example, in the restaurant, Abagail's father, Richard Hoover does not encourage his daughter to eat the ice cream because it will make her unattractive and not qualified to enter the "Little Miss Sunshine" pageant. Edwin tells her to enjoy the ice cream and enjoy whatever life offers her. Another example of the supportive nature of Edwin Hoover can be noted when he tells Abagail that she is pretty, the most pretty girl that there is. It does not matter what society thinks of her. As long her family especially Edwin thinks that she is beautiful what does it matter what "outsiders" think of her. The fact that Abagail ultimately decides to enter the "Little Miss Sunshine" pageant can be an example of the courage and strength that Edwin her grandfather taught her. Edwin throughout the entire road trip tells her that she should never give up and constantly reminded how her family loves her. Towards the start of the pageant, her father and brother are very reluctant about letting her loose on the pageant. Abagail Hoover enters the pageant anyways and when it starts, people start to leave and scream at her. Although there is a lot of controversy regarding her demonstration in the pageant, Abagail continues with alacrity and fortitude. Her family, noting her strength decides to join her. This was what Edwin Hoover taught her and Abagail learned that society may not always be what is best for her or right. Abagail learned from Edwin her grandfather that she can accomplish whatever she wants as long as she gives herself the courage and determination.

張惠妹

Posted by 張惠妹 at 6:28 PM | Permalink | Comments (0) | TrackBacks (0)

Dwayne’s experience on the road trip is very telling of American teenagers. He feels as though his family is crazy. He claims he hates them. He sees his dream of flying as a way out of this nightmare. He will be able to leave and be free. I think Dwayne’s experience is similar to other teenagers. Many teens these days turn inward, instead of opening up to their family. They become isolated and keep their feelings to themselves. Dwayne distances himself from his family members. When his dream is crushed and he is upset, then he joins his family and decides to allow them in. The fact that he does not talk until this moment can be taken to mean that you can only push your family members away for so long. When you are in a time of need, they will still be there.

This blog is in response to Little Miss Sunshine. I can't find that option in the category options.

Posted by felicia at 4:13 PM | Permalink | Comments (0) | TrackBacks (0)

To me, the character of Richard and the transformation he makes best depicts the mosaic critique of American life. From the beginning, it becomes apparent that Richard is living a contradictory lifestyle. He preaches his program, but does not realistically live the steps. Richard wants to continually cover-up family issues and insecurities, such as Frank’s suicide attempt in the dinner scene. His ultra competiveness and necessity to succeed at times make him a caricature in the film, the symbol of the effects of American capitalism. Richard particularly forces this pressure on his daughter Olive, telling her she should not enter the contest if she does not think she will win and should not eat her ice cream at the roadside café or she will get fat (reducing her chances of winning). His identity is based on image and success, demonstrated by his getting to Scottsdale by any means necessary (a moped) to revive his book deal, only to find out that he is the problem. Any other person would have taken their losses and moved on (as suggested by Richard’s associate). The next day Richard (and the rest of the family) are so distracted with themselves they forget Olive at the gas station. Grandpa’s death appears to be the turning point for Richard – he no longer feels the need for his father’s approval, taking over as the patriarch of the family, making the decision to take Grandpa’s body on the road, and gets Olive into the contest despite their tardiness. The juxtaposition between the middle class American family and the mediated norm becomes evident at the beauty pageant. Richard and Dwayne are both concerned with letting Olive perform – Richard because of the image it will project of him and Dwayne because it will be a degrading experience for Olive. In the end, Richard accepts his daughter, standing up to clap for her raunchy routine and being the first to dance with her. Richard accepts the fact that his family may not be normal, but they love each other and hold together, which is more than most “normal� families can say.

