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Love and Basketball chronicles the intertwined lives of Monica and Quincy across four distinctive periods. Their childhood friendship rooted in basketball becomes complicated when Quincy accidentally injures Monica, leading to a rollercoaster of emotions but ultimately forging a deep connection. As teenagers, they navigate high school life, with Quincy's popularity and Monica's basketball prowess setting the stage for a budding romance that endures despite challenges. Their college years bring individual struggles: Quincy grapples with media scrutiny and family issues while Monica contends with coach conflicts, straining their relationship to a breaking point. Fast forward to their professional basketball careers, Monica playing overseas and Quincy in the NBA. A pivotal moment arises when Quincy faces an injury and impending marriage, prompting Monica to confront her past and chart a new course. Their love ultimately triumphs, sealed by a high-stakes basketball game, leading to marriage, parenthood, and Monica's eventual achievement in the WNBA, symbolizing their enduring connection through their daughter's love for the game in the post-credits scene.

Monica's character in Love and Basketball serves as a powerful canvas for examining Judith Butler's concept of gender performativity. Her journey and passion for basketball intricately challenge and redefine traditional gender roles, offering a profound exploration of performative gender within the film. Butler argues that “hegemonic heterosexuality is itself a constant and repeated effort to imitate its own idealizations” (338), meaning that our prescribed ideas of gender only come about through enforced stereotypes and expectations, rather than being predetermined ideas. In this way, Monica breaks the mold of predetermined ideas of both masculinity and femininity.

From a young age, Monica exhibits a profound affinity for basketball, a sport traditionally associated with masculinity. Her natural talent, determination, and passion for the game become the cornerstone of her identity, highlighting how her engagement in this particular activity challenges the conventional expectations of femininity.

Monica's embodiment of athleticism disrupts the societal notion that certain sports are inherently masculine. She defies the prescribed boundaries of what it means to be a girl by embracing basketball wholeheartedly, showcasing physical prowess and competitiveness commonly attributed to masculinity. Her performance in the realm of basketball not only challenges but reconfigures the boundaries of gendered activities, exposing the fluidity and constructed nature of gender roles.

Throughout the film, Monica's dedication to basketball blurs the lines between conventional notions of femininity and masculinity. She navigates the basketball court with skill and determination, not conforming to the passive image often associated with women in mainstream media. Instead, Monica actively challenges this notion, illustrating that gender identity is not predetermined but rather shaped through actions and performances.

The concept of performative gender is vividly demonstrated in Monica's actions, which defy societal expectations and challenge the status quo. Her passion for basketball becomes a platform for the reimagining of gender norms, prompting audiences to reconsider the limitations imposed by societal constructs.

Furthermore, Monica's embodiment of performative gender extends beyond her actions on the court. Her refusal to adhere to traditional gender roles within romantic relationships and her unwavering commitment to her career aspirations exhibit a deliberate performance that transcends prescribed gender norms.

In essence, Monica's character in Love and Basketball becomes an embodiment of Judith Butler's theory of gender performativity. Her passionate engagement with basketball challenges and reshapes traditional gender roles, presenting a compelling narrative that questions the rigidity of societal expectations surrounding femininity and masculinity. Through Monica's journey, the film invites audiences to reconsider the performative nature of gender and the fluidity inherent in its expression.

Monica's bold defiance of traditional gender roles, intricately explored within the film's narrative, segues seamlessly into the broader exploration of societal stereotypes through character portrayals, aligning with Stuart Hall's reception theory and the film's approach to challenging norms. While Monica's passionate engagement in basketball serves as a catalyst for questioning and reshaping gender norms, the subsequent narrative unfolds, compelling audiences to reconsider ingrained societal stereotypes, encouraging critical decoding of these moments, and fostering a more inclusive understanding of gender dynamics and relationships.

Love and Basketball consistently challenges societal stereotypes through its narrative and character portrayals, aligning with Stuart Hall's reception theory about decoding media messages. Several instances stand out, prompting audiences to resist or reshape prevalent societal norms. By operating within the basketball realm, which is often a male-dominated space, while empowering Monica, the film “acknowledges the legitimacy of hegemonic definitions to make the grand significations (abstract), while, at a more restricted, situational (situated) level, it makes its own ground rules” (Hall, 516).

One poignant example is Monica's rejection of the 'damsel in distress' trope within romantic relationships. Unlike conventional portrayals of women waiting for men to define their lives, Monica asserts her agency in shaping her destiny, refusing to conform to the passive roles often depicted in mainstream media. Her determination to prioritize her career aspirations over conforming to traditional gender roles challenges the audience's expectation of female characters, inviting them to decode this rejection as a departure from typical gender norms.

