The Global Journey In The Sin Dejar Huella Media Essay

The Global Journey In The Sin Dejar Huella Media Essay Sin dejar huella (Without Leaving a Trace, 2000) is a film written and directed by Marà ­a Novaro. It is based on a journey undertaken by two female fugitives Ana and Aurelia travelling along the back roads of Mexico from Ciudad Juà ¡rez to Cancà ºn. Sin dejar huella is similar to Novaros other film productions: it is structured around a physical, objective journey and Novaro makes clear allusions and references to the melodramatic themes of motherhood, female friendship and invisible male figures in contemporary Mexico. Sin dejar huella belongs to the niche genre of the womens road movie and has triggered comparisons with Ridley Scotts tragicomic feminist road movie Thelma and Louise (1991). Cohan and Hark outline the road movie as representing a questà ¢Ã¢â€š ¬Ã‚ ¦for a better life, a new social order, or fulfilment.  [1]  However, the journey across Mexico in Novaros feature film transcends the conventional spiritual quest of finding yourself and Bildungsroman as associated with this movie genre. It differentiates itself from the melodramatic undertones of her earlier film productions and the lightheartedness of Scotts 1991 feature specifically through the interplay of amalgamating elements from the cultures of different regions  [2]   the local and global influences and behaviour in Mexico through which Novaro addresses her socio-political concerns of poverty, social neglect, globalisation and the pace of modernity. In this respect, certain parallels can be drawn between Sin dejar huella and Dennis Hoppers Easy Rider (1969) in which, as one critic points out: The search for America undertaken by Captain America and his sidekick Billy is not geographical, it is literally a quest to find out where Americas head is at. The people and places represented in that quest are evocative of different states of consciousness co-existing unpeacefully in this country and all over the world. Each stop on the road is an encounter with a different awareness of what is real and what is of value. Novaro uses the velocity of the high speed chase in the narrative to ignite the film from within, effectively creating a momentum through which she engages the audience and, similar to Hoppers 1969 feature, enters an incisive discourse to find out exactly where Mexicos head is at. This essay is an attempt to investigate Sin dejar huella within the context of the glocal  [3]  ; focusing on the mise en scà ¨ne and the characterisation of the protagonists, I will consider how aspects of the local, regional and global or the micro-meso-macro are pooled together to generate an image of contemporary Mexico. More specifically, I will analyse the changing roles of Ana and Aurelia and the development of camaraderie between the two initially polarised characters as they progress through their journey: I will attempt to draw a correlation between the local and global influences they confront and are forced to adapt to, in particular from their positions as women living on the margins of Mexican society, and how this leads to a level of co-dependency and a drive for the formation of their relationship, representative of a creation of a new identity in Mexico. Firstly, it is significant to consider the influences and reasons for Novaros interplay with the local and global in Sin dejar huella, and how they enable the film to explore aspects of globalisation in Mexico. Mexicos entry into NAFTA  [4]  in 1994 and President Salinas de Gortaris free-market policies led to a fall in national film production and distribution. Subsequently, agreements and alliances were established between Spanish and Mexican production companies in the late 1990s with the aim to fortalecer los lazos de coloboracià ³n  [5]   to locally produce films and television programmes (where it would have been cheaper) and extend their reach beyond the national, and towards regional and global markets. The preconditions of these agreements were to incorporate Mexicans and Spaniards at the level of both cast and crew, generally in proportion to the percentage of funding offered by each country  [6]   essentially an obligatory interplay and exchange between the lo cal and the global. Sin dejar huella was part of this new wave of transnational cinema production: it was co-produced by Mexicos AltaVista Films and Spains Tornasol Films, and Aitana Sà ¡nchez-Gijà ³n a widely recognised Spanish-Italian and Hollywood film actress  [7]   was cast as the female co-protagonist in the film. The representation of distinct upbringings and ways of life in Spain and Mexico are underlined