Posted by Rita Racine at 9:32 PM | Permalink | Comments (0) | TrackBacks (0)

I disagree with the idea that the libratory aspects of the road are limited by the appearance throughout the film of hegemonic masculinity. The road gives huge amounts of freedom to the three main characters and they encounter numerous "normal" males along the road that provide help for them and except them for the drag queens that they are. The aborigine mechanic in the desert, even goes so far as to dress up in drag and join the show. Bob, the typical representation of a male character, finds more freedom for himself leaving behind the hegemonic masculinity that is typical in his small town and joining the group for the rest of the tour to Alice Springs. The clashes of cultures that happen along the way are most often based on a lack of understanding and confusion. At the hotel bar for example, when the queens show up in full on exuberant drag, by the end of the night they have become part of the crowd. Bernadette drinks her opposition under the table, while Felicia entertains the crowd at the bar. The painting of the bus and the run in with the males trying to hurt Felicia does have a short-lived effect on the spirit of the trip, but it does little to hamper the lifestyle with which the three enjoy.

Posted by Lady at 12:43 PM | Permalink | Comments (0) | TrackBacks (0)

I agree. I believe that the adventure the characters took are suppressed by a return to the logic of hegemonic masculinity because no matter how masculine of an area they were in, they kept to their guns and didn't change who they were. They let their real personalities shine through in a very dominated hegemonic masculine area. The outback couldn't get any more masculine and the men still weren't affected by this. The suppression of hegemonic masculinity is exemplified in the film in many scenes. In one scene, the men decided to stop in a bar for a drink and rest from their trip. When the men entered the bar, they were out of place and the center of everyone's gaze. You could tell that the atmosphere was male dominated by all of the men in the bar and the harsh response to their presence. Even though everything was working against the men, they still went in as themselves and didn't back down.

Posted by tennischica at 7:38 PM | Permalink | Comments (0) | TrackBacks (0)

Okay, Queen of the Desert is a movie about 3 guys/gals with different sexual preferences. All these three people are in the drag show business. And one day they decide to leave their so-called "safe" home Sydney and travel around the rural areas where they find many people who are not willing to accept them for what they are and very few people who are open enough to accept them. In ways, i agree and disagree with the article by Aitken & Lukinbeal.
I disagree because although these three characters might seem weak, they are strong and willing enough to go out and try out the small rural areas. they are willing to take this risky adventure even if there are chances of danger to their life.
I agree with the article that the road is in a way also controlled by the so-called more dominated straight male. However, if you further compare this film with Easy Rider, even the two protagonist faced unacceptance even when they were two straight guys. I think the road is very closed-minded depending on the culture. Anything that seems to be against the culture, not part of culture, or just plainly simply looks different or weird are not accepted by the road and the people who live around that road.
One thing that I liked about this film is that it shows that people react to certain differences based on how they are actually brought up. For example, depending on how open your family is to other races, sexes, or etc. you are most likely to behave that way. In Queen of the Desert, Tick son has been taught by his mother to be more open towards the drag. The son has seen many other drag shows hosted by his mother. so, he is more open to these kind of people. Therefore, even when Tick is worried sick about explaining his work or sex to his son, the son understands what his dad is and is rather happy for his dad for what he is. So, this is a lesson that this movie actually teaches us. Also, the character Bob who is very kind and willing to help these three guys not only with the truck, but also from sexual molestation, Bob seems very open to these three guys. And i think that's because he is more open to other culture and races. For example, his wife is an asian. So, he is more accepting, while his other friends are not.

(it looks like I forgot to publish the blog. I am sorry that it's rather quite late. But, I didn't notice it until now. )

Posted by Sakina at 3:34 PM | Permalink | Comments (0) | TrackBacks (0)

I must also apologize for my tardiness. My exam this morning left me in need of a nap and my alarm did not go off...

I agree with Aitkin and Lukinbeal's article that the Queens of the Desert were not liberated in their masculinity, but returned to the logic of hegemonic masculinity. I think that the potential for liberation was presented, but nothing became of it. Once leaving their safe haven of Sydney, they take their homosexual life and the safety that is associated with it on the road with them, relying on the bus for safety and the "normality" of the life they left. While the culture outside of the bus changes, they can always retreat back to the bus if society does not welcome them. As noted in the article, the only point where they were almost in hysterics was when their bus broke down. They are reliant upon Priscilla for their way of life to travel with them.

Aitkin and Lukinbeal also state that "the broader narrative of the movie, with its focus on family, community and sedentarism is suffused with a seemingly incontestable partriarchal logic" (358). I find this to be true, that the norms of a patriarchal society are not challenged in this film, but are conformed to. Mitzi gets to be the normal father and Bernadette gets an outwardly normal heterosexual relationship. While over-the-top flashiness and gaudiness present themselves in every scene, hegemonic masculinity is not overturned or challenged, but instead is embraced.

