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And as with male road pictures, it is sex that threatens to divide the two women. Not when they unite to blow up the truck of a leering, misogynistic truck driver, but when the drifter they pick up tires to exploit them and Thelma's attraction towards him. Thelma is more flighty and sexual, and her youthful, sexual drive, unfulfilled in her relationship with her husband, causes the events that propel the narrative of the road picture, and perpetually frustrates Louise. The film does seem to imply that women cannot have sex, love, freedom, and power but then again most road pictures suggest that men cannot settle down into marriage with women and still glory in the freedom of the road. Like the women's relationships, the male relationships of road pictures often seem homoerotic in their intensity and disdain of the opposite gender's compassion. However, when transposed onto a feminine narrative, the scenes between the woman and J.D. could be 'read' as suggesting that female autonomy and going from partner to partner, is dangerous to female friendship as well as individual female freedom and escape. After all, Louise's lover does not want to settle down, and is not punished for his freedom in the film.
The end of the picture depicts the two women going down in a blaze of glory, sacrificing themselves together, rather than fall into the hands...
The law finds them by exploiting Louise's vulnerability, as the cop in search of the two women makes a careful, tactical reference to Louise's rape, to lure her to stay on the phone line just a little bit longer than she should, enabling him to tap their conversation. It is the law that uses words skillfully in a feminine trap of verbal seduction, rather than the women.
The ending 'feels' triumphant, like "Butch Cassidy and the Sundance Kid" going out in a blaze of glory, rather than being confined and apprehended by the law. Women, who often are used to represent home and a life-giving force, are celebrated for their careening drive to death in "Thelma and Louise." But the question remains if this is in fact a feminist film -- is merely assuming the role of men in a traditional, patriarchal American 'road picture' an act of liberation? Is taking on the language, posture, and violent implements of males, and merely inverting male/female binaries a unique reading and reconfiguration of gender roles? Although the atmosphere and emotional tone of the film is feminist, the structure of the film is really more of a recapitulation, a pastiche, and homage to earlier films than a truly innovative statement about violence and gender relations.
Works Cited
Thelma and Louise." Directed by Ridley Scott. 1991.
Works Cited
Thelma and Louise." Directed by Ridley Scott. 1991.
Otherwise, modern interpretations fall short of conveying what the significance of an object was for the people and societies that produced it. For example, a museum display can be constructed around medieval objects so that they are viewed in a context most akin to the one under which they were produced. Without such a perspective, a museum piece can become too much about the dimensions and material rather than
Lesson Plan Amp; Reflection I didn't know what state you are in so was unable to do state/district standards! Lesson Plan Age/Grade Range; Developmental Level(s): 7-8/2nd Grade; Below grade level Anticipated Lesson Duration: 45 Minutes Lesson Foundations Pre-assessment (including cognitive and noncognitive measures): All students are reading below grade level (5-7 months) as measured by standardized assessments and teacher observation Curricular Focus, Theme, or Subject Area: Reading: Fluency, word recognition, and comprehension State/District Standards: Learning Objectives: Students will develop
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Louise Erdrich's poem, "Dear John Wayne," describes assimilation and immigration into a culture defined by racism. Elements of poetry, including diction, image, tone, metaphor, irony, theme, and symbol all play a role in Erdrich's description of culture and racism. Ultimately, "Dear John Wayne" describes white culture's extortion of land and culture from a Native American perspective. The poem begins with a description of group of young Native American men lying on
She composes her experience as such: … Every little thing was nonstop movement around the Lady of the Night, and the Lady was definitely still. She was Sakina, the calmness within the whirl. Envision, Khadra thought, looking at the large tides of pilgrims around the Kaba, these circles grow larger, as individuals all over Mecca face similarly to hope, then all over the world, even as far as America, wave