through the mise-en-scà ¨ne, characterisation, and the cooperation between the two protagonists in Sin dejar huella, which relate to the idea that the interplay between the local and the global stems from the preconditioned film production requirements and transnational influences. From the outset of the narrative, the costume and the dià ¡logos humorà ­sticos  [8]  between Ana and Aurelia draw immediate attention to their differing local and global consumer attitudes: Ana wears luxury Western designer accessories, such as high-heeled sandals, a Longines watch and Gucci sunglasses which are emphasised in repeated medium frame talking head shots. Aurelia, conversely, wears cowboy boots relating to the traditional outfit of the Mexican vaquero and has neither heard of these global brands, nor recognises their monetary value: she comically mistakes Gucci for Fuchi and exchanges the Long ines watch for only enough money to buy a telephone call-card. As the narrative progresses, it is significant to note that the women share and barter their clothes and accessories. The economic and information exchange between Spain and Mexico and the establishment of friendly ties between the two countries in the film production, and also represented in the on-screen local-global trade could in fact be a constructive and encouraging image of Mexicos entry into global economic activity. However, although the incorporation of Sà ¡nchez-Gijà ³n was a mere compliance with the conditions of co-producing, and the economic activity in the narrative representative of a progressive image of the Mexico-Spain film alliance, a close cinematographic analysis of the maturity of Ana and Aurelias relationship, and the shifting image of what it means to be a Mexican woman would reveal that the interplay between the local and the global transcends these practical factors. The doll is a widely recognised and iconic symbol of the feminine ideal; it is a beautifully constructed, motionless object that is subject to gaze and adoration. In the opening ten minutes of Sin dejar huella both Ana and Aurelia break away from this anachronistic and illusory symbols of Mexican femininity in the physical destruction of doll figurines: for Ana it is a ceramic figure of dama de Kolpecà ©, una tejedora, figura de Jaina del periodo clasico maya  [9]  she was exporting as a replica Mayan artefact to the Museum of Denver, Colorado; for Aurelia it is the bride figurine from her wedding cake and under which she had stashed cocaine for her narcotraficante boyfriend. Despite the physical exterior of the figurines a bride and a weaver it is the interior of the figurines are the sources of their corruption that have led them to embark on this quest the drugs and the forgery what the women have to resort to/ the realities of life as a woman in Mexico despite the education and (what appears to be) a stable marriage life on the margins is and are the factors that have driven them to embark on this quest to find out that what is actually contained within the dolls (for Ana it is a Mexican peso and in Aurelia ´s case, drugs), Destruction of what the doll represents and evocative of their search to find a new alternative definition of femininity in contemporary Mexico, albeit perhaps a broken and less defined image. This journey away from the expectations of womanhood that they have essentially been forced to conform to by default is exemplified in the road sign No hay retorno since there is effectively no turning back; Ana and Aurelia had to break this image, showing almost a progressive image and a development. Before the women have even met each other in the narrative they are united The physical destruction of the dolls as the towards achieving their liberation is representative of the journey these women will undertake as they continue through the journey across Mexico This dichotomy the two women face between subserving the image and breaking away to achieving exactly what they want, serves as a vehicle towards the formation of their friendship and an establishment of their co-dependency. In every scene in which their friendship is developed the fundamental human needs are brought to the forefront, despite the local-global differences that surround them: When Aurelia witnesses Ana drinking water from a public fountain, Aurelia is shocked and offers to buy her bottled water. It is ironic in their reversal of attitudes and financial situations: Ana is the more globalised traveller, yet is faced with a situation in which she cannot pay for a basic human requirement, Aurelia, a woman who has grown up working in the sweat-shops of Northern Mexico ironically is aware of the problems