Showing 591 - 600 of 606 annotations tagged with the keyword "Sexuality"
Summary:The Lesbian Body has been called a lesbian Song of Songs. It is a sensual, image-rich picture of one (or, perhaps, many) lesbian affairs. The images are rich in anatomical detail, even employing medical language to describe the lover's body.
Bette is a poor spinster, a frequent visitor at her cousin Hulot’s household. When the story opens, the Hulot family fortune has been decimated by Baron Hulot’s mistress. He spends all his money on her, leaving his wife, Adeline, and daughter, Hortense, to struggle meagerly along. Hortense, whose dowry is shrinking daily, mindlessly amuses herself by teasing Bette about her "lover", the sculptor, Count Steinbock, who lives above Bette’s apartment. Bette treats the sculptor maternally but loves him with a jealous affection.
Hortense decides she must meet Steinbock and the two fall in love at first sight. Though Steinbock has little money, Adeline agrees to their marriage, but the engagement is kept from Bette. Baron Hulot’s mistress leaves him and he becomes invoved with Madame Marneffe, the wife of one of his employees.
Cousin Bette is bitter towards the Baron and his family because they treat her like a servant. When she hears about Hortense’s engagement to her friend Steinbock, she determines to destroy the whole family. Bette introduces Crevel (whose mistress Hulot once stole) to Madame Marneffe and he becomes a rival lover. Bette also anonymously has Steinbock imprisoned for his unpaid debts.
Meanwhile, Madame Marneffe seduces Steinbock. She then secures her power by telling each of her lovers that he is the father of her unborn child. Hulot reaches the end of the line shortly thereafter, when it is discovered that he has been stealing money from the government. Hulot’s brother dies of grief and Hulot himself goes off to live with a seamstress in the slums.
Madame Marneffe and Crevel also meet miserable ends. Several months later, Adeline discovers her missing husband while on a charity mission. He comes home, but soon seduces the maid. Adeline then dies, her emotional reserves exhausted.
This is a film story in which non-professional actors play themselves. It concerns six old women and their bus driver, a middle-aged woman (Michelle Sweeney), who, when their bus breaks down, are stranded in an isolated countryside. In the two days that follow, they find shelter in an abandoned and derelict house, conspire to find food, and learn about each other and themselves through personal disclosure and storytelling.
Before meeting any of the women, the audience hears their child-like chatter and laughter as they emerge from a deep fog cover into the sunshine. Clearly the women are old, but viewers soon regard them as sisters at recess giggling at the novelty of their unexpected adventure, happy to be in good company. When they reach a dilapidated and deserted house, it offers no amenities: no beds, no electricity, no water, no food. Each woman approaches the situation in a different way, but there is a buoyancy and resourcefulness about them in spite of some possible apprehensions concerning rescue and survival.
Any notion that this is a group of interchangeable old women is quickly dispelled. Separate stories unfold against spectacular scenery and humble shelter, as they try to fix the bus, catch fish with pantyhose, hunt for frogs, collect hay for mattresses, paint, laugh, sing, and sigh. In contrast to the current portrait, additional glimpses of the women are provided by superimposed photographic montages or snapshots of each character when she was younger.
One woman (Mary Meigs) is a lesbian, another a nun, another a survivor of stroke. Some are braver than others, and some have moments in their past that, when alluded to, are profoundly moving. One, we believe, is especially vulnerable and ready to die. Another, Cissy (Cissy Meddings), makes us laugh out loud; stooped and stroke-addled, she is full of life and silliness, while enduring the quiet pain of a partially explained isolation from her son and grandchildren, only the facial expression and eyes letting on. Catherine (Catherine Roche) the nun, who will make the long walk for eventual rescue, brings a serenity to the group, while a good-natured and extremely resourceful Mohawk elder (Alice Diabo) demonstrates both strength in the face of adversity and unhappiness in recollections of her marriage.
Their outer bodies belie the inner sense of being. Except for one woman who wears a wig to cover her thinning hair, none of the characters are concerned about their appearances. We may see them as old, but their actions and spirit suggest playfulness, creative energy, and wisdom. Their options may be gone or diminished, but they think of themselves as ongoing persons with much more to say and do.
Except to say that the women survive the ordeal, there are no resounding triumphs. Viewers, possibly the strangers referenced in the film’s title, gather with the good company of old women to learn about life and themselves, especially the vitality and worth of persons frequently isolated from mainstream society. For a brief time, a new society gathers and sifts experience for mutual benefit. We know about the darkness to follow and wonder what their lives will be when they are found, when this moment has passed.