Posted by Pumpkin at 1:39 PM | Permalink | Comments (0) | TrackBacks (0)

First of all, I have to apologize for my tardiness. I couldn't get the blog to open on my computer.

Anyway, I agree with Aitken and Lukinbeal in that I believe that "Priscilla" does in fact return to the logic of hegemonic masculinity. Before I could answer this question though, I did have to look up the word hegemony which I found to be defined as: a concept that has been used to describe the existence of dominance of one social group over another. In the case of "Priscilla," I believe that the goal was to liberate the freedom of a male presence in a woman's socially defined norm. However, every time the men dressed as drag queens it was a very humorous part of the film. I do not think that they were liberated in any sense of the word. Especially because they returned to the safe haven which they left in the beginning. Mitzi especially makes a journey towards hegemony rather than liberation. Aitken and Lukinbeal state that, "The road trip to Alice Springs is an attempt ot contest these contrived spaces of difference, but it is also about coming to terms with other hegemonic norms such as family and fatherhood. Mitzi was ready to try and be the "normal father" but instead he simply got lucky in the fact that he was already well educated in the world that Mitzi comes from. Before he realized that though, Mitzi was embarrassed by his lifestyle. I just don't think that the film gave me any new information that I didn't already know about the hardships that transgendered people go through, and I don't know much to begin with.

Posted by releasethekraken at 12:34 PM | Permalink | Comments (0) | TrackBacks (0)

I do commonly agree with Aitken and Lukinbeal's argument that the potentially libratory aspects of the road for masculinities are suppressed by a return to the logic of hegemonic masculinity in the fact that in Adventures of Priscilla, Queen of the Desert the travelers are offered a sort of liberating notion and safety of their bus and of being unknown. Mitzi, Bernadette and Felicia embark on a trip that is designated to offer them something, disengaged from money or fame, individually characterized by a certain liberation they require. Bernadette's partner had just died, Mitzi had the underlying job of rejoining a life he had left behind, and Felicia was along for the thrill and the idea of fame. As two drag queens and a trans woman they realized that they would come up against certain resistance in the Outback, far away from their "safe" city.

In a way, this is documenting the libratory aspects of the road for masculinities. The three felt safe to travel, to be themselves. The first night they stop Mitzi and Felicia dress in full drag and parade around a
small town, shocking everybody. However, on that same night, Bernadette is required to confirm and negotiate her masculinity.

As a trans woman, she perpetuated a sort of disregard of her femininity when she entered the drinking competition with the "stone" butch woman from the bar. She was confirming that she is a) more masculine than the butch woman and b) more masculine than her two friends, Mitzi and Felicia. This is the logic of
hegemonic masculinity, that a certain notion of masculinity was required to "survive" the situation.

This is continually perpetuated throughout the film. For example, when they finally reach their destination of Alice Springs, Mitzi is preparing to see his son for the first time in a long time. He becomes so consumed with the fatherly figure that he will need to become that he disengages from his prominent identity: gay drag performer. He identifies who he is as a bad influence on his son, who grew up in a performance centered resort with a lesbian mother and plethora of characters around him. Until Mitzi was able to realize that what is required for a child is honesty and love, he perpetuates the logic of hegemonic masculinity. Of course, he is able to disengage from this by the end of the film, but the idea resonates nonetheless.

Posted by cici at 11:48 AM | Permalink | Comments (0) | TrackBacks (0)

I have to disagree with Aitken and Lukinbeal. I don't feel that a liberal masculine figure must suppress themselves for the sake of "normal" masculinity. To accept that comment would suggest that a man has no option but to be as much as a "real man" as possible. However, society as well as culture, molds the functional roles of a man. He must portray himself as strong and masculine, and anything related to femininity is an outrage. This was seen when the men in the small town realized Felicia was a man. They were ready to assault him, probably more because they felt tricked. We also see that Bernadette, as much as she portrayed herself as a woman, had to step into a masculine form to defend Felicia. So why can't a man be both masculine and feminine? If the world were perfect than they could, but due to societal constraints, it can't be possible. We saw Tick's reaction to seeing his son at the end of his performance. It seemed to put pressure on him to suppress his Drag characteristics, but his son already knows he is a Drag Queen and does not care. His son's upbringing allowed him to be open. Just seeing this acceptance allowed me to realize that liberation is something that is molded into culture.