of drinking tap-water. It is at this moment that a level of dependency arises from Ana onto Aurelia. This dependency that emerges is particularly significant in reference to Aurelia ´s mocking comment in the car Loz ezpaà ±olez hablan azà ­, emphasising the lisp common in Spanish speech, which draws attention to their global differences. This dependency is transformed into a friendship between the two women as witnessed at the Playa Paraà ­so where a sign embedded in the sand which reads Sà ³lo se encuentran amigos aquà ­ is focussed on and the women subsequently bathe in the sea water. Their physical immersion into the water perhaps could be inferred as a religious imagery of soul cleansing or baptism or the two women united by the water, a vital ingredient for life, and an element that is necessary for all regardless of their race or nationality. This visual imagery is significant in Novaro ´s interplay between the local and the global because the sea is the factor that connects the local and the global, national and international altogether not solely in a conceptual manner but also geographically. This concept of the connection between nations through water (*) is represented in the scene that motivates Aurelia to embark on the journey itself in which she watches a man (like Ana and Aurelia) take of his clothes and cross a river to El Paso, Texas. The notion of water as an immersing factor in representing the ability to cross / traverse across onto a new, better world is also what differentiates the women when confronted by borders each women reacts differently as a result of their upbringing and where they essentially originate from. Ana, as a  ´globe-trotter, having lived, worked and loved in many countries confronts borders as a means of surviving financially she trades false Mayan artefacts to the Museum of Denver, America. Aurelia, conversely, views borders as a liberating factor: a chance to improve her lifestyle and provide her children with the opportunity for a better life. The relationships with men are significant factors that differentiate the women Ana ´s characterisation as a femme fatale as emphasised by the mise-en-scene in her dress is chased by a lecherous cop, Mendizabal : he smells her hair and almost fetishises his search for her, and in fact his hunt for her is like him wanting a foreign woman as a trophy to hang up. Ana is somewhat feared by men as a result of her education and her dress. Their relationship with men Ana and Mendizabel goes beyond the femme fatale as her costume would suggest she does not want to use her beauty, charm or sexual allure to ensnare Mendizabel She does however torture her lover denying confirmation of her affection and driving him to the point of obsession and exhaustion so that he is incapable of making rational decisions it ultimately leads to his death he is killed by the wrong person She is in fact feared by Mendizabal Aurelia and BILLY AND JUANITO even her sexual relationship is with a 19year old boy Her relationship with men is reflected on to youth of mexico perhaps a progressive image of Mexico? Education of Juanito Sex scene he goes for her breasts nurturing mother Aurelia is the madre coraje will risk anything for her children using the traditional methods of education, good-schooling ensuring change, Juanito holds strong morals Heralclio Chuc progressive image of Mexico heading towards globalisation and a romanticised image of the past vs. the irony of the indigenous culture still existing within the forces of global.. Margins of society left out and the irony that they have tore-create their roots/ portray themselves as existing in the past attempt to regenerate their history (illegally) In an interview with Fernando Brenner, Novaro stated that: Querà ­a mostrar un Mà ©xico muy contrastante: el sur y el norte. Y dos mujeres muy diferentes. Ademà ¡s una de ellas tenà ­a que tener mà ¡s capacidad para ver a Mà ©xico, precisamente por no ser mexicana. Ése fue mi punto de partida, y una sensacià ³n que tengo no me siento mexicana en la zona Yucatà ¡n, como le pasa a muchos mexicanos, pues estamos en la regià ³n maya. Y sea que esa vivencia, la de ser una extranjera en mi patria, convive con mi encanto por estar en mi paà ­s. Foreign influence in Mexico Road movie genre inexorably transcultural The movement in the movie itself parallels this shifting image of Mexico Last paragraph the image of a changing mexico isnt negative a progressive image of the change and that the foreign influence isnt always going to be negative However, despite the fast-pace change of modernity/ global influence, there is still a level of humanity this doesnt change Ana steals the money but brings it back, mariachi band at the end she remembers Survival basic human needs they converge in this respect because they both rely on each other/ are dependent on each other food, drinking, sleep

