Showing 171 - 180 of 312 annotations tagged with the keyword "Mother-Daughter Relationship"
Summary:Max, who has lost his wife after a long life and career together as circus acrobats, reluctantly retires to an assisted living home. There he finds unexpected friendship first in his neighbor, Lettie, a widow who has a gift for uncomplicated kindness, and Alison, a thirteen-year-old he meets when he gives juggling and stunt lessons at the local junior high. The unhealed ache of his wife's slow death from cancer makes Max skittish about opening his heart to either of them, though Lettie offers him patient companionship and Alison, full of adolescent restlessness, unfocused intelligence, and need, desperately wants something of the grandfatherly good humor and wit she finds in Max.
Summary:This poem describes the first period of a girl who has been waiting what seems "like a lifetime" for her period to start, only to find herself emotionally disconnected to her mother at this important rite of passage.
This documentary, narrated alternately by the daughter-filmmaker and mother whose stories it tells, focuses on how two women move apart and together while experiencing, respectively, adolescence and mid-life. The mother has cancer, a mastectomy, and then rheumatoid arthritis, and these experiences intertwine thematically and structurally with the narrative of the mother-daughter relationship.
Another provocative juxtaposition cross-cuts scenes from the daughter's modeling career (and the social and erotic body that context constructs for her) with scenes of the mother's illness, stigmatization, and erotic daydreams. Both women come to a new awareness of the social meaning of mastectomy within heterosexual and same-sex contexts by the documentary's end; they also come to a place of recognition of the mother's personal and social value and the nature of their relationship.
Summary:A woman begins the morning by assessing her mother's mood through her reaction to breakfast toast. They are off to visit her father who has dementia and no memory of his past as a war hero, or of his present as husband and parent. Yet a fleeting smile suggests that, on some level, unbeknownst to him and inaccessible to them, remain shreds of the same person.
This documentary video follows the making of an opera, based on the illness experiences of four Australians who have been diagnosed and treated for cancer. Their feelings about these experiences are translated into music (with lyrics) as they work closely with music therapist/composer, Emma O'Brien. As the three women and one man tell their stories of physical debility and emotional pain, the music therapist asks them to think in terms of color (they choose purple, black) and tones and rhythms that she plays for them on the piano.
When the narratives and their musical representations have evolved sufficiently, trained singers take on the roles "written" for them by the four former patients; the latter continue to be intimately involved in the opera's production, directed by David Kram. At the end of the project, which is also the conclusion of the film, the opera is performed in front of an audience (with musicians playing instruments, singing, and dramatic enactment) and the four people whose illness experience is performed take their bows together with the singers.
This biography begins on April 20, 1995 when the ashes of Marie and Pierre Curie were transferred from their graves in a Paris suburb and re-interred in the Pantheon, thereby placing the Curies among the "immortals" of France. Thus, Marie became the first (and so far the only) woman to be honored in this way. Goldsmith's biography is a straightforward and well-written narrative that eschews hagiography, wordiness, and psychological interpretations.
The story of Marie Curie (1867-1934) is well known. Born into an intellectual but impoverished Polish family, she struggled to obtain a scientific education, first in Poland and then at the Sorbonne in Paris. While a graduate student, she met and married the young chemist Pierre Curie. Together, with essentially no funding and dismal laboratory space, they discovered and characterized radioactivity. Later, on her own Marie discovered and isolated two new elements, polonium and radium. Subsequently Marie and Pierre created the Curie Institute, where Marie was in the forefront in envisioning medical applications of radioactivity and radium.
The story is especially powerful in its depiction of bias against women in science. Marie had to fight for many years to obtain a faculty position at the Sorbonne (unheard of for a woman), or even space to conduct her experiments. When the Nobel Committee awarded its 1903 Prize in Physics, Pierre had to fight to have his wife included in the citation, even though the bulk of the brains and energy behind the discovery of radioactivity were clearly Marie's. Marie was later vindicated when she won her second (and solo) Nobel Prize in 1911 for the discovery of radium.
Obsessive Genius doesn't shy away from Marie Curie's recurrent clinical depressions, which began during her adolescence, nor from her obsessive, hard-driving personality. The book presents an even-handed picture of repeated conflict between her love of her husband and children (one of whom, Irene Joliet-Curie, in 1935 became the second woman scientist ever to win the Nobel Prize); and her passion for her work.
The documentary film opens with the filmmaker, Susan Smiley, in search of her mother, Millie, who suffers from paranoid schizophrenia and who, once again, has disappeared into the woefully inadequate public health care system of middle America. Through old photographs and home movies, interviews with family members and health care professionals, and voice-over and direct narration by Smiley herself, the film chronicles the descent of a young, beautiful woman in her twenties into severe and chronic mental illness.
When Millie’s marriage to their father fails, Susan and her younger sister, Tina, are essentially abandoned to endure severe physical and emotional abuse by their mother. As the years unfold, Millie eventually loses her home and embarks on a journey of evictions, arrests, hospitalizations, and homelessness. At what seems to be Millie’s lowest point, warehoused in a nursing home where she is angrily refusing to take any medication, her daughters intervene, petition for guardianship, and navigate the system on behalf of their mother.
Joan Didion has written a very personal, powerful, and clear-eyed account of her husband's sudden and unexpected death as it occurred during the time their unconscious, hospitalized daughter was suffering from septic shock and pneumonia.
Quintana, the couple's 24-year-old adopted child, has been the object of their mutual care and worry. That John Gregory Dunne, husband and father, writer and sometime collaborator, should collapse from a massive, fatal coronary on the night before New Year's Eve at the small dinner table in their New York City apartment just after their visit with Quintana can be regarded as an unspeakable event, beyond ordinary understanding and expression. "Life changes fast . . . in the instant. You sit down to dinner and life as you know it ends" (3).
As overwhelming as these two separate catastrophes are, the account provided by Didion evokes extraordinary descriptions of the emotional and physical disorientations experienced by this very lucid, but simultaneously stunned and confused wife, mother, writer dealing with the shock of change. Her writing conveys universal grief and loss; she spins a sticky filament around the reader who cannot separate him or herself from the yearlong story of difficult, ongoing adjustment.
Summary:The devoted, and antagonistic, bond between a dramatic, charismatic widow (Shirley MacLaine) and her quietly rebellious daughter (Debra Winger) is the focal point of this film's exploration of a range of human relationships and their changes over time and under various pressures, including that of serious illness. The major focus of the last part of the film is the illness and death of the daughter from cancer and its impact on her mother, her husband and children, and their immediate circle of friends and lovers.
A chance meeting with her former and most compassionate fertility doctor brought Wendy Wasserstein (at age 48, and after 8 years of effort) back to his fertility clinic. Two weeks later she got the news that she was pregnant, and six months after that, just as she was getting ready to tell her friends "that the twenty pounds I had gained were not the result of bad habits and anxiety," she developed preeclampsia and was hospitalized.
What follows in this ’Annals of Motherhood’ memoir is an account of her hospitalization; her subsequent delivery 16 days later of 1lb., 12oz. daughter, Lucy Jane (Lucy’s waving hand sonogram picture reminded Wasserstein of "Lucy in the Sky With Diamonds"); and her separation from Lucy, who spent two months in the neonatal intensive care unit.