The Other in Flores de Otro Mundo

Flores de Otro Mundo presents a number of interesting perspectives on the question of transculturality and the objectification of the female exotic other. While Parvati Nair perceives its general emphasis to a positive one that enables “a shifting and contingent frame-work for identity”, she does not address the film’s somewhat problematic engagement with objectification and the exoticization of the female ‘other’. This is especially prevalent in the character of Milady, whose presence in the village is like a breath of fresh air for many of its inhabitants. Nevertheless, her otherness is exaggerated and demarcated in the various revealing and loudly colored costumes she wears, which ensure she lives up to the notion of the exotic and atypical. Marrirosi’s boyfriend renders the film’s central metaphor explicit; he refers to the orchids he has planted during winter, which he believes will survive this harsh, unfamiliar climate because ‘with enough care, they can grow anywhere’. This scene, coupled with the film’s title, clearly link the flowers to Patricia and Milady, who have been displaced from their warm, tropical countries of origin and now seek a better life within a realm of shattered expectations in this new, unfamiliar territory.

Nevertheless, this metaphor can be perceived as somewhat problematic in its implication that these women are flowers to be looked upon and admired as ‘pretty things’ or decorative elements. Indeed, this is how Milady’s Spanish boyfriend treats her, expecting her to bend to his will at all times and engaging in a relationship with her that is based purely upon objectification and misogyny. Though she takes some charge of the situation by escaping her predicament, it is done presumably to seek her other boyfriend out, which limits Milady’s self-sufficiency and emancipation as a character. Indeed, much like Patricia, her ability to obtain happiness and economical stability is directly linked to her relationship with men, and attempts to foster an illusion of affection and mutual attraction. This restricts these characters’ independent agency and suggests that for women, border crossings will always involve men and their influence.

Patricia presents a more interesting case in that her relationship with her husband evolves out of economical need but gradually morphs into genuine attachment and love. Indeed, through her sexually liberated mannerisms and her affectionate warmth, Patricia seems to provide her husband with a joie-de-vivre previously unknown to him. Even so, the emphasis upon her sexuality, like Milday’s, serves to highlight the notion of ‘otherness’ and link her Latin American origins to more liberated sexual practices. Thankfully, Marirosi also fulfills this role to some extent and thus counterbalances this exoticizing impulse.

Essentially, the non-Spanish women in Flores de Otro Mundo are presented as exoticized and eroticized others, and while the film does explore the complex identity and boundary erosions and modifications that they engage in, it runs the risk of reducing their identities to the objectification they inspire in the men around them.

Teaching Project idea: the "strong woman" in TV cop shows (+ subtext?)

Hey all, Just spitballing some ideas here- interested in exploring what television thinks a "strong female lead" is, particularly in crime shows. I admit to having a rather shameful love/hate relationship with "Rizzoli & Isles" for their strong beginning but quick descent into horribly misogynistic representations done in the name of trying to avoid the stigma of lesbian subtext. Any SVU, NCIS, or Castle fans out there?

Flowers from Another World

I was extremely pleased with the representation of the women in Bollain's Flowers from Another World, particularly the three protagonists, Patricia, Milady, and Marirrosi. As is noted in Parvati Nair's piece, the fact that the story takes place in a rural setting proves interesting since we usually associate modernity and transculturality within metropolitan areas-- the places most often inhabited by diverse peoples. This "diversity" is instead transplanted to the rural village most associated with tradition and stability. I was first struck by the fact that these city women, though immigrants, are portrayed as much more modern than the men in the village, which is usually the opposite in films. The immigrant is taught the ways of the big city in which they travel to. All three women come from much bigger places, Madrid, Havana, and Bilbao-- it is they who have the upper hand in terms of modernity, synonymous with worldly knowledge.

I also found it interesting that all three women had alternative motives for traveling to the village, rather than just wanting to get married for the sake of getting married. Milady was using her partner as a way to see more of the world, eventually leaving him to travel to Rome. Patricia was looking for stability for her two children--she would much rather have just been able to work, but is unable to do so because she lacks Spanish citizenship. Marirrosi isn't even there to get married and stay, she wants to continue her life in Bilbao with her son and job.

The success of the three relationships depends on the ability of the men to adapt to the lives of the women they couple with. Damien and Patricia end happily because he shares her culture (transculturality) by eating the plantains when her family and friends visit. He adopts her two children. He learns to vocalize his passion for her, which she feels is necessary. Milady and Carmelo are a complete failure because Carmelo will not curb his macho need for constant sex and possession of her. True, she never allows him to come close to her, but I propose this is because she is always seen as a foreign object to him and the other men in the town. She is the sexy, exotic, other souvenir Carmelo has brought back from Cuba. Marirrosi and Alfonso tragically are incapable of ever being together because he refuses to progress towards modernity. While he toils with his greenhouse (agriculture as a foil to modernism) she is the epitome of a modern woman-- single mother with a stable, good job. Alfonso wants her to give that up to live with him in the past and she refuses.

None of the women change from who they start out as, which is completely counter-intuitive to present society. How many films have we seen in which the female changes something about herself so she can get the guy? There is something inherently wrong with her and she must adapt to better fit the needs of the male counterpart. Flower from Another World completely tears apart this standard, which I for one am tired of constantly seeing.