Revenge in Emily Bronte’s Wuthering Heights

Wuthering Heights – Revenge Emily Bronte, who never had the benefit of former schooling, wrote Wuthering Heights. Bronte has been declared as a â€Å"romantic rebel† because she ignored the repressive conventions of her day and made passion part of the novelistic tradition. Unlike stereotypical novels, Wuthering Heights has no true heroes or villains. The narration of the story is very unique and divergent because there are multiple narrators. Bronte’s character Lockwood is used to narrate the introductory and concluding sections of the novel whereas Nelly Dean narrates most of the storyline.It’s interesting that Nelly Dean is used because of her biased opinions. There are many major themes of the book, but revenge is the most imminent theme, the factor that leads the protagonists to their dismal fate. Bronte proves there is no peace in eternal vengeance, and in the end self-injury involved in serving revenge’s purposes will be more damaging than th e original wrong. Heathcliff never finds peace through his revenge. In fact, the only time he truly finds happiness is when he gives up his plan for retaliation.Austin O’Malley states   â€Å"Revenge is like biting a dog that bit you†Ã‚   (O’malley 1). O’Malley’s quote reflects Heathcliff’s immature need to propagate agony in those who have offended him. Heathcliff’s plan for revenge on Edgar and Catherine is to marry Isabella, who is ignorant of love and of men because she has never experienced either. He wants to hurt Edgar because of his marriage to Catherine, and he wants to get revenge on Catherine by making her jealous. Catherine’s death proves that this flawed plan of repayment helps nothing.Heathcliff, haunted by the ghost of Catherine because he is her â€Å"murderer,† still is motivated by the need for revenge and tries to get young Cathy away from Edgar by having her marry his son, Linton. Heathcliff never f inds peace until he gives up his plan for revenge just before he dies. When Heathcliff gives up his plan for revenge, he meets Catherine in death and truly becomes happy once more. Catherine’s revenge does not make things better for her. Her   revenge on Heathcliff by blaming him for her upcoming death does not meliorate her mind. Just before she dies, she ascribes Heathcliff for her â€Å"murder.   Ã‚   â€Å"You have killed me, and thriven on it, I think† (Bronte 158). Catherine resembles what Oliver Goldsmith said,   â€Å"When lovely woman stoops to folly, and finds too late that men betray, what charm can soothe her melancholy? What art can wash her guilt away? The only art her guilt to cover, To hide her shame from every eye, To give repentance to her lover, And wring his bosom, is–to die† (Oliver Goldsmith 1). Catherine’s death is caused by her lack of emotional control and her dual personalities. She and Heathcliff â€Å"are† each other (Bronte 80), but her wants of social status and popularity draw her toward Edgar (Bronte 78).She does not love Edgar, but her selfish material wants control her. Catherine’s revenge on Heathcliff does not assist her in finding happiness. She looks forward to dying and is   â€Å"wearying to escape into that glorious world† (Bronte 160). Her death is, however, miserable as she wanders around the earth as a waif for 20 years occasionally visiting Heathcliff and torturing him. Just as Heathcliff and Catherine’s revenge make them miserable, Hindley’s revenge on Heathcliff causes him to go bankrupt and eventually die.Hindley’s attempt to kill Heathcliff only hurts himself in the process;   it proves the point Isabella makes, â€Å"Treachery and violence are spears pointed at both ends; they wound those who resort to them worse than their enemies† (Bronte 177). The fact that Hindley is mistreated as a child reflects the built up ang er and resentment inside him and towards others. The hurt that Hindley feels is clearly understood, but sympathy for Hindley is only temporary because it is still his own fault for his predicaments.Hindley’s loss of Wuthering Heights to Heathcliff and his mysterious death reflect how revenge does not make anything better, only worse. Bronte corroborates that revenge is not only a harsh and rash way to live life, but is counter-productive and hurtful. Out of all of her major themes, revenge is the most imminent. The self-hurt involved with vengeance shows there are better ways to solve conflicts. Bronte sends a great message across by showing