David Grindstaff’s Queering marriage: An Ideographic Interrogation of Heteronormative Subjectivity “maps the contemporary scene of heteronormative power and resistance through two rhetorical performances of gay male identity” using his and other theorists’ ideas. I totally agree with him when he said: “The recent controversy surrounding same-sex marriage marks the institution, practice, and concept of marriage as a significant site of power and resistance within American culture (p. 258)”. In my opinion, human rights apply to everybody regardless of gender, race, and preferences. Grindaff said that “…the decision to sanction same-sex marriage would extend legal and economic advantages to same-sex couples, which appears to carry the promise of social equality on a broader scale” (p. 258). I totally agree with him. There are advantages that married couples enjoy and when same-sex marriage is approved, it will be unfair for the couple not to enjoy such advantages. As Pastor Allen has shared: Though my partner and I had a commitment ceremony in 2003, and obtained a marriage license this past July in Washington D.C., we learned that marriage is more than our religious convictions and our commitment, but also about laws that will protect us. Marriage equality is not about religious rights, but the right to equal benefits. At the end of 2003, the U.S. Government Accountability Office identified 1,138 federal provisions where marital status is a factor in determining or receiving benefits, rights and privileges. These include next-of-kin hospital visits and medical decisions where one partner is too ill to be competent; automatic inheritance in the absence of a will and inheritance of jointly owned real and personal property through the right of survivorship. These benefits allow all marriages access to the social and emotional supports that can produce healthy families and communities (Same-sex marriage is about equality, not religion. August 2010). Wilson’s “conservative” response to Andrew Sullivan rejects same-sex marriage for purely symbolic reasons. He first locates his grounds for equating “heterosexual marriage” (identity) with procreation (act) in scripture: the Torah links “sex to procreation the highest standard by which to judge sexual relations” (p 159). In other words, heterosexual marriage, in its ideal or symbolic form, serves procreative purposes (p. 267). Although I must admit that this is true it does not mean I agree. There are couples who get married but do not have children on purpose and there are married couples who cannot have children for several reasons such as physical and financial. And there are people who opt to have children but never get married. Kristen Houghton said in her article, “The reality of the word "marriage" is a meeting of two minds and the joining of two lives. Husband and wife need not always become Daddy and Mommy. Decide how you want to live and be realistic about your expectations, your needs, and your wants. To become or not become parents is a personal
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Queering Marriage: A Critical Response Name University Queering Marriage: A Critical Response The notion of gay marriage has been characterized by many in society as a threat to the family, morality, and society as a whole. Some religious organizations, professionals, and many in the general public believe the current institutions of marriage and family are at risk of continuing if same-gender civil unions and gay marriage is legalized (Gay Elizabeth Phillips, 2008)…
Further, the fact that this activity was more of an entertainment one makes the subject even less critical, as Frederick has been given the benefit of the doubt and is told to be free as of today (Burns & Peyrot, 2010). He cannot be ruled upon until and unless the school authorities tell him clearly the division between the right and the wrong, which in this scenario was not to be.
In addition, it shows the manner in which they are represented in the cinemas that were prepared under their influence. This paper focuses on Frantz Fanon: Black Skin, White Mask as a contemporary variation of Third Cinema, and The Battle of Algiers as a film from Third Cinema’s first wave.
The shooting style of Dunye in Watermelon Woman is witty, and boppy, dexterously managing to shoot and justify two narratives at one go, the one hovering around the search for the enigmatic ‘Watermelon Woman’, a pretty and undocumented actress from the 30s and the central character’s personal life, working at a video store.
The story itself passes itself off as a study in the way that society views 4 types of women: a self-sacrificing Negro woman (during a time when it was still socially acceptable to call the African American such a name) and her half-breed child, and a White woman who did not have too much time to care for her own child because of the demands of her own career.
At its core, La Ley del Deseo tells of a gay love triangle but veers off from conventional representations of gay people in the film. La Ley del Deseo is presented in a manner that embraces culturally touchy issues with a hint of humor and comedy. One of the primary issues tackled in the movie is homosexuality, which is a sensitive topic even among the most enlightened people in the society.
The ingredients that made the movie a major eye candy are the awesome camera angle, natural emotions, attractive costumes and the way color intensity picked and dropped along with the fluctuations in the story and the emotions (Vernon 145). The most important and enthralling element was the sound and the music that played.
Intense desire, love, betrayal and revenge are central to the movie which powerfully presents the raw emotions of the characters. Almodovar fuses intense erotic excitement and the violence of a cliff-hanger into an explosive drama of feverish emotionality.
Certainly, in Almodovar's film, feminine personality is inexorably associated with maternity, a tendency, which culminates in the 1999 comedy film, All About My Mother. Even though this movie showcases the masochistic agony signifying traditionally-dictated practices of maternal compassion, it also activates the motif of rebirth to conceive caring as an action through which altruism might cycle back to serve selfishness (Martin-Marquez 498).
The Dark Habits reveals a lot about the people who are conventionally considered as religious and sinless. The movie is accompanied with a number of cinematic effects as well as musical and dramatic colors which give it disturbing baroque atmosphere.
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