Moreover, the film subverts the stereotype of women as mere objects of desire by presenting Monica as a multifaceted character. Rather than being reduced to a passive love interest, Monica's character is layered, showcasing her emotional depth, ambition, and imperfections. Audiences decoding these nuances witness a departure from the traditional male-centric gaze, reshaping the perception of female characters in cinema.

Additionally, the film challenges the stereotype that sports are exclusively a male domain. Monica's journey in pursuing basketball as a career confronts the societal notion that certain sports are inherently masculine. By showcasing her athleticism, competitiveness, and love for the game, the film defies the notion that women are less capable in sports, prompting audiences to decode these moments as a challenge to gendered stereotypes in athletic pursuits.

Furthermore, the depiction of Monica's and Quincy's relationship resists conventional gendered dynamics. The film portrays emotional vulnerability in Quincy's character, breaking the stereotype of male emotional detachment. Monica and Quincy's relationship evolves beyond the constraints of traditional gender roles, inviting audiences to decode these nuanced interactions as a reimagining of relationships that transcend societal expectations.

Moving from the film's challenge to societal norms through characters to its portrayal methods, Love and Basketball offers a complex view. It tackles gender expectations while following Monica's journey, challenging traditional movie ideas about gender and romance. This allows for a detailed look at both its social messages and its approach to moviemaking, going beyond usual portrayals in mainstream cinema.

The film intricately navigates the male gaze in its portrayal of Monica's athletic prowess and romantic interactions, employing cinematography that both aligns with and challenges traditional conventions. When showcasing Monica's basketball skills, scenes often focus on her agility and dedication without overt objectification. For instance, in the basketball court sequences, the camera skillfully captures Monica's movements, emphasizing her talent and determination. During pivotal basketball moments, such as her winning shot, the camera follows her actions, highlighting her skill without reducing her to a mere object for the male viewer's gaze. This deliberate framing invites the audience to appreciate Monica's athletic abilities and passion for the game without exploiting her physicality.

Conversely, in romantic interactions, the film occasionally aligns with elements of the male gaze seen in traditional cinematic tropes. For instance, during intimate moments between Monica and Quincy, certain scenes utilize close-ups and framing that could cater to a male-centered perspective. However, the film also subverts these norms by ensuring Monica's character maintains agency and complexity within the narrative. In moments where Monica navigates her romantic relationship, the storytelling consistently portrays her as an individual with desires, emotions, and aspirations, transcending the traditional objectification often associated with the male gaze in cinematic portrayals of women. For example, the scene where Monica confronts Quincy about his infidelity portrays her emotional depth and agency, shifting the focus from mere objectification to a complex depiction of her feelings and choices within the relationship.

Overall, the film carefully balances between conforming to and challenging aspects of the male gaze. Through specific examples in cinematography and narrative framing, the film acknowledges prevalent cinematic tropes while also presenting Monica's character with depth, agency, and emotional complexity. The deliberate portrayal of Monica's athletic talent without excessive objectification and the nuanced handling of her romantic interactions contribute to a layered depiction that both engages with and transcends elements of the male gaze prevalent in cinematic storytelling.

Love and Basketball skillfully encapsulates Monica's profound evolution from a spirited young girl to a resolute athlete, challenging rigid gender expectations and redefining societal norms. Her ardent pursuit of basketball, intertwined with her resilience against conventional standards, serves as a beacon, reshaping perceptions of athleticism and established gender roles. Throughout the narrative, the film carefully delves into Monica's character, granting her a multifaceted portrayal brimming with depth and autonomy. Concurrently, her relationship with Quincy forms an evocative canvas that subverts traditional gender dynamics. The movie beckons audiences to engage critically with its compelling storyline, urging contemplation on nuanced portrayals that disrupt and reconstruct prevalent stereotypes. Monica's unwavering commitment to basketball and her intricate romantic journey within Love and Basketball serve as a powerful commentary, challenging societal norms while meticulously navigating between conforming to and diverging from cinematic conventions. This intricate dance within the film's narrative fabric transcends conventional gender depictions, carving an indelible mark in the realm of mainstream cinema with its layered and authentic portrayal of a woman's journey through sport, love, and self-discovery.

Citations:

Butler, Judith. “Gender Is Burning: Questions of Appropriation and Subversion.” Taylor & Francis, September 3, 2014. https://www.taylorfrancis.com/chapters/mono/10.4324/9780203760079-5/gender-burning-questions-appropriation-subversion-judith-butler. 

Hall, Stuart. “Encoding and Decoding in the Television Discourse.” Semantic Scholar, September 1, 1973. https://www.semanticscholar.org/paper/Encoding-and-Decoding-in-the-television-discourse-Hall/9d8d680436345535ae2598f9e6786c68d4143f9b. 