how negative revenge can be. There is no solution to obeying the spontaneous reaction of this negative reprisal. Revenge in Emily Bronte’s Wuthering Heights Wuthering Heights – Revenge Emily Bronte, who never had the benefit of former schooling, wrote Wuthering Heights. Bronte has been declared as a â€Å"romantic rebel† because she ignored the repressive conventions of her day and made passion part of the novelistic tradition. Unlike stereotypical novels, Wuthering Heights has no true heroes or villains. The narration of the story is very unique and divergent because there are multiple narrators. Bronte’s character Lockwood is used to narrate the introductory and concluding sections of the novel whereas Nelly Dean narrates most of the storyline.It’s interesting that Nelly Dean is used because of her biased opinions. There are many major themes of the book, but revenge is the most imminent theme, the factor that leads the protagonists to their dismal fate. Bronte proves there is no peace in eternal vengeance, and in the end self-injury involved in serving revenge’s purposes will be more damaging than th e original wrong. Heathcliff never finds peace through his revenge. In fact, the only time he truly finds happiness is when he gives up his plan for retaliation.Austin O’Malley states   â€Å"Revenge is like biting a dog that bit you†Ã‚   (O’malley 1). O’Malley’s quote reflects Heathcliff’s immature need to propagate agony in those who have offended him. Heathcliff’s plan for revenge on Edgar and Catherine is to marry Isabella, who is ignorant of love and of men because she has never experienced either. He wants to hurt Edgar because of his marriage to Catherine, and he wants to get revenge on Catherine by making her jealous. Catherine’s death proves that this flawed plan of repayment helps nothing.Heathcliff, haunted by the ghost of Catherine because he is her â€Å"murderer,† still is motivated by the need for revenge and tries to get young Cathy away from Edgar by having her marry his son, Linton. Heathcliff never f inds peace until he gives up his plan for revenge just before he dies. When Heathcliff gives up his plan for revenge, he meets Catherine in death and truly becomes happy once more. Catherine’s revenge does not make things better for her. Her   revenge on Heathcliff by blaming him for her upcoming death does not meliorate her mind. Just before she dies, she ascribes Heathcliff for her â€Å"murder.   Ã‚   â€Å"You have killed me, and thriven on it, I think† (Bronte 158). Catherine resembles what Oliver Goldsmith said,   â€Å"When lovely woman stoops to folly, and finds too late that men betray, what charm can soothe her melancholy? What art can wash her guilt away? The only art her guilt to cover, To hide her shame from every eye, To give repentance to her lover, And wring his bosom, is–to die† (Oliver Goldsmith 1). Catherine’s death is caused by her lack of emotional control and her dual personalities. She and Heathcliff â€Å"are† each other (Bronte 80), but her wants of social status and popularity draw her toward Edgar (Bronte 78).She does not love Edgar, but her selfish material wants control her. Catherine’s revenge on Heathcliff does not assist her in finding happiness. She looks forward to dying and is   â€Å"wearying to escape into that glorious world† (Bronte 160). Her death is, however, miserable as she wanders around the earth as a waif for 20 years occasionally visiting Heathcliff and torturing him. Just as Heathcliff and Catherine’s revenge make them miserable, Hindley’s revenge on Heathcliff causes him to go bankrupt and eventually die.Hindley’s attempt to kill Heathcliff only hurts himself in the process;   it proves the point Isabella makes, â€Å"Treachery and violence are spears pointed at both ends; they wound those who resort to them worse than their enemies† (Bronte 177). The fact that Hindley is mistreated as a child reflects the built up ang er and resentment inside him and towards others. The hurt that Hindley feels is clearly understood, but sympathy for Hindley is only temporary because it is still his own fault for his predicaments.Hindley’s loss of Wuthering Heights to Heathcliff and his mysterious death reflect how revenge does not make anything better, only worse. Bronte corroborates that revenge is not only a harsh and rash way to live life, but is counter-productive and hurtful. Out of all of her major themes, revenge is the most imminent. The self-hurt involved with vengeance shows there are better ways to solve conflicts. Bronte sends a great message across by showing how negative revenge can be. There is no solution to obeying the spontaneous reaction of this negative reprisal.

