Double Standards

Double standards are considered to be a sort of biased or morally unfair judgment toward a certain group based on the notion that they are unequal in their freedoms.  If a situation is acceptable for one group, according to certain sects of society, may be unacceptable when applied to another group.

Gender roles and the notion of a double standard pretty much go hand-in-hand.  It’s only been in the last century that the line between roles has become blurrier and blurrier.  Back in the day, men had certain expectations; usually primordial such as hunting, using weaponry, and maintaining an elevated status either within a community environment or domestic.  And in addition, women were expected to demonstrate a level of submissiveness in order to serve and fulfill the needs of her spouse. 

Although, thanks to Women’s Liberation (and a series of other events throughout the decades), the limitations that obstructed women to pursue any activity or act a certain way are pretty much obsolete now.  But, I feel that there will always be some kind of resentment from both parties toward each other.  When women start to take part in “masculine” activities such as serving in the military, men begin to feel as though their position has become feminized in a way.  In addition, people tend to negatively question the sexual orientation of a woman and stereotype.  Lastly, I think it’s the exact same way for me when they participate in women’s activities; people label them as “gay” or assume that they’ve become feminized.

I feel that at this point, standards have morphed so much that I still wonder why the notion of the double standard still exits.  The times are constantly changing and it seems like the most absurd of concepts have somehow become acceptable eventually.

Marshall McLuhan- The Medium is the Massage

Considered one of the most controversial and original thinkers of our time, Marshall McLuhan is additionally regarded worldwide as the “father of communications and media studies” as well.  As he was witnessing the development of technology, he formulated observations that were intuitive and thought-provoking; thus concluding that as society’s values and norms tend to change because of the technology, and its then that we realize that there are indeed social implications of the medium.

The cleverness of the presentation of the context made it easy to follow and understand…(and it was a refreshingly condensed book as well.)  The art and style has a fresh and modern appeal, even though it was printed in 1967, and yet it has a quirkiness that’s rather humorous in a way.

So, overall McLuhan REALLY DID know what he was talking about.  The book is even more relevant to today than it was back in the day, making it more relatable now that the computer is become the ultimate gateway to the “global village”.

Federico Fellini

The three movies I chose to watch were, La Strada, 8 ½, and La Dolce Vita, all conceived by the brilliant and artistically driven, Italian director- Federico Fellini. 

Fellini, arguably considered one of Italy’s greatest directors, blended the art of personal expression with fantasy and dreams.  Fellini’s is able to tackle the issue of humanity’s struggle for identity and our reason for living. His surrealistic approach to filmmaking has reserved his place in film history; inspiring other directors to respectively cite from his acclaimed films. 

La Strada explores the soul’s eternal conflict between the heart and mind.  It a film full of visual imagery-- with the assistance of dramatic camera angles and beautifully composed shots.  We follow the “relationship” of a carnival strongman, Zampano and his assistant, Gelsomina.  Zampano is actually a pretty rotten person—constantly demoralizing and abusing her.  Her innocence and weak-mindedness is no match for his dominance and so she just puts up with it without question.  Fortunately, the films protagonist is a kind and gentle clown that sees Gemsomina’s situation and wants her to leave Zampano.  Through a series of pranks-- driven with an underlying malice by the clown to the strongman—leads us to the climax of the story, which ends in despair and tragedy. 

8 ½  is an autobiographical portrayal of Fellini’s personal life; through a visually stunning landscape of the subconscious. But it is also an indelible image that shatters any preconceived illusion of "typical" elements in a Fellini film.  The 8 ½  is a “symbol” for his artistic transition, in which the subtle forms and religious iconography of his earlier films have been replaced by specifically composed and exaggerated, hyperbolic imagery, which was to become his signature, “Felliniesque” style. This novel is an introspective journey about Guido Anselmi (Marcello Mastroianni), a successful film director who takes a holiday at an exclusive health spa in order to overcome a creative dry spell. But Guido appears to be narcissistic and self-indulgent, preferring to spend his time chatting with wealthy resort patrons and arranging trysts with his oversexed mistress, Carla, than actually spending the time to formulate ideas for his next film. He begins to lead a life of excess instead of undergoing physical (and psychological) cleansing and purification. And, unable to derive inspiration from his chaotic environment, he immerses himself in the distraction of childhood memories and indulgent fantasies.  Including conversing with an emotionally inaccessible father, and reciting the magic words to a hidden treasure.  In essence, Guido is searching for balance: between childhood traumas and idealism, the sensual and the intellectual, artistic integrity and commercial success. Inevitably, Guido is as much a reflection of Fellini as he is of ourselves: striving for greatness, only to achieve the ordinary and familiar... with episodes of momentary abstraction in between.

La Dolce Vita is a film that defined society as abrasive and legitimately through the creative psyche of Fellini.  The story is about a frustrate writer, who is reduced to tabloid journalism in order to make ends meet.  He spends each evening in “Via Veneto” (the venerable hotspot for people who want to be seen).  Vicariously awaiting the next scandal, party invitation, or even a sexual proposition.  Although his nights are spent with different women, in which there he experiences fleeting happiness, he is still consumed with self-doubt; unable to fully enjoy his success.  Then he finds himself caught up in a hubbub spectacle of a false sighting of the Virgin Mary.  Fellini takes advantage of the visual use of stairs as a way to not only allow the characters to transition from scenes, but to help us as the viewer transition as well.  Such as the decent to the prostitutes flooded basement apartment, the climb to the church tower, and the walk to the public fountain.  Lastly, it’s interesting that the film begins and ends with the same incident, where Marcello, unable to hear the cryptic message, returns to “his distraction” (perhaps still dreaming of attaining the “sweet life”).