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Table of contents
- Re-representing “The Great American Institution that Never Gets Mentioned on the Fourth of July”
- Augustine Washington
- Lawrence Washington
Then the camera cuts to a long shot of Mildred in front of the large house. The cut from a close-up to a long shot, from the inside to the outside, creates a contrast and evokes the shock that Mildred receives at being treated in such a degrading way. It literally expresses her rejection: the audience gets the physical impression of her being hurled away. Mildred places herself on an equal footing with Mrs.
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Forrester, but the latter makes it clear that they are not in the same league and enhances the hierarchy between mistress and servant. But whereas, in the novel, Mrs. Forrester goes into the details of the job, her voice fades, becomes a mere echo, and overlaps with the singing of birds. She becomes aware that the situation is unacceptable and is able to refuse to be exploited. This multisensory identification with Mildred helps the audience participate in her sudden awareness of class exploitation.
It also points to the necessity of making allowance for women when analyzing social divisions based on the unequal distribution of economic resources. Class issues prevail over female solidarity. It shows that minorities themselves can participate in class oppression. The butler is a stock character of slave narratives: the loyal house slave who is an accessory to his own oppression.
Forrester uses the same methods that were used by the slave owners on plantations: she implements oppressive relations in which the servants themselves are set against each other and against their own interests. The sequence thereby shows that the perpetuation of oppression by the oppressed stems from alienation. The butler has no sense of belonging to a race or a class. He is the perfect representation of the alienated slave.
A sense of collective identity is displayed when Mildred takes a crowded bus at rush hour and feels as tired and run down as the other workers: they are all enduring the effects of the Depression. Read all about it! It was an unfair trial with a wrongful accusation. Despite the absence of evidence, they were sentenced to death.
Re-representing “The Great American Institution that Never Gets Mentioned on the Fourth of July”
This trial was exposed as a blatant miscarriage of justice after one of the alleged victims admitted fabricating the story. So this scene binds together issues of class, gender and race. It shows the need to take into account diversity and difference in gender relations, as well as the interrelationship between gender and race in order to move toward a synthetic view of class, race and gender. Oppression and entrapment are given visual expression through the superimposition of windows, frames within the frames.
The interactive effects of race, gender and class dynamics are being examined, and the sequence shows how inequalities are created and maintained. So as Mrs. Being an American woman does not have the same implications during the Great Depression, the post-World War Two period and the s. Issues of class were banned from the film noir, reflecting the postwar insistence on national unity, whereas the series displaces the issue from a working-class to a middle-class environment, in keeping with the context of the subprime crisis that hit American middle classes very hard, and durably impoverished this social category.
So from the same narrative basis, the two adaptations offer divergent gender and class conventions.
Augustine Washington
While the political and ideological stakes concerning the condition of women have changed, some questions remain relevant across time. Gender roles, the relations between the sexes, the place and role of women in American society, and the question of equality are as topical in as in Besides bearing the mark of Hollywood cinema, the series is also informed by film theory, feminist theory and feminist film theory. Moreover, while maintaining a naturalistic aesthetic by following to the letter the narrative and aesthetic codes of classical Hollywood, the miniseries challenges and pushes further debates on gender and sexuality.
This is evident in its use of elements of film form such as framing and editing that provide literal illustrations of the emotions of the eponymous heroine to drive feminist points home. This series challenges not only the assumptions of the s and postwar period of US society concerning identity, gender, class, family, but also those of the present. Aaron , Michele.
Michele Aaron. New Brunswick: Rutgers University Press, , p. Andrew , Dudley. Syndy M. Conger and Janice R. Macomb: West Illinois University Press, , p. Beauvoir , Simone de. The Second Sex. New York: Vintage, Biesen , Sheri Chinen. Baltimore: Johns Hopkins University Press, Cain , James. Cook , Pam. Ann Kaplan.
Lawrence Washington
London: British Film Institute, , p. Sarah Gamble. London: Routledge, , p. Curtiz , Michael. Mildred Pierce. Warner Bros. DVD Warner Bros, Gledhill , Christine. Grossman , Julie. Basingstoke : Palgrave MacMillan, Hastie , Amelie. Hayward , Susan. Cinema Studies the Key Concepts. The Eleven Comedies - Vol. I The Eleven Comedies - Vol. The Grandee. The Monk of Hambleton. Studies in Prophecy. The Perfectionists.
The Pretty Lady. Hints for Lovers. Spies Die Hard! Theory Of Silk Weaving. The Growth of English Drama. Shakespeare's Lost Years in London, The Master Mystery. The Tale of Snowball Lamb. Fifth Avenue. An Easter Disciple. The Parts Men Play. Editorials from the Hearst Newspapers. Mystery Ranch.
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The Terrible Answer. The House from Nowhere. Young Hilda at the Wars.