"Whale Rider," directed by Niki Caro, explores the dynamics of intergenerational relationships within the Maori community, emphasizing the tensions between tradition and change. The film revolves around Paikea's complex relationship with her grandfather, Koro, which serves as a microcosm of the broader interplay between generations.

Koro represents the older generation's desire to preserve cultural heritage and maintain a specific order of leadership. His conviction that only a male heir can lead their people becomes a source of conflict when Paikea, his granddaughter, challenges these gender-based expectations. The film poignantly captures the struggle between respecting the wisdom of elders and the evolving perspectives of the youth, embodied in Paikea's determination to prove herself.

The intergenerational tension in "Whale Rider" is not confined to familial relationships but mirrors the clash between preserving cultural traditions and adapting to changing times. The film portrays the delicate balance of navigating respect for ancestral wisdom while acknowledging the need for innovation and progression.

Through the evolving bond between Paikea and Koro, the film highlights the complexities inherent in intergenerational relationships. It speaks to the universal theme of generational shifts, where the younger generation seeks to carve out its identity amid tradition.

Whale Rider’s Paikea is empowering as she is resilient and mature, shown by her drive and effort to become an effective leader despite her grandfather believing the contrary just because she is female. Paikea is “closely associated with the sea and its inhabitants, with tribal ancestors and gods, and with a wisdom that can generate reconciliation between the sexes, between generations, and between humanity and the earth” (du Plooy 5). Paikea has a deep connection with the sea, especially whales as seen by her inability to leave with her father and then riding the whales towards the end of the film. Paikea is also wise as she overall understands the actions of others around her but also lives to ensure that she is able to gain necessary skills and knowledge. Paikea also brings together different generations of her tribe. As a child, she already has relationships with other children but then extends this to her relatives of different generations. For example, Paikea bonds with her uncle when trying to learn how to use the Taiaha. Paikea also mends her relationship with her grandfather but doesn’t have to compromise in doing so. Paikea makes a remarkable role model and leader. 

In the film Lionheart, Genevieve Nnaji plays Adaeze, a component, hardworking young woman who works hard to ensure the success of her family’s transport company but is ultimately reliant on her family’s support and decisions. Despite her skill, work, loyalty, and responsibility that is evident throughout Lionheart, Adaeze struggles to prove herself to her father and their company. Upon her father’s health failure, she has to struggle against competitive colleagues and concerned board members while wrestling with her own self-doubt and the insecurity that her father, and by extension family, does not believe in her. Adaeze’s family is very tight knit with the film showing many scenes of quality family time such as family dinners and caring for each other. Even though she is a mature adult, Adaeze is a daughter first and always has to go to her parents or uncle for input and decision making. It is also important to consider how Adaeze’s femininity affects these two intertwined aspects of her life. Many of the men Adaeze encounters as she fights to keep her family’s company objectify and proposition her despite her own professionalism. All of these elements affect Adaeze’s self-view, development, and professional prospects. 

Lionheart (2018) follows Adaeze's journey to prove herself and take over her fathers company after he develops some detrimental health problems that force him to take a step down. Lionheart represents a professional, driven, intelligent and capable Nigerian woman, which is a step forward for positive representation. Adaeze is capable and deserving of the role she she plays in a very male-dominated world and industry. In her piece, "Signs of Femininity, Symptoms of Malaise: Contextualizing Figurations of ''Woman'' in Nollywood," Jane Bryce quotes Adeleye-Fayemi. She states that "film and television are ruled by the "mirror-image paradigm," which dictates that, in order for audience expectations to be fulfilled, women are portrayed as either "powerful and dangerous" or "long-suffering" and "in this 'either/or' way of portraying women, women are shown not just as society perceives them, but as society expects them to be"." I think Adaeze is portrayed as a person to take seriously and a force to be reckoned with, while also holding complexity and lightheartedness. We see different sides of her in her relationship to her family and her relationship to her work. She is not an overly serious figure. She is scheming with her uncle and having ridiculous, comedic interactions while also holding her own and ultimately leading the company to success.

"Sweet Bean," directed by Naomi Kawase, explores the transformative power of an unlikely friendship between Sentaro and Tokue. The film shows the layers of societal expectations and biases that initially shroud their connection. Sentaro, a dorayaki shop owner burdened by past his mistakes, and Tokue, an elderly woman with leprosy, find solace and purpose in each other.

The film portrays the evolution of their relationship as they collaborate in the creation of dorayaki, with Tokue's secret sweet bean paste recipe serving as a metaphor for the richness that different generations bring to one another. Tokue's resilient spirit and wisdom challenge Sentaro's initial resistance, emphasizing the invaluable exchange of experiences and perspectives between the old and the young.

