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Once Were Warriors, A Character Analysis of Jake

What this high spot is that domestic force. This is why work forces in peculiar demand to seek aid when they are fighting with issues alternatively of fall backing to excessive bing-drinking to asleep emotional hurting. Beth is besides on the borders of society as we see her fighting to raise her household amidst all the physical and verbal maltreatment around her. Gradually the low angle shootings of Beth go more outstanding as her bravery to stand up to her opprobrious hubby additions as besides seen in her duologue.

Uncle Bully has raped her girl. Grace directing her into a downward spiral which culminates in her self-destruction. It must hold inspired many adult females across New Zealand and so the universe to go forth behind dysfunctional and violent domestic set-ups. Possibly the most compelling narrative of hope in the movie is that of younger boy.

Beth fails to attach to him to a tribunal hearing due to enduring a whipping and colza at the custodies of Jake as a consequence of a twine of junior-grade offenses. Boogie eventually gets the tough love he needs from Maori adult male. Boogie learns that true mana is found by utilizing your head and developing the inner-strength and decide to work out jobs alternatively of fall backing to force.

This shows that with the appropriate counsel. State Foster places should merely be a last resort. Although Beth is able to, in a sense, defeat Jake and leave him therefore having some element of power over him, this is one particular case and the oppression of other Maori women is still very much governed by hegemonic masculinity.

This oppression is very much mirrored in the treatment of the Maori women. In this sense, women are very much there to serve men. Although shocking in itself, the most depressing aspect of this is that the women of this culture completely accept and even seem to embrace their fate. A scene to illustrate this is the morning after Jake has relentlessly beaten his wife in front of all their party guests, none of whom step in to stop the violence.

Her face is lacerated and swollen and her speech impaired by the level of her injuries. Her best friend Mavis comes into the house and comments on her face however is not once shown to be sympathetic or shocked. The shock from this scene does not come from the act of what has happened to Beth, but in the relaxed nature of how it is dealt with.

The women in this society completely accept their fate and Beth receives no sympathy from Mavis. Alone, Beth is a strong, powerful and a proud woman; the opening scene of the film illustrates this as she walks home with her shopping trolley. She seems to have masculine qualities in her stride, she smokes a cigarette with confidence and pulls down her shades, her body is muscular and a tattoo is visible, mirroring masculinity. However, no matter how powerful she may be, the oppressive patriarchal society is stronger and the rest of the film documents a power struggle between her and Jake.

Although Beth is able to leave him in the end, it took the death of her beloved daughter and the help of her many sons in order for her to find the strength. This relays the idea that to overcome patriarchy involves a great loss and the help of a man is still needed. The character of Grace can also be seen as a metaphor for the invincible power of patriarchy. She is the only female to have an equal, non-sexualised relationship with a male, a hopeful future and prospects.

She is therefore essentially killed by the dominance of men and the one ray of hope in the film is taken.

Nig and Boogie create their masculinity through the discovery of their cultural roots. Nig experiences violence, however he is taught to resist it through the initiation into the local Maori gang. The same is true of Boogie the second eldest son, who, once removed from the family and under instruction of his social worker and new role model flourishes as a man.

In order to illustrate this I am going to look at the mise-en-scene and content of the screen. Firstly he has his manliness taken from him because he has to quit his masculine job that gives him status because of his fear of heights.

The first shot shows John balancing his walking stick on top of his finger. As well as a reference to the vertigo he suffers and the fall he took, this imagery can be looked at in terms of Freudian psychoanalysis.

The extension of the walking stick could be seen as a phallic image and therefore an extension of his manhood. The fact that he is trying to balance the stick on his finger and it eventually wobbles and falls relates the idea he has lost his masculinity. Throughout the scene John is playing with it, using it to illustrate his words and point to things.

Freud would argue that this demonstrates an individual who has failed to resolve there phallic stage of psychosexual development and therefore not fully resolved their Oedipus complex. This symbolic use of the corset, which is an item of clothing that encapsulates a woman, suggests women are not free but are controlled by the stiff wires of patriarchy, much like a puppet. The particular brassier that is referred to within this opening sequence has great significance to this idea.

Midge explains that the Bra was based on the concept of a bridge and designed by an aircraft engineer in his spare time. The idea that a man is designing these ways of restricting women and comparing their bodies to inanimate objects such as a bridge could be considered a metaphor for their desire to have control over the elusive woman that they want to contain.

This idea can be related to the rest of the film whereby John is attempting to mould Judy into his ideal form of woman by changing her clothes.

Again, like a puppet. Another aspect of mise-en-scene within this scene that comments on John and his loss of manhood is the character positioning throughout. John is always sitting down lower than Midge.

However when demonstrating that he can overcome his fear, and therefore regain his masculinity, he climbs a series of steps that positions him higher than Midge. However, when John reaches the top step his acrophobia get the better of him he faints into Midges arms. This scene has a complete role reversal as far as gender roles are concerned.

John is the weakened female that needs catching as he faints and Midge is there to capture him in her strong arms. This loss within him is something that he replaces when meeting Madeline. Rather than him being in love with her, he simply finds en element in her that makes him feel whole. This is then ripped away from him again when he finds out Judy is Madeline and he was being manipulated, like a woman.

This feeling of confusion can be seen as another theme that runs throughout Vertigo. John ultimately does not know what he wants. He is attracted and repulsed by the same women and he hates himself for loving her. This is very much a feeling that Alfred Hitchcock himself suffered with. This emotion was also displayed in the film through use of filming techniques. It also links to the representation of women that has been mention previously, suggesting they are an object that needs to be controlled.

An example of one such instance is where Megan Turner returns home after becoming a police officer. She walks into her house, chucking her keys on the floor and tapping her answerphone that is messily situated on the floor with her foot, then shifts her trousers up and sits down.

This series of actions and mise-en-scene are associated with stereotypes of being male. She then listens to a message from her mother that clearly upsets her. Her open display of emotion is something considered very effeminate. In being able to own both gender attributes, Turner can be seen as a more powerful person.

As the main downfall of a seemingly powerful man, is his inability to deal with emotion. Laura Mulvey writes that…. Traditionally the gaze is male, and the audience can see two main shots; that of the male looking and that of the female he is looking at. Therefore making the audience affiliated with the man, as our view is restricted to what he chooses to look at, enforcing patriarchal power that is impossible to overcome.

This is the controlling gaze that Mulvey references above.

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Once Were Warriors could be considered to have been a success in many ways, not just by it’s commercial value. Firstly, there is the academic success of the film. It portrayed a tragic and violent family cycle to other New Zealanders, of whom many believed that we lived in a violence free country.

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State foster homes should only be a last resort. In conclusion, ‘Once Were Warriors’ left an indelible mark on the psyche of many New Zealanders with its brutal violence and depiction of problems such as binge-drinking and poverty that previously were swept under the carpet.

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"Once Were Warriors" is a movie that is all about the truth in cultures. As we all know, alcohol usually causes negative behavior. For example, in the movie it shows how alcohol causes violence, poverty, and child abuse in a family. Once Were Warriors is the story about a Maori family struggling to survive in a New Zealand that is governed by Whites. The film explores the search for identity by contemporary Maoris, such as warrior violence juxtaposed to a culture stripped of its pride and honour/5(5).