Posted by will1612 at 11:35 AM | Permalink | Comments (0) | TrackBacks (0)

I slightly disagree with the article because although the characters in the film are vulnerable to insecurities, they also test the rural society by embracing many of the characteristics about their lifestyle that are the source of discrimination. Many of their actions result in discriminatory responses, yet they never become so afraid that they cease to be who they are. Their insecurities about themselves stem from their job as performers; They want to entertain, be considered beautiful, and have a positive response. To not have that desire would be to give them a superhuman strength. The surface of this film is to show how fantastic their performances can be, and how their beauty, contrasted with the beauty of the outback, is only observed differently because of the rural interpretation. The concerns about acceptance that Mitzie feels does not stem from insecurities about himself. It comes from a pessimistic perspective on the ability for other people to accept him, even his son. His responsibilities as a parent keep him from embracing his identity until he realizes that he chose the right wife to raise the child with an open-mind and the ability to transcend the pressures to conform from the rural Australian society.

PS. The scenes with the mail-order bride remind me of Breakfast at Tiffany's, when Mickey Rooney dresses in "yellow face" and exploits racist Asian stereotypes. It really pollutes a fine film, as with this one.

Posted by Miss Blog at 11:33 AM | Permalink | Comments (0) | TrackBacks (0)

Priscilla, Queen of the Desert

I would have to agree on the idea that the article, Disassociated Masculinities and Geographies of the Road by Aitken and Lukinbeal, brings up about the road of masculinities in the movie are restrained by the logic of hegemonic masculinity. From the film the 3 male characters face a closed-minded society while out on the road with a few of exceptions for some characters they meet, such as Bob who helps them fix their bus whenever it breaks down. They have faced many challenges with society not accepting these men for what they are, .and the many rude looks they get towards them especially when these men go to the bar or out shopping.

Felicia who goes out to get a beer outside with a group of very closed-minded men, gets run down by the men, because they did not like how Felicia was a man. Felicia almost gets attacked until Bob steps in and helps him out. Then we have Mitzi who has a son and is very worried of what he might think of his dad, because of some society's reactions when he is on the trip with the bus being vandalized and not accepting these men. Now, there is Bernadette who knees a man in his groin name Frank who states, "Well I'll be darned. The whole circus is in town" then disrespects Bernadette by telling him to go screw with him. Throughout the movie and in the end of the movie these men accept themselves, and do not let the challenges get in their way of how the norm of what men are suppose to act like.

Posted by tranx246 at 10:42 AM | Permalink | Comments (0) | TrackBacks (0)

I slightly agree yet disagree with Aitken and Lukinbeal in their claim that the adventures in the film were somehow suppressed by the desire to fit in amongst the normality of masculinity. In the first paragraph of Aitken and Lukinbeal's article, they write "...it is Priscilla that furnishes a haven from which the three friends can safely face issues of sexual identity, home, family, and community." I believe that this is very accurate is generalizing the movie. Priscilla is their safe haven amongst a world in which they are extravagant outsiders. From the very beginning of the film, we can see how troubled Mitzie is, and how s/he is torn between being true to herself as a drag queen and the fear of what might happen once she meets her son. She worries that he might not accept her both for what she is and that she is his father. This internal struggle pulls Mitzie between her true self as a drag queen and wanting to be a positive "male" role model. Even Bernadette tries to find a sense of normality, as she feels annoyed by Felicia's overly excessive flamboyancies. Along the road, all three ladies fight with both their internal self-identities and the views of those that they may encounter, from the gentle-hearted Bob to the violently homophobic miners. Parts of them long to be accented in a masculine world.

