Womens Erotica: Moments In Time 2: Riding The Waves

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Jacques Rivette once remarked, "Have you ever noticed that Godard never uses women older than twenty-five? He was approached to direct Eva which Losey directed but he refused because of Jeanne Moreau. An adult woman terrified him" Sellier , It is unsurprising then, in Le Petit Soldat, when Michel Subor's character famously states, "Women shouldn't live beyond the age of twenty-five" Godard This devaluation of the women past age twenty-five attempts to undermine the agency her adulthood brings forth.

Having come from Denmark and arriving in Paris alone at the age of seventeen, "her very pronounced foreign accent [gave] all of her sentences the awkwardness of a child learning to speak" Sellier , The idea that Karina was ultimately a construction of Godard's fantasies is underlined by the fact that her fame quickly dissipates after her involvement in his films, despite the longevity of her career.

Women throughout New Wave cinema fall prey to constructions of heterosexual desires. The film is characteristically dark and brooding, adopting the same seedy quality it illuminates in its Parisian backdrop. The story follows four shop girls in pursuit of love and affection, attempting to depict different 'flavors' of modern Parisiennes. The film is predictably sexist and condescending. When two men- 'dragueurs,' as it were- pull up beside Jeanne and Jacqueline as they walk home, the man in the passenger seat, Marcel, commands the women to introduce themselves.

The exchange elucidates the presumed interchangeability of the modern woman, as well as the sense of male entitlement over the female form. Despite being a story that highlights the relationships of the modern female, Les Bonnes Femmes fails to treat the women as subjects. The viewer is continually encouraged to empathize instead with the various men through humor, eyeline, and composition. When Jacqueline asks to be dropped off after the night at the cabaret, she exits the vehicle and Marcel promptly states, "A bit stuck up, isn't she? Lockett 19 Under Albert's care, the three arrive at his apartment and Jeanne stumbles out of the car, pushing Marcel away and spitting "I can manage myself!

Inside the apartment, Albert tries to join Jeanne and Marcel's fun. A close up shows Albert's hand snaking up Jeanne's thigh, prompting her to say, "One of you is enough. He's harmless," Marcel says of his older counterpart. It quickly becomes clear that Jeanne's intentions and boundaries simply do not matter. She yells as she runs to the other room. The men follow, the shot changing to the record player. The music grows louder. Now a close up— Albert's face and hands as he shuts the door. As woman-child, the modern female is celebrated for her sexuality while denied full status as subject.

She has the sexual aptitude of an adult but the agency of a child. The desires of male figures continually trump her own ambitions, if she has even been assigned any.


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The woman- child is continually rendered as aimless, frivolous, and wanton. Without the internal complexities of a sexual being, the woman-child remains an object, a symbol of fetishized youth. This objectification takes away her power, allowing for consumption without intimidation. Lockett 20 IV. New Wave cinema remained anachronistically wrought with gender imbalance in a time of modernization, creative renewal, and sexual emancipation.

Few female creatives from the New Wave are remembered, and women in production positions are essentially nonexistent. These women are largely forgotten, remembered only in footnotes or credits. It should come as little surprise then that the two New Wave films to treat female protagonists as subjects come from women. Written by Marguerite Duras, Hiroshima mon amour interweaves past and present while telling the story of two lovers, a French actress Emmanuelle Riva and a Japanese architect Eiji Okada , against the backdrop of post-atomic Hiroshima.

Riva's character Elle is treated with complexity, delving into her memories, emotions, and fears. Jacques Doniol-Valcroze criticized the character, saying "[Elle] is a modern adult woman because she is not an adult woman. In her relationship as in the film, she functions as the Western element. In the shadow of the bomb, her impulsivity is apt. Marguerite Duras was nominated for an Oscar for Hiroshima mon amour and would continue to write award-winning scripts, eventually directing her own films, although not during the New Wave period Internet Movie Database.

She is often referred to as the Mother or Grandmother of the New Wave, or simply La Varda- nicknames that are both tellingly chauvinist and missing the point. Varda's work is aesthetically and thematically superior to that of her peers through their empathetic presentations of complex characters, both male and female. In moving pictures, she has an ability to capture the essence of her characters not only through plot and dialogue, but even more in their placement in space and light" Ebert But Varda's genius also has to do with her portrayal of subjects.

She treats her characters with patience and dimension, rendering more dynamic stories. This difference is particularly evident in the way in which she presents women opposed to her peers. Several things are gleaned, mostly at the hands of the psychic. The viewer knows to pay attention to her, because, as in all classical literature, the oracle is always right. She is transitioning into the role of seer, a subject able to self-reflect. The titles are as follows: I. Here we see the only chapter title not anchored to an individual character.

When she reaches the bottom of the stairs, she regards herself in the mirror.

Meg Wolitzer Rides the Feminist Waves | The New Yorker

Here the viewer is reminded of the woman behind the camera. Varda firmly casts the woman as both seer and seen. Unable to confront her mortality, she distracts herself with her own image. The camera zooms in and her visage occupies the screen. Ugliness is a kind of death. As long as I'm beautiful, I'm even more alive than the others. Once again, these 'before' moments have an 'after' foil in the second half of the film. She evidences this by dressing for a funeral, changing into a sharp-cut black dress shortly after. She walks past and the camera pans again, this time to follow her as she regards herself in a nearby mirror.

