Y Tu Mama Tambien Alfonso Cuaron's 2001 Essay

PAGES
2
WORDS
697
Cite

Y Tu Mama Tambien Alfonso Cuaron's 2001 film Y Tu Mama Tambien shares a number of superficial similarities with Gus Van Sant's 1991 film My Own Private Idaho. Both films focus on an intense friendship between two young men, structuring itself around dual protagonists -- Julio Zapata (Gael Garcia Bernal) and Tenoch Iturbide (Diego Luna) in Cuaron's film, Scott Favor (Keanu Reeves) and Mike Waters (River Phoenix) in Van Sant's. Both films are essentially a road movie, and both complicate the young men's relationship with a third central character who comes between the two. What is most interesting in comparing the two films is the way in which they handle differently two central themes: homosexuality, and social class.

The depiction of social class by Cuaron is realistic, and told with exquisite novelistic detail: the most memorable example is the revelation (by voiceover) that when Julio uses the bathroom at Tenoch's family house, he is careful to light a match afterward, and when Tenoch uses the bathroom at Julio's family apartment, he lifts the toilet-seat...

...

The social behavior of the two boys indicates assumptions of a stigma based on class: Julio is ashamed that he would somehow smell worse in the lavish home of Tenoch's wealthy family, while Tenoch is repulsed that the lower-middle-class apartment of Julio's mother might be crawling with poverty germs. But it is important to note that the socio-economic gap between the two boys is not so broad as to make their friendship implausible. Nonetheless, a strong class symbolism is built into the names of the characters: Julio's surname is Zapata, which he shares with the Mexican leader of peasant revolution (portrayed by Marlon Brando in Elia Kazan's 1952 film Viva Zapata!). Tenoch's surname Iturbide is shared with a general from the Mexican War for Independence who briefly reigned as Emperor of Mexico. Bernal's character is the namesake of a revolutionary champion of peasants, while Luna's is the namesake of a self-styled emperor. The symbolism of the surnames is -- for anyone with a knowledge of Mexican history -- a little heavy-handed. Social class…

Sources Used in Documents:

Works Cited

Cuaron, Alfonso. Y Tu Mama Tambien. Twentieth Century Fox, 2001. Film.

Kazan, Elia. Viva Zapata! Twentieth Century Fox,1952. Film.

Van Sant, Gus. My Own Private Idaho. Fine Line, 1991. Film.


Cite this Document:

"Y Tu Mama Tambien Alfonso Cuaron's 2001" (2014, February 24) Retrieved April 26, 2024, from
https://www.paperdue.com/essay/y-tu-mama-tambien-alfonso-cuaron-2001-183561

"Y Tu Mama Tambien Alfonso Cuaron's 2001" 24 February 2014. Web.26 April. 2024. <
https://www.paperdue.com/essay/y-tu-mama-tambien-alfonso-cuaron-2001-183561>

"Y Tu Mama Tambien Alfonso Cuaron's 2001", 24 February 2014, Accessed.26 April. 2024,
https://www.paperdue.com/essay/y-tu-mama-tambien-alfonso-cuaron-2001-183561

Related Documents

Joy Luck Club and American Culture Section One (1-2 paragraph summary). Introduce and summarize the main plot of the movie. Describe the main story and characters involved. To do this in 1-2 paragraphs, you will need to be brief and focus on the main events in the movie. The Joy Luck Club (1993) was based on Amy Tan's 1989 novel and deals with issues of culture, assimilation and generation conflicts between a

She married a Chinese-American and had several sons and a daughter. Of the four women, she had lived the longest time in America. As a result, she was the most assimilated of the four women. She also had the help of her husband, who had been struggling with assimilation for quite some time. Lindo is on a quest to reconnect with her lost Chinese identity. On a visit to mainland

Joy Luck Club As America
PAGES 5 WORDS 1700

The reader is poignantly aware of the potential for greater communication and understanding, but only in the reader's mind is the dialogicity between positions uncovered and experienced." (Soulis, 1994, p.6) This potential is never perfectly realized in the narrative of the book, as outwardly experienced, but some internal healing and unity between mother and daughter is clearly achieved at the very end. Although they cannot verbally unite, June sees

Joy Luck Club
PAGES 4 WORDS 1108

Joy Luck Club" by Amy Tan Multiple meanings, multiple experiences: Multiculturalism and mother-daughter relationships in "The Joy Luck Club" by Amy Tan In the novel "The Joy Luck Club," author Amy Tan delved into the dynamics and nature of relationships between Chinese mothers and second-generation Chinese-American daughters. Illustrating through the relationships of four mother-and-daughter pairs, Tan reflected how multiculturalism had contributed to the strain in the relationships of people exposed to

Joy Luck Club by Amy Tan Tan's debut novel is arguably one of the most famous works of Asian-American writing. It is one of the few works with an explicitly Asian theme to find mainstream popularity. The novel remained on the New York Times best-seller list for nine months and was later adapted into a hit movie. To date, no other Asian-American novel has matched the critical and popular success of

Joy Luck Club Come Mothers
PAGES 5 WORDS 1859

Some passages from Buddha and Confucius were read by children to start the play. The mothers and other Chinese family members (immigrants) were seated in the first three rows, and the women were all given corsages as they came into the auditorium in the Chinese community center. They did not know in advance what the play was about, only that their daughters were involved. The plot of the play