However, I feel that, as the film progresses and the ladies start to find themselves in their own personal ways, they start to disregard the need to return to the logic of masculinity. Bernadette finds acceptance and a seemingly inncent and sweet love interest in Bob; Mitzie realizes that her son accepts her for what she is, and is actually proud and curious; and Felicia really doesn't change for anyone no matter what. They finally climb their rock in their frocks, and find a sense of liberation and defiance for people who don't see them as good enough. The final ABBA scene, in my opinion, was the perfect conclusion to the movie. They are shown as truly happy and liberated, despite what normal masculinity might dictate in the "normal" world. In this respect, I do not feel like, towards the end of the film, they were in any way repressed by masculine normailty. They simply kicked it aside with some fabulous heels and kept living their lives.

Posted by KoreanPrincss at 10:21 AM | Permalink | Comments (0) | TrackBacks (0)

In their essay about "The Adventures of Priscilla, Queen of the Desert," Aiken and Lukinbeal view the theme of fatherhood -- that drag queen Mitzy is not only traveling to Alice Springs for a cabaret job and a change of venue, but also (and more importantly) to take an active role as a father -- as an unnecessary and undermining exercise in the imposition of hegemonic masculinities onto a potentially liberating narrative. "If male hysteria is mobility away from the status quo, the cure is a reinscription into hegemonic space and place. In other words, the remedy is to assimulate men back into the societal and sexual roles assigned to them by patriarchy and hegemonic masculinity -- marriage, family, and productive employment" (p. 354). Unpacking this a little further, the authors suggest that the only way that audiences are able to deal with a non-traditional male roles is to impose traditional male roles upon them in order to 'normalize' these men (per societal standards).

I am not sure whether this argument holds up entirely in regard to Mitzy's role as a father in Priscilla. Granted, the role of 'father' was imposed upon Mitzy when his wife called and asked for some assistance (she needs a vacation and the boy needs his father). So, the overall narrative concerns a certain reinscription of a traditional male role onto someone whose sexuality and lifestyle is far from traditionally masculine. And granted, when Mitzy first meets his son, he adopts the clothes and attitude of a traditional rugged male Outbacker in order to 'present' as a 'manly' father-figure -- again, an imposition of hegemonic masculinity. However, the child sees right through the facade and still accepts his father for who he is, rather than who Mitzy thinks he needs to pretend to be. With the acceptance of his son, Mitzy, takes on the role of 'father' -- not in terms of how he aligns himself with the ideals of hegemonic masculinity (traditional fatherhood), but from a more brave perspective of being a father who is free to be different from the hegemonic male norm: gay and a performing drag queen. To me, Mitzy being able to fully accept his newly-adopted traditional role as father and do it without compromising his own ideals is truly liberating, especially in a world where many of life's responsibilities (such as caring for one's offspring) tend to box us into limited roles.

Posted by Sweeper887 at 10:19 AM | Permalink | Comments (0) | TrackBacks (0)

I don't agree that the libratory aspects of the road are suppressed in Priscilla. This movie focuses on a non-normative group taking to the road and finding themselves on the journey while confronting a society that often rejects them. Although attempts are made to reinforce normal masculinity (such as when their bus is vandalized), they persevere by painting over the hate speech. For every obstacle they encounter, they overcome it in some way. They do not give up when the couple who was coming to rescue them when their bus broke down drove away upon seeing them. Even though the men at the bar didn't enjoy their performance, they didn't let that stop them from performing. If anything, the road made them more confident in their choices because for every couple of people that they met who ridiculed them, they met someone who accepted them. They found support and friends through their journey and that is why the road was a liberating experience for them.

Posted by orour078 at 10:19 AM | Permalink | Comments (0) | TrackBacks (0)

It is quite apparent that throughout the course of the film Bernadette, Felicia, and Miztie are traveling along with the entrapment of the male gaze. This journey that they are taking shows an attempt to question the heteronormality of the road and to put into question the hierarchy of power that is present. The suppression that these individuals face is a result of the road being presented to them as a structured place in which there is a marking of male normative dominance. We, the audience are able to see proof of Mr.Webster’s ideas on queer suggesting an idea of worthlessness, suspicion and the ability to be questioned by those that they encounter on the road. After Bernadette, Felicia, and Mitize reach their first destination they are immediately rejected until they are capable of proving their normative masculinity. When Bernadette is attacked by another female at the bar she challenges her to a drinking match in which she is the successor. This provides her along with her other travel mates the freedom to be free of the dangers of homophobia at the particular moment in time. The fixity and stasis of normality is continuously dependent on place. When the women are stuck out in the desert we are able to see the difference in treatment of those that are living outside of the walls of society and those that have allowed themselves to become an active component in reinforcing social norms of heteronormality.