I always think that everyone's looking at me, but I only look at myself. It wears me out. In the beginning of the film she exists as the woman-child, handled by caretaker, boyfriend, producer and songwriter. Her body informs the narrative, but as an organism, not an image. Varda's effect on the New Wave cannot simply be reduced to a 'feminine difference,' although it is certainly there. Her characters are dynamic, complex, and convincing. Film after perfectly composed film, Varda posits herself as a modern filmmaker by challenging conventions, continually presenting the female as both object and subject, as both the woman seen and the woman seeing.

This is not terribly surprising, given that the protagonists of these films are largely the vicarious exploits of the directors, whom themselves were largely upper middle class white men. The trouble is that in this creative renaissance for France, there was seemingly no space for women as creators. Cemented as the woman-child, the modern woman was an image created by men for the consumption of men. New Wave film follows a tradition of men defining what is sexy, desirable, and feminine.

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Under the Male Gaze, the dogma of desirability hinders the modernization of women because it fails to recognize women as complex subjects. Instead it devalues the woman to the image of the woman-child, indulging in the attitude that a woman is only worthwhile when she is fertile and available.

Whether or not this is apt in a patriarchal society, it has no place in a culture that considers itself modern. Defined by its self-reflection, a modern society must consider all figures as subjects. The male construction of female identity denies women subject status because it values their desirability over their humanity. Separated from the male default, the woman is distinctly 'other,' defined but not defining, seen but not seeing.

In a tradition of artistic excellence, French female creators "constantly have to prove their legitimacy since the whole of French cultural tradition tends to exclude the 'second sex' from this prestigious position" Sellier , Lockett 28 Works Cited Astruc, Alexandre, dir.

Les Mauvaises Rencontres. Jean-Luc Godard. Anna Karina. Bardot, Brigitte, perf. Roger Vadim. Screenplay by Roger Vadim. Chabrol, Claude, dir. Les Bonnes Femmes.


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    London: Leslie Frewin, Flitterman-Lewis, Sandy. After the demise of the studio system and the rise of television, the commercial success of films was diminished. The "New Hollywood" period was a period of revival. Successful films of the early New Hollywood era include Bonnie and Clyde , The Graduate , Night of the Living Dead , The Wild Bunch , and Easy Rider , while films that failed at the box office including Heaven's Gate and One from the Heart marked the end of the era despite the two maintaining a cult following years later.

    Following the Paramount Case which ended block booking and ownership of theater chains by film studios and the advent of television , both of which severely weakened the traditional studio system , Hollywood studios initially used spectacle to retain profitability. Technicolor developed a far more widespread use, while widescreen processes and technical improvements, such as CinemaScope , stereo sound and others, such as 3-D , were invented in order to retain the dwindling audience and compete with television. However, these were generally unsuccessful in increasing profits. The s and early s saw a Hollywood dominated by musicals, historical epics, and other films that benefited from the larger screens, wider framing and improved sound.

    Hence, as early as , the era was dubbed a "New Hollywood". Several costly flops, including Tora! By the time the baby boomer generation was coming of age in the s, "Old Hollywood" was rapidly losing money; the studios were unsure how to react to the much changed audience demographics. The desperation felt by studios during this period of economic downturn, and after the losses from expensive movie flops, led to innovation and risk-taking, allowing greater control by younger directors and producers.

    This, together with the breakdown of the Production Code in and the new ratings system in reflecting growing market segmentation set the scene for New Hollywood. A defining film of the New Hollywood generation was Bonnie and Clyde Produced by and starring Warren Beatty and directed by Arthur Penn , its combination of graphic violence and humor, as well as its theme of glamorous disaffected youth, was a hit with audiences.

    When Jack L. Distribution executives at Warner Brothers agreed, giving the film a low-key premiere and limited release. Their strategy appeared justified when Bosley Crowther , middlebrow film critic at The New York Times , gave the movie a scathing review. Its portrayal of violence and ambiguity in regard to moral values, and its startling ending, divided critics.

    Following one of the negative reviews, Time magazine received letters from fans of the movie, and according to journalist Peter Biskind , the impact of critic Pauline Kael in her positive review of the film October , New Yorker led other reviewers to follow her lead and re-evaluate the film notably Newsweek and Time. The brutality that comes out of this innocence is far more shocking than the calculated brutalities of mean killers.

    The cover story in Time magazine in December , celebrated the movie and innovation in American New Wave cinema. This influential article by Stefan Kanfer claimed that Bonnie and Clyde represented a "New Cinema" through its blurred genre lines, and disregard for honoured aspects of plot and motivation, and that "In both conception and execution, Bonnie and Clyde is a watershed picture, the kind that signals a new style, a new trend.

    These initial successes paved the way for the studio to relinquish almost complete control to these innovative young filmmakers. In the mids, idiosyncratic, startling original films such as Paper Moon , Dog Day Afternoon , Chinatown , and Taxi Driver among others, enjoyed enormous critical and commercial success. These successes by the members of New Hollywood led each of them in turn to make more and more extravagant demands, both on the studio and eventually on the audience.

    This new generation of Hollywood filmmaker was most importantly, from the point of view of the studios, young, therefore able to reach the youth audience they were losing. This group of young filmmakers— actors , writers and directors —dubbed the "New Hollywood" by the press, briefly changed the business from the producer -driven Hollywood system of the past.

    Todd Berliner has written about the period's unusual narrative practices. The s, Berliner says, marks Hollywood's most significant formal transformation since the conversion to sound film and is the defining period separating the storytelling modes of the studio era and contemporary Hollywood. New Hollywood films deviate from classical narrative norms more than Hollywood films from any other era or movement.


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    Their narrative and stylistic devices threaten to derail an otherwise straightforward narration. Berliner argues that five principles govern the narrative strategies characteristic of Hollywood films of the s:. Thomas Schatz points to another difference with the Hollywood Golden Age, which deals with the relationship of characters and plot. He argues that plot in classical Hollywood films and some of the earlier New Hollywood films like The Godfather "tended to emerge more organically as a function of the drives, desires, motivations, and goals of the central characters".

    However, beginning with mids, he points to a trend that "characters became plot functions". During the height of the studio system, films were made almost exclusively on set in isolated studios.

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    The content of films was limited by the Motion Picture Production Code, and though golden-age film-makers found loopholes in its rules, the discussion of more taboo content through film was effectively prevented. The shift towards a "new realism" was made possible when the Motion Picture Association of America film rating system was introduced and location shooting was becoming more viable. Because of breakthroughs in film technology e.

    Since location shooting was cheaper no sets need to be built New Hollywood filmmakers rapidly developed the taste for location shooting, resulting in more naturalistic approach to filmmaking, especially when compared to the mostly stylized approach of classical Hollywood musicals and spectacles made to compete with television during the s and early s. However, in editing New Hollywood filmmakers adhered to realism more liberally than most of their classical Hollywood predecessors, often using editing for artistic purposes rather than for continuity alone, a practice inspired by European art films and classical Hollywood directors such as D.

    Griffith and Alfred Hitchcock. Films with unorthodox editing included Easy Rider ' s use of editing to foreshadow the climax of the movie, as well as subtler uses, such as editing to reflect the feeling of frustration in Bonnie and Clyde and the subjectivity of the protagonist in The Graduate. The end of the production code enabled New Hollywood films to feature anti-establishment political themes, the use of rock music , and sexual freedom deemed "counter-cultural" by the studios. Biskind's book Easy Riders, Raging Bulls argues that the New Hollywood movement marked a significant shift towards independently produced and innovative works by a new wave of directors, but that this shift began to reverse itself when the commercial success of Jaws and Star Wars led to the realization by studios of the importance of blockbusters, advertising and control over production.

    Writing in , critic Pauline Kael argued that the importance of The Graduate was in its social significance in relation to a new young audience, and the role of mass media, rather than any artistic aspects. By giving attention and unconditional love to the most sacred and powerful part of our bodies, we can free ourselves of past traumas, limiting beliefs and any feeling of disconnection to our core.

    Sacred Sexuality: How to Ride that Sacred Wave of Pleasure

    Try Self Yoni Massage with an open mind and an open heart, as well. You will seriously be amazed by all the vibrant changes for growth and pleasure it brings into the different areas of your life. As a result, the more self-acceptance you have about your own sexuality, the more deeply you will connect to your partner in bed. Okay, while eye-gazing may feel a bit awkward or woo-woo at first think of it like an experiment and go into it with an open heart and mind. Soul or Eye-Gazing is a way of non-verbally communicating with your partner in a very sacred way.

    It can open up new doors to intimacy and harmonize the energy of both partners. Want more of where that came from? Now that your sensual bits are feeling good, take it one step further by incorporating some sensual conscious touch. Conscious touch is one of the tantric secrets of sacred sex.

    Some even say that conscious touch can be one of the most nurturing and healing touches out there. To boot, it can be super arousing. Just take a moment to connect with your heart. From there, begin to tune into your body ask your partner to do the same and start to slowly touch each other.

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    Touch with the highest awareness, appreciation, and fascination you know. Next, ask yourself where on my body do I love to be touched? How does it want to be massaged caressed etc? Keep in mind that conscious touch is not about jumping right into sex, but more about connecting on a soul and physical level. So, ow that you have incorporated a little bit of conscious touch, congrats! You are a few steps closer to experiencing sacred sexuality and a deeper connection with your partner.

    A heavenly sacred sex position called the Yab-Yum promotes a mind-body connection between both partners. Yab-Yum is the symbol of divine union. Furthermore, the Yab-Yum Tantric sacred sex position can be used as mediation to help align chakras and promote energy flow through both bodies. A couple may sit in a Yab-Yum with or without clothes and it can involve penetration or not. Incorporating the Yab-Yum position is a beautiful way and sacred way to make love, but certainly not the only way. Oh, but cum on you say!

    In fact, what makes sex truly sacred is actually everything that happens between now and the finish line.