Woman as an object of desire in history
Throughout history, female identity has been limited to the performance of certain roles within society by imposing a secondary role subject to male domination. It is because of this that it has been taken as an object and not as a social being, the most influential media for said construction being currently.
Taking Mariana’s character from José Emilio Pacheco, "battles in the desert" as a film adaptation with the title of "Mariana, Mariana" in the hands of director José Estrada was a Mexican filmmaker and screenwriter. He directed 19 films between 1971 and 1985. His 1985 Mexican film, You Can Do It enrolled at the 14th Moscow International Film Festival.
Ahumada Alberto Isaac ‘El Güero’ was a filmmaker, cartoonist and Mexican Olympic swimmer. He lived his childhood in the state of Colima. He was director of 13 tapes, and was on several occasions to the Diosa de Plata awards and 44 times to the Ariel, and won 11 occasions. His Olympic documentary in Mexico was nominated for the Óscar Awards in 1969. His last years lived them in the town of Comala, where he devoted himself to painting and as a cartonist in Coliman newspapers and the Federal District, until his death. Playwright and narrator. He studied engineering at UNAM and journalism at Carlos Septién García School. Magazine Magazine Director;Process Deputy Director. They have premiered, among others, their works rejected people, companion, the tent, alice maybe, will fight ten rounds, so long ago, ma’am, the night of Hernán Cortés, the move and nobody knows anything. Reporter and director of Excelsior, process and magazine of magazines.
The literary work, as well as the cinematographic tells the fantastic story of a child named Carlitos and his first love, Marianmodernization, leaving behind what would only be in the memory of those who had the joy of living it. Referring to different issues regarding what is lived around the main character.
Now, I will focus on the description made of Marianadult. And, in the Marian novel it is described by people outside her, from Carlitos’ mother, who watched the lifestyle that Mariana leads for not being a woman of traditional values and customs typical of that Mexico who would begin toLeave behind in those years to the classmates of Carlitos, who somehow repeat what they listen to at home and reproduce in their own way in the company at the time of recess that is when they come together to talk while playing “the mother ofJim is very young, very pretty, some believe he is his sister … "
From here, there is a notion of what the figure of this character is seen, however, it is not until Carlitos is invited by Jim to his house where Mariana sees for the first time, being pledge of her beauty and starting whatthat it would be his falling: “I never thought that Jim’s mother was so young, so elegant and especially so beautiful. I didn’t know what to say. I can’t describe what I felt when she shake hands. I would have liked staying there looking at her."
Later through a series of events, the scene is presented where Carlos declares his love, visiting Mariana in his department “I secretly left school. I touched the Four Department. One two times. Finally Mariana opened to me: fresh, beautiful, without makeup. He wore a silk kimon. […] Mariana crossed her legs. For a second the kimono was slightly. Knees, thighs, breasts, flat belly, mysterious hidden sex. Nothing happens I repeated. Is that … I don’t know how to tell him, ma’am."As noted, the character-barrier does nothing but describe the scene in which she was involved without making an eroticized signaling of the figure of Mariana, however, it can be considered as the object of feminine and ideal idealization unattainable forCarlos.
As for Mariana’s role in the film, the fact that she is aimed at a space in which she is surrounded by male characters is remarkable, referring to the scene where Carlos is invited by Jim to spend a weekend in Tequesquitengo, taking the opportunity that your mother is not. Thus having a day in the lake with Mariana and what it seems to be her lover, since, it is a place they frequent to see. I must point out that this scenario is not raised in Pacheco’s book and is added in the film with the aim of exposing Mariana’s intimate relationship with a man of political power.
It is in this scene Carlos is floating in the water near Jim, but the latter is on his back for which Carlos observes Mariana from a distance while she is photographed and subsequently massaged by the man who accompanies her, leaving with him a few minutesAfter he speaks to him.
To the point that I want to get, it is like, within the film and especially the scene I described before, the objective of the female figure is clearly wrapped in a space where it is far from the other female characters because the mother ofCarlos and his sisters are taken from the scene, leaving only the male entities that surround it. It is then that the figure of Marian.
From a feminist point of view I could say that, the above becomes a clear manifestation of how female identity is dominated by the masculine, because, Mariana’s entity is built from a point where her role is nothing more than theto provoke.
“Bourdieu calls the woman’s body as a symbolic capital, as an object of appropriation and desire, as a body for the other. On the other hand, we have the woman/mother -with independence of whether she is-, always at the service and care of others. The woman thus discusses between two social representations dissociated with each other, motherhood to her assigned and the eroticism that refers to women to a primitively sexual/genital condition.”He was one of the most prominent representatives of contemporary sociology.
According to the aforementioned and to be able to reach a conclusion, I summarize that, as from the sociological point of view that Bourdieu follows, “in Freud we find the variant of the version of female duality. On the one hand, we have the omnipotent, desired and feared mother of narcissism and on the other the classic castrated, lacking, dependent and passive woman, prototypical of psychoanalysis. Femininity is shown here between women-mother and the woman under desire. "
That is, in regards to the Marian literary work, it is seen as a woman-mother who breaks with the stereotype of a housewife and the film is imposed as a woman object of desire. The latter probably influenced by the audiovisual medium in which it is presented, since, pleasure is found in the images allows to use the figure of Mariana as an object of attraction and contemplation for the public.
Finally, the cinema also serves as a transmitter of ideological values, therefore, the importance of giving women the active role in and outside this medium to contribute to their free participation in other fields and making visible their abilities to be more than an objectto be used for consumption.
Media education is a fundamental part of the construction of languages that allow to challenge the conventional representations of the female figure contributing in this way to the construction of a society in which the role of women is not subject to that of the man by making it impossible to be.
Bibliography
- Bel Bravo, Ma. Antonia, woman and social change in the Modern Age, Edit. Meeting, Madrid, 2009.
- Martinez, Alicia Inés, "Female identity: crisis and construction", the will to be: women in the nineties, Edit. María Luisa Tarrés, Mexico. (1992) pp.66-84
- Martinez-Herrera, Manuel, the construction of femininity: the woman as a subject of history and as a subject of desire, news in Psychology, 27/2007 School of Psychology, University of Costa Rica, pp. 79-95
- Pacheco, José Emilio, the battles in the desert, Edit. Era, Mexico, 2016.
- Vélez c., Consuelo, Theology of Women, Feminism and Gender Theologica Xaveriana, no. 140, 2001, pp. 545-563 Pontifical Javeriana Bogotá University, Colombia
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