Posted by Megatron at 10:06 AM | Permalink | Comments (0) | TrackBacks (0)

I disagree with this point. I believe that although there is some degree of a return to a more normal masculinity with Tick's attempt to be a manly dad, and Bernadette's ability to punch a man out, there is still a great deal of the questioning of the hegemony and heteronormativity. I think the fact that Bernadette can punch out a man and still remain a women, anatomically and sociologically, straddles the line that doesn't lend itself to the hegemony. The fact that Bernadette does end up getting attached to a man, although could seem anti-subversive, the fact that she was born a he, and that the man she is seeing is actually open minded and "macho" furthers this separation.

The end of the movie also shows that this hegemonic idea doesn't work. As the men assume their characters as Abba/Drag queens, we can see that they are ultimately comfortable and happy in what they are doing. Drag isn't an imitation of women, but a breakage from assumed identities and the roles that we play. There is nothing hegemonic about them and their performances.

Posted by tris0020 at 9:05 AM | Permalink | Comments (0) | TrackBacks (0)

<< The vehicle is a safe haven because it is the embodiment of the protagonists` drag identity, but it also extends their bodies and enables them to disrupt the scale of the local>>. I have to agree with Aitken and Lukinbeal. It is almost as if Mitzi, Bernadette and Felicia would always rely on their "male side" even when dressed as women. For instance, when the three friends went to a bar (in the first hotel the stopped at), although they encountered a hostile environment at first, they all soon where having lots of fun with the other males of the bar. Bernadette herself was having a drinking contest (quite a manly act) with the "thought' homophobic woman.

Posted by quevi003 at 8:45 AM | Permalink | Comments (0) | TrackBacks (0)

"Priscilla does not offer a new model of masculinity and the gaze because it buys into the architecture of stable space, naturalized notions of scale, and a sedentary form of being."--Stuart C. Aitken and Christopher Lee Lukinbeal in "Disassociated Maculinities and Geographies of the Road"

In The Adventures of Priscilla, Queen of the Desert, the potentially liberating aspects of the road are indeed suppressed by a return to the logic of hegemonic masculinity. In other words, the film unfortunately "plays it safe" when it comes to its progressive themes. The first aspect through which this tendency is manifested is the film's adherence to firmly established norms--things are not likely to change or fail based on the rudimentary subject matter. For instance, the cross-dressing in and of itself, while deliberately (and rightfully) excessive, does not transgress clichéd stereotypes and typically liberal mainstream appeal. While very likely offensive to some people's tastes, there is no challenging of the middle ground to be had--the cabaret/lounge-singing showgirl persona is, from my experience, one of the most commonly accepted and least avant-garde forms of cross-dressing presented in conventional media (especially studio-released films). The other primary aspect of the film's propensity toward hegemonic masculinity is to be found in the protagonists' pervasive passivity. While they do take progressive action in their decision to embark on their journey, they essentially "go with the flow" and sit around, waiting for things to happen to them. The character of Bob, for example, while a positive image of an accepting GLBT community ally in the form of a straight male, is still "needed" by the narrative to assist the marginalized bodies of Bernadette, Mitzi, and Felicia on their expedition. The bus rides are filled with scenes of lounging around, the main concern often seems to be finding alcohol (to become even more sedentary), and attempts at heteronormative subversion backfire (especially during the scene in which Felicia almost passes with a group of presumably straight men, only to fail and require assistance from Bob). In essence, The Adventures of Priscilla, Queen of the Desert falls victim to its own hesitancy.