The dynamics of their friendship unfold against a backdrop of societal judgments and discrimination faced by Tokue due to her physical condition. This aspect adds a layer of complexity, highlighting not only the generational gap but also the broader societal issues that can be overcome through genuine connection and understanding.

Sweet Bean, a 2015 Japanese drama film directed by Naomi Kawase follows a man named Sentaro who owns a dorayaki shop in Tokyo and ends up hiring an elderly woman, Tokue, to make the bean paste. This film is slow and sweet, yet ends up taking a sudden departure into sadness--the crux of this melancholy, Tokue's life in the sanatorium and eventual death, takes place entirely off-screen. Kawase insists that this is a movie about food, shots lingering on the batter frying on the griddle, and careful visual attention paid to the bean paste, and doesn't stray from this mission. The film's tone is understated and its movement is intimate, framing the actors closely and allowing their faces to subtly convey the ebbs and flows of a hard day's work and the satisfaction of creating something different.

Tokue's secret struggle, her battle with leprosy adds an interesting depth to the film, but one I struggled to engage with for the ways Kawase leverages it for a message about tolerance rather than a tenet of one of her central characters--it feels sudden and the audience is left wanting to understand more about her when all of a sudden she disappears from the screen and Sentaro, a character who is decidedly less compelling than Tokue is left to pick up the pieces and anchor the film.

Something I really loved about "35 Shots of Rum" was the use of transportation throughout the film. Lionel is a train conductor so we see him in scenes in the tracks or on the train a lot of the time, but also the use of seeing all the characters in buses and cars. While transportation moves people from one place to another, it is clear that a lot of these characters feel stuck. In James S. Williams' "Romancing the Father in Claire Denis's 35 Shots of Rum", he writes about "the poetic images of passage and transience." I think this is clear in the scene where Lionel and Rene are sitting on the bus after Rene's retirement party. Rene is very depressed and says that he can't believe he still has so much life to live. It is clear that he feels stuck. But, he is on the bus, surrounded by people from his now former job, on the way home. It is a powerful juxtaposition to feel stuck when on a bus and also when you were once a train conductor - one could argue you could go anywhere. But, the use of the public transportation in this film is not to show how characters could go anywhere, but how even with accessibility to the outside world, they choose to stay where they are, comfortable. This is also portrayed when the four characters start driving and the storm starts: when they try to break out of that comfort, they are faced with the reality that they are meant to stay stagnant.

“35 Shots of Rum” and “Kwaku Ananse” both examine the father/daughter relationship, and the roles that fathers play in the lives of their daughters. In “35 Shots of Rum”, Lionel has cared for Josephine all his life and is coming to terms with the fact that they will begin to lead separate lives. In “Kwaku Ananse”, Nyan seeks out her father in the spirit world to get answers. What stands out to me in both of these films is the symbolic moments of “handing off” that occur within both narratives. In “35 Shots of Rum”, this is when Lionel is dancing with Josephine and lets Noé step in to dance with her. In “Kwaku Ananse”, this is when Nyan’s father hands her the gourd, and the identity of Ananse. In both cases, Nyan and Josephine’s father are handed this chance to make their own decision and firmly establish their autonomy, with how “Lionel does not tell his daughter what to do, or allow anyone else to arrange her affairs” (Williams, 47) and how Nyan’s father allows her to go forward on her own with the gourd. In this way, both narratives display a crucial turning point in many family dynamics, where daughter and father separate and begin to lead their own lives.

Throughout the film Nisha struggles with being independent, not trying to be independent but her parents letting her be independent and live her own life. In the movie Nisha has many conflicts with her family and parents most often about her lifestyle that does not live up to their impossible expectations. The last and final scene of the movie is a very pivotal point in the plot and uses various cinematic elements to convey the film's overall message and themes. The final scene shows Nisha's journey come full circle. After facing immense struggles, societal pressures, and her family's expectations throughout the film, she now finds herself in a moment of decision, a decision about her future. The narrative has been building up to this point, where Nisha must make a crucial choice about her future. The cinematography in the final scene captures the raw emotions of Nisha and how she truly feels. It uses close-ups of her face to show the inner turmoil and the weight of her choices. The choice of framing and camera angles underscores her isolation and her determination to forge her own path and become independent. The lighting in the scene plays a significant role in creating a sense of emotional intensity. The use of dramatic lighting, emphasizes the gravity of Nisha's decision. The use of light as well as shadow in this scene can symbolize her internal struggle. The shadow and darkness can symbolize the familial and societal expectations she's leaving behind, but also the sadness she has as she is leaving her younger sister. The cinematic elements in the final scene of work together to reinforce the film's central message of the individual's struggle for autonomy within the confines of tradition and family expectations. Nisha's choice of leaving is a moment of empowerment. In this scene she decides to reclaim her life and assert her independence, even if it means losing her family.