Furthermore, Beauvoir continues to state that the “‘real woman’ is required to make herself object, to be the Other” (Beauvoir 274). In this sense, women exist on earth to serve man’s needs, whether sexual, social, marital, or domestic. Being a man, that is “having a penis is certainly a privileged” (Beauvoir 294). Considering that woman is supposed represent the Other, a sexual object and slave of sorts, they are all supposed to conform to societal expectations, just as men do when they assert their right to dominate women (Beauvoir 440). However, strong female characters like Anaïs contradict these expectations. They refuse to be raped, that is they refuse to allow society to take control over them and their minds. It is characters like these
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Women are forced to endure the before mentioned hurdles and oppression until they are married where they then become expected to relinquish even more control and eventually be doomed to a life of servitude, repetition, and routine (Beauvoir 519). Therefore, in order to overcome male oppression, society must give in several ways. One major way that society must adapt is in relation to fantastic and realistic perceptions. The fantasy must be abolished because there is a clear line of demarcation; fantasy always succumbs to reality. “’Women are made to suffer’ they say” yet as soon as they attempt to revolt, they are challenged and overwhelmed by male superiority (Beauvoir 650). As long as women continue to believe in fantasy and she is expected behold said fantasies, woman will remain a “slave,” “servant,” “doormat” and man will continue to take advantage of them (Beauvoir 693). Woman like Elena will continue to be deceived into believing that men will uphold their ends of the fantasy, which also contradicts what is expected of man and what is biologically …show more content…
The Second Sex. New York: Vintage, 2011. Print.
Cléo From 5 to 7. By Agnès Varda. Dir. Agnès Varda. Perf. Corinne Marchand, Antoine
Bourseiller Dominique Davray Dorothée Blanc Michel Legrand. 1962. DVD.
Elkin, Lauren. Flaneuse. New York: Vintage, 2017. Print.
Fat Girl. Dir. Catherine Breillat. Perf. Anaïs Reboux, Roxane Mesquida, Libero De Rienzo, and Arsinée Khanjian. 2001. DVD.
Keesey, Douglas. Catherine Breillat. S.l.: Manchester U pre, 2016. Print.
Neroni, Hilary. Feminist Film Theory and Cléo from 5 to 7. New York: Bloomsbury Academic, an Imprint of Bloomsbury Plc, 2016. Print.
A Real Young Girl. Dir. Catherine Breillat. Perf. Charlotte Alexandra, Hiram Keller, Rita Maiden, Bruno Balp. 1999.
Women are forced to endure the before mentioned hurdles and oppression until they are married where they then become expected to relinquish even more control and eventually be doomed to a life of servitude, repetition, and routine (Beauvoir 519). Therefore, in order to overcome male oppression, society must give in several ways. One major way that society must adapt is in relation to fantastic and realistic perceptions. The fantasy must be abolished because there is a clear line of demarcation; fantasy always succumbs to reality. “’Women are made to suffer’ they say” yet as soon as they attempt to revolt, they are challenged and overwhelmed by male superiority (Beauvoir 650). As long as women continue to believe in fantasy and she is expected behold said fantasies, woman will remain a “slave,” “servant,” “doormat” and man will continue to take advantage of them (Beauvoir 693). Woman like Elena will continue to be deceived into believing that men will uphold their ends of the fantasy, which also contradicts what is expected of man and what is biologically …show more content…
The Second Sex. New York: Vintage, 2011. Print.
Cléo From 5 to 7. By Agnès Varda. Dir. Agnès Varda. Perf. Corinne Marchand, Antoine
Bourseiller Dominique Davray Dorothée Blanc Michel Legrand. 1962. DVD.
Elkin, Lauren. Flaneuse. New York: Vintage, 2017. Print.
Fat Girl. Dir. Catherine Breillat. Perf. Anaïs Reboux, Roxane Mesquida, Libero De Rienzo, and Arsinée Khanjian. 2001. DVD.
Keesey, Douglas. Catherine Breillat. S.l.: Manchester U pre, 2016. Print.
Neroni, Hilary. Feminist Film Theory and Cléo from 5 to 7. New York: Bloomsbury Academic, an Imprint of Bloomsbury Plc, 2016. Print.
A Real Young Girl. Dir. Catherine Breillat. Perf. Charlotte Alexandra, Hiram Keller, Rita Maