By Heather Addison, Mary Kate Goodwin-Kelly, Elaine Roth
First choice of essays on cinematic motherhood.
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This quantity contains contributions from numerous fields of research within the social sciences. the various disciplinary angles intersect on the point of the examine matters: households, families and shoppers. jointly they replicate a extensive box of research that usually had its specific area of interest in Wageningen as 'household and buyer studies'.
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Extra resources for Motherhood Misconceived: Representing the Maternal in U.S. Films
Representational tactics such as these are employed throughout the film, framing Marge as the excessive embodiment of sexual difference within a “masculine” professional landscape. This point is further illustrated in a subsequent scene at the site of the triple homicide. At this site, Marge has occasion to demonstrate her investigative proficiency, and the film handles the occasion by representing her skills of detection while simultaneously making her the source of humor. Surveying the crime scene and the evidence it provides, Marge accurately explicates the crimes for Lou, the other cop on the scene: “Okay, so we got a trooper [who] pulls someone over .
Beverly is thus meant to labor for her own keep. Although the film does not investigate her motives in wanting the money from the Happy Soap job, we can perhaps posit that it is not merely increasing the family’s wealth that drives Beverly. ” Beverly needs the money herself (“she” versus “we”), in order to feel that she has some control over her own life. When Gerald makes the decision to abandon the dinner Beverly has cooked, he assumes he has the right to do so because that “six dollar and thirty-four cent standing rib roast” has been purchased with his six dollars and thirty-four cents.
Just . . think I’m gonna barf. LOU: Chief. You okay, Margie? 18 MOTHERHOOD MISCONCEIVED MARGE: Yeah, I’m fine. It’s just morning sickness. Well, that passed. Now I’m hungry again. Marge’s status as a pregnant chief fuels the offbeat humor driving this scene. The informal vernacular of Marge’s response and the ironic source of her nausea at the crime scene—not the sight of the victims’ mutilated bodies but the physiological state of her own body—are clearly written and executed for comic effect.
Motherhood Misconceived: Representing the Maternal in U.S. Films by Heather Addison, Mary Kate Goodwin-Kelly, Elaine Roth