-Victoria Hallebo

Globalization and Flowers from Another World

In Flowers from Another World I found the representation of the women and their expected roles within the culture of the rural town genuine. However, I found the intentions behind their decision to attend the single's party or to move to Spain altogether much more authentic and telling about the structure of national identity and globalization in modern society, specifically in regards to Patricia. Patricia's decision to leave Latin America to find a husband and therefore security for her children speaks to potentials of globalization in finding financial and emotional stability in other countries. The institution and system of her own country failed her leaving her no choice but to travel illegally to Spain. However, once in Spain she can't find work because she could only leave the Dominican Republic with illegal papers. Again she uproots her life for the sake of her family based on the promise of a husband in rural Spain. I found this representation of Patricia's life and circumstances incredibly moving. For the sake of her family she was forced to travel illegally and the only possibility for her family's financial security is by marriage. She can't support herself independently because the institutionalized system doesn't allow her to do so. As Yuval-Davis discusses in "Gender and Nation," the construction of national identity and citizenship is largely influenced by gender. Yuval-Davis talks about the meaning and influence of the privileges given to women (or not) in their respective countries--a point very relevant to Patricia's struggle to find security for her family. She was not given any ground to stand on in the Dominican Republic after her husband left her and was forced to find opportunity across the world. I find Patricia's situation fascinating and telling in regards to women and the constructed institution of the nation-state in the modern world.

Lesbian Filmmaking in Reference to "Dyketactics"

Similar to many others who view this film, I was initially made very uncomfortable by how graphic and explicit the content was. At first I saw now reason as to why this film had to get so up close and personal and really expose these women in the most vulnerable state; the only reason I could think of was to use shock factor to make her point to the audience that sexual relations between women are almost never shown in film. I viewed this film as a way of rebelling against the culture of cinematography at the time, and as a statement that lesbian sex was and is still such a taboo subject and should be no more taboo than straight sex.  Despite this, after reading Hammer’s article “Lesbian Filmmaking: Self-birthing” I understood this film from a completely different perspective. Hammer states that the purpose of the film was to portray the sensuality of lesbian love and have the viewer experience as best they can the touch and sensation between the women in the film. I think this aspect of the film was amplifies by how there was little to no dialogue, and so as a viewer you could relate easily to anyone in the film. After I read and understood that the purpose of dyketactics was to show the relation between two women rather than to promote a sociopolitical message on the inequality and discrimination that surrounds the gay community, I found a new appreciation for the film. I love that this film was made to show the sensuality between lesbian lovers rather than to preach a message because it is a refreshing break from many other feminist films that seem to all ridicule the life of a 50s housewife, or ridicule the way lady gaga and Miley Cyrus act in society. 

Paris Fashion Week Protestors

            Last week I saw an intriguing story on the news reporting topless women staging a feminist protest at a Paris fashion show. Two models stormed the stage, each with the slogans “fashion dictaterror” and “model don’t go to brothel” painted in black across their bare chests. They were immediately escorted off the stage, and thanks to the professionalism of the models, the show went on without another hitch. This experience reminded me of a similar one that I witnessed myself this past winter in Paris when topless protestors stormed the Notre Dame cathedral rejoicing over the Pope’s resignation.

            This particular group, known as Femen, regard themselves as strong feminist activists who defend women’s rights. Their topless-ness is, in the group’s own words, redefining the meaning of the female nude. “By stripping, women expose their vulnerability but also their naked bodies as weapons. Its grand aim is to give new meaning to the nude female, as a political tool instead of as a sex object.” However, comparing this incident to our class discussions, I find this form of protest extremely regressive. While the symbolism of a strong female is clear, topless (not to mention attractive and blonde) women are not mocking male voyeurism, but promoting it. The male gaze is evident even in just the comments section of the online video. The discussion focuses on how the security guard got to “cop a feel” while escorting the women off stage, rather than discussing the degrading nature of the fashion industry – the very thing that the protestors were protesting against. Additionally, the protestors themselves were more provocatively dressed than the models, once again diminishing their argument. Ultimately, I think that going topless gets these feminist activists more news coverage and, therefore, more ample opportunity to promote their cause. Unfortunately, this radical form of protest is in direct opposition to the female rights that they are trying to address.    

Here’s the video of the fashion show protest if anyone’s interested: 

http://metro.co.uk/2013/09/27/scouse-model-punches-topless-feminist-protesters-after-they-storm-paris-fashion-week-4125098/

Citizenship, Gender, and Representation

In Nira Yuval-Davis’s “Gender and Nation,” the author discusses gender relations and citizenship. She states, “That is its dualistic nature: on one hand, women are always included, at least to some extent, in the general body of citizens of the state, and its political, social and legal policies: on the other hand, there is always more or less developed, a separate body of legislation which relates to them specifically as women.” I agree with this assessment of citizenship. In the United States alone women make up half of the population, yet fail to be represented in the “body of legislation.” The role of the legislative branch is to make laws that protect its citizens. However, when women are not present in these discussions, legislation has the ability to hurt women. According to a recent report released by the Center for American Women and Politics, “Women currently hold 18.3% of seats in Congress and 20% of the seats in the Senate.” There is a large discrepancy between overall population and representation. Women represent less than a ¼ of the entire legislative branch, causing what Yuval-Davis states as the “dualistic nature” of citizenship.

Additionally, Yuval- Davis states that there are three dimensions of citizenship, “civil, political, and social.” She argues that though women are present in the political realm via voting, that women are largely excluded from the civil and social dimensions. I agree with her dimensions of citizenship, however, women across the world are deprived of their political rights daily. I would be wary to assume the political citizenship of all women globally. Although many women feel connected to their state, they are not “full-members” of the sovereign state.