Posted by pete5676 at 11:07 PM | Permalink | Comments (0) | TrackBacks (0)

I would have to agree with Aitken and Lukinbeal's assertion that the depiction of masculinities in Priscilla, Queen of the Desert attempts to be liberating while reinforcing hegemonic masculinities; this is done through the depictions of femininity in the film. It seems as though, throughout the film, masculinity is celebrated at the expense of femininity. The male/trans protagonists of the film are often portrayed as comical and sometimes flighty. This occurs through the appropriation of feminine characteristics, mannerisms, and dress. It is as though they are attempting to become clowns by presenting themselves as women. Most often the viewer laughs at the characters while they are attacking like or dressing as women. A scene that illustrates is the one in which Tick is dressed in a woman's green dress and is flouncing around practicing his drag routine after the bus has broken down. We can see he is obviously male as he is wearing only a dress and no other female accoutrements like make-up, accessories, or a female wig (his head is bare and obviously male). We laugh at his actions, largely due to the fact that this is a man in a dress that looks ridiculous performing in such a way while he is wearing a dress.

Posted by Emma Zoch at 10:05 PM | Permalink | Comments (0) | TrackBacks (0)

I agree with Aitken and Lukinbeal that the drag performers in “Priscilla, Queen of the Desert� don’t actually accomplish more than a token amount of subversion during their trip across the outback. Despite the time that they are three queer individuals traveling into a severely homophobic and conservative space they are always able to retreat to a safe space. If they were unable to return to the safety of their bus but were instead forced to endure prolonged interaction with the homophobic citizens of the outback could have been some sort of dramatic event that could eventually lead to a change in the attitudes of the people they encounter. During the scene were the group of men drinking outside in Alice Springs begin attacking Felicia they are stopped from causing any severe damage because Bob shows up. Then all the characters retreat to their hotel and eventually leave on their bus. Imagine what would have happened if the characters were faced with the death or injury of on of their friends. Law enforcement would have been involved, investigation hopefully would have occurred and something public would have been enacted whether for an eventually positive or negative consequence. By continually passing through hostile space the inhabitants of Pricilla don’t even stay long enough to change anything in their surroundings. When their bus is defaced with a vile message the vandalism is accomplished and then they move on. No one has to ever see the bus again, be embarrassed, make new connections with travelers and eventually involve them in a community. Instead the bus moves on. The ability of the characters to continually move through the Outback’s unfriendly spaces is liberating in a way because the characters are allowed a sort of freedom by not being stuck in a single small environment. However they never enlarge their free space beyond the confines of the bus that has traveled with them since Sydney and that eventually carries them back. In the end have they accomplished anything by their journey? Have they actually been anywhere besides the interior of a bus named Priscilla?

Posted by Alex M. at 9:40 PM | Permalink | Comments (0) | TrackBacks (0)

I completely agree with Aitken and Lukinbeal in "Disassociated Masculinities and Geographies
of the Road" that any potentially liberatory aspects of the road for masculinities in this film are suppressed by a return to the logic of hegemonic masculinities. Socially traditional masculinities were not changed throughout the movie. Though the focus was on three drag queens who did not consistently conform to those masculinities, everyone around them was relatively unchanged and any change in the logic of hegemonic masculinities that may have occurred was ultimately restored. These people could challenge the hegemonic masculinities but could not make a difference.

The three main characters (two drag queens and one transsexual) had left the comfort of their inner city safety to drive across the Australian outback en route to a performance at a venue operated by Mitzy's estranged wife. Along the way, their mobility is a bus named Priscilla that is decorated by the comforts of their inner city life. This is the refuge for the three people whenever they seek solace. Though their culture is literally driven to immersion within a traditionally masculine outback, it does not change the societal structure. They are often rejected by any "normal" aspect of the world, and their culture is forced into one safe zone - this being the bus, representative of their safety back home. The cultures around them were temporarily changed by their presence, but any ripple they may have caused had left as quickly as they came. They were shunned and rejected by people who were latching onto hegemonic masculinities. People who were uncomfortable or homophobic often tried to assault them (a scene where several men tried to chase Felicia), or otherwise harass them (painting "AIDS faggots go home" on their bus).

It wasn't just society that returned to any hegemonic masculinities. The pressure that Mitzy, Felicia, and Bernadette may have challenged society's views with did not change many people. One could argue that Bob had changed, but his love for the drag scene was always inside him, and this was made known in the film. Mitzy was the only character in the duration of the film who tried to conform to society - and that was an attempt to return to traditional hegemonic masculinities.