Maturational Perspective of Motor Development - 1162 Words

Mental intelligence, interests, abilities, personality and behaviour tendencies are affected by nature and nurture. Nature vs. nurture is an ongoing debate between genetic inheritances and environmental factors that shape development. Nature, also known as heredity, is the genetic code a person is born with. In motor development, nature refers to the genetic inheritance of characteristics and tendencies that influence development. The maturational perspective of motor development focuses on nature influences. The maturational perspective explains functions of maturational processes, particularly through the central nervous system, which control or dictate motor development (Payne Isaacs, 2012). Motor development is an internal†¦show more content†¦(Haywood et al., 2012) Therefore, as a person’s central nervous system develops, their motor skills develop. Shirley’s research supports the idea that a person’s motor development is an internal proces s determined by biological processes. Specific problems in the body cause motor delays. Motor delay means following a normal course of development at a level below suggested expectations for that child’s age. Problems with an internal system, the central nervous system, can lead to very specific movement problems. The cerebrum is a part of the central nervous system, if damaged it will limit or eliminate modulation, cause astereognosis and agnosia, damage reflexes, and impair laterality. Apraxia is a motor disorder caused by the damage of the cerebrum. Apraxia is a disorder of motor planning. Children with apraxia are clumsy and poorly coordinated when learning new motor tasks. Their advancement with new motor skills is not as efficient as other children. This is because their movement is very stiff, they have extraneous movements, seem to not understand where their body is in space, and have trouble with eye-hand and eye-foot coordination. (Payne Isaacs, 2012) The damage in a child’s central nervous system, in this case cerebrum, result in a natural motor delay. This specific disorder supports the maturational perspective. Apraxia is an internal process determining change in a child’s motor development. WhileShow MoreRelatedBilingual Development : A Perspective From First Language Attrition1348 Words   |  6 PagesThe starting point article I chose to focus on for this comparison was ‘The Debate on Maturational Constraints in Bilingual Development: A Perspective from First-Language Attrition’ by Monika S. Schmid. 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Erikson s Third Stage, Industry - 984 Words

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His father, Qiang, took him to private tutorial center and helped him finish his homework under teacher’sRead MoreChild Development Explanations And Understanding1702 Words   |  7 PagesPiaget s thoughts were that all life lessons are organized in their memory. There are stages of Piaget s developmental explanation where an individual at certain ages should be able to complete certain levels and tasks. The first Piagetian stage is the sensorimotor stage and it lasts from birth to about 2 years of age. Infants establish an understanding of the world by coordinating sensory experiences with physical and motor skills. From 2 to 7 years of age, is the preoperational, stage whichRead MoreErik Erikson s Development Theory1408 Words   |  6 Pagesbiological abandoned him before he was born. Erikson was brought up by his mother and stepfather, Theodor Homberger, who was Erikson’s pediatrician. He never knew the true identity of his biological father. 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Within differentRead MoreErik Erikson s Psychosocial Theory On Child Development1388 Words   |  6 PagesErikson’s Psychosocial Theory on Child Development Erik Erikson, a well known developmental theorist, developed his theory about stages of human development from birth to death by using Freud s work as a starting point. According to Erikson, personality develops in a series of stages. Erikson found out that children experience conflicts which affect their development. He described the internal conflict which children go through in developmental stages using the term ‘crisis’ and are based on either developingRead MoreErik Erikson And Jean Piaget s Theories Essay1291 Words   |  6 PagesErik Erikson and Jean Piaget are quite similar in their theories. Jean Piaget’s cognitive theory is only slightly different than Erik Erikson’s psychosocial theory. Both theorists use the idea of developmental stages. Although the stages vary in what they entail, the carry the same idea of progressive development. Jean Piaget was born September 16, 1980, in Switzerland. His research found â€Å"that the growth of knowledge is a progressive construction of logically embedded structures superseding oneRead MoreCompare and contrast the developmental life span theories742 Words   |  3 Pages Urie Bronfenbrenner five major systems are called microsystem; which is everyday immediate environment in which children lead their daily lives. Second is the mesosystem; which provides connections between the various aspects of the microsystem. Third is the exosystem; It represents broader influences, encompassing societal institutions such as local government, the community, schools, churches, and the local media. Fourth is the macrosystem; and it represents the larger cultural influences on