Summary:This is a generous and good-natured pastiche of a narrative poem evoking a "typical" Chekhov story and crowded with many of Chekhov's favorite images, settings, and situations. It begins: "Sunset clings to the samovar, abandoning the veranda, / but the tea has gone cold, or is finished . . . . " In the country house, Varvara Andreevna, Maximov, Dunia, Erlich, Kartahov, and Prigozhin (the doctor) carry on their ordinary business in the "oppressive midsummer twilight . . . . " Does Varvara Andreevna love the doctor? Does Erlich love Natalia Fiodorovna? Is anything going to happen? The poem ends: "In the provinces, too, nobody's getting laid, / as throughout the galaxy."
Jerry, a basketball player, is going with Sheila, who hates Bonnie, who volunteers at the hospital. After bouts of intense, unfamiliar pain, Sheila learns that she has cancer of the ovaries and intestines. Sheila lives with an alcoholic grandmother; Jerry, with a single working mother and sister. The story treats Jerry's desire for sex, his friends' avoidance, and the dilemmas he faces as taking care of Sheila cuts into school and team commitments.
He wonders whom to tell, what to say to Sheila, and how to stick with a girl through defacing illness. He finds he's not in love with her. He's unsure how to handle his own family obligations as he realizes that he's the only "family" Sheila can count on. But he stays with her until the end.
His fidelity has little to do with romantic love, but rather with a larger kind of love he's learning. Sheila's death is partly a relief. Jerry needs to regroup and go on with his life after this cataclysmic hiatus. The going on, it seems, will involve Bonnie, the hospital volunteer whom neither Jerry nor Sheila appreciated until her unseasonable maturity helped them in time of need.
Dunn's poem describes the choreography of married couples after an argument. The narrative voice considers how silence is imposed, then broken and how two people eventually come together after an unpleasant exchange of words. There are, according to the speaker, unspoken rules and rituals. First, a long silence permeates: after all, "whoever spoke first would lose something." In this household drama there is meaning to the clanging of dishes, sleeping arrangements, and accidental touching.
Eventually, one or the other is careless, spontaneously and shamelessly breaking the Yalta-like stalemate with an observation about something ordinary such as a "cardinal on the bird seeder." An accidental comment secures a truce, bringing the couple together in sex, a "knot untying itself."
Summary:This poem is a very natural, very private mother-daughter moment that celebrates the female body. A light-spirited let's-name-body-parts moment has emerged on the bed as "My daughter spreads her legs / to find her vagina." What follows is part spontaneous, light-spirited comparison between the daughter's body and her mother's ("She demands / to see mine"), and a reminder that this "is what a stranger cannot touch / without her yelling."
What occurs when a young woman begins to menstruate and has had no preparation for it by her mother or anyone else? Toni Cade Bambara's fictive account illustrates how a normal event in the female life cycle is transformed by an uninformed child into a terrifying event. Rae Ann, whose mother died years ago, has been raised by her strict grandmother, a woman not inclined to talk about matters relating to sex.
While such ignorance seems unlikely in today's television society, the poignant and compelling story provides a useful introduction to discussion about crucial questions associated with growth and development and family behavior. Especially strong is Bambara's graphic portrayal of the physicality of menstruation and how an unprepared adolescent might respond; every female reader winces with understanding for behavior that is both humorous and full of pathos.
Summary:The narrator is watching his "grey-haired neighbor" starting on an early-morning run "anti-clockwise around the block," trying to turn the clock backwards in pursuit of youth and health. The narrator sees this as the age-old quest for virility, satirically recalling historic figures who sought to preserve or enhance their sexual prowess. But he recognizes that these are supremely human impulses--"Don't mock, only the young don't wish to be younger." He muses that perhaps the current fads of jogging and health food are better than some of the more gruesome practices in which mankind has been known to engage.
Bud (Marlon Brando), a lieutenant in battle during World War II, is shot in the spine by enemy fire. A former college football star, he is now paraplegic. When the film opens, Bud has been in a veteran's rehabilitation unit for a year, flat on his back, bitter and depressed, with no will to help himself or to allow his former fiancee, Ellen (Teresa Wright) to resume their relationship. Ellen persists, enlisting the help of Dr. Brock (Everett Sloane), the rehab unit physician, who arranges for her to visit Bud.
Brock, a no-nonsense-tell-it-like-it-is doctor, hopes that the visit will finally motivate Bud to participate more actively in his own rehabilitation. He moves Bud into a ward with others like himself, where Norm (Jack Webb) and the other paraplegic veterans ("The Men") have developed a sardonic camaraderie; they don't allow Bud to wallow in self-pity.
Ellen convinces Bud that she still loves him and with her support and that of his fellow paraplegic vets, he progresses and does well. With some trepidation, and against the advice of Ellen's parents, Bud agrees to marry Ellen. The wedding and coming-home don't go smoothly--Bud loses his balance while trying to stand through the ceremony, and Ellen, stricken by the realization of what she has committed to, regrets the marriage. Bud runs off, returning to the hospital. In the end, Bud is forced to leave the sheltering cocoon of the hospital and decides to give his marriage another try; Ellen has reconfirmed her love for him and welcomes him back.