Ultimately there was little change in this film, and that is why Aitken and Lukinbeal were correct in saying that liberatory aspects of the road for masculinities were suppressed. The characters felt suppression from society and had eventually returned to their safe haven - in a part of society that must stick together to avoid ill-effects of intolerance. Mitzy was reunited with his son and tried to conform, and returned to his drag - and not coincidentally they returned to said safe zone. The lack of change seen in all of society around them was proof that hegemonic masculinities ultimately prevailed in this film.

Posted by ryanx422 at 8:34 PM | Permalink | Comments (0) | TrackBacks (0)

In Disassociated Masculinities and Geographies of the Road Aitken and Lukinbeal argue that Pricilla isn't liberatory because Pricilla offers a "safe haven" and that there isn't ever a "possibility of contestation". They also claim that the only moment of possible hysteria arises when Pricilla breaks down and they are left without their safe haven. It seems to me that there is always a possibility of contestation. They are constantly being forced into to struggle in the outback where homophobs abound. Not only this, but the idea that their only moment of hysteria is the time when the bus breaks down seems ridiculous. Felicia is almost beaten and there is a wild chase scene in which Bernadette is the only one keeping her cool. Their conclusion is also based on the fact that by ending "with an affirmation of home and family" that they are somehow embodying patriarchal logic and therefore this is not a liberatory film seems half baked because the very idea of non-sexually normative people having a sense of home and of family is liberatory. Though they may be correct about the gaze still being present, the ideas in the film are clearly portrayed and they are certainly not suppressed by a return to hegemonic masculinity.

Posted by ninjasecret at 8:05 PM | Permalink | Comments (0) | TrackBacks (0)

“The journey to Alice Springs is about how mobility, scale, and space “disassociate� Mitzi, Felicia, and Bernadette from their local roots in Sydney, but it is Priscilla that furnishes a haven from which the three friends can safely face issues of sexual identity, home, family, and community. “ (Aitken and Lukinbeal, 349)

Though I agree with Aitken and Lukinbeal’s assertion that Priscilla creates a safe space for the gay men who take the road in Priscilla, Queen of the Desert, but I do not agree that “…the broader narrative of the movie, with its focus on family, community, and sedentarism is suffused with a seemingly incontestable patriarchal logic� (Aitken and Lukinbeal 358). The suggestion that this film ends within the patriarchal structure is absurd to me. Bernadette, a transsexual, stays with the man she wants to be with in Alice Springs. Felicia, Mitzi, and his son return to Sydney, where the boy will be raised by drag queens (which he is fully accepting of). Neither of these cases appear to be “normal� patriarchal roles, aside from Mitzi accepting his responsibility as a father (which he has neglected for several years), but they leave without the “subservient mother�, a key part of the traditional family model. The focus on the community is emphasized, but it is a queer community, severely departing from the traditional idea of a community, what I would envision as a neighborhood gathering for a block party. To me, there is no real “return to masculinity� in this film; in fact, when Mitzi attempts to ‘play’ the strong, outback man for his son, he rejects that version of his father, preferring the softer, more feminine, and most importantly real and true version of his father.

Posted by Rita Racine at 7:39 PM | Permalink | Comments (0) | TrackBacks (0)

"It's funny, we all sit around mindlessly slagging off in that vile stink hole of a city, but in some strange way it takes care of us. I don't know if that ugly wall of suburbia has been put there to stop them getting in or us getting out."

I agree with Aitken and Lukinbeal in that the liberatory aspect of the road for masculinities in 'Priscilla Queen of the Desert' are suppressed by the return to hegemonic masculinities. In this movie the bus, Priscilla, is their safe-haven and where they are most comfortable. Back home in Sydney they are not an unusual spectacle, but the road leading out of Sydney brings nothing but homophobic responses. The gaze on this movie is a heirarchical one. The fact that their bus breaks down is ironic because it demonstrates how immobile they are because of their sexuality.

I believe that there was definitely some change within themselves after this trip. It was a period of growth for all of them in different ways, and although they felt liberated at the end, take Tick and his son for example, no matter where they go they are approached with homophobia, everywhere but Sydney. And sadly, people don't change. Sydney just protects them.

Posted by nels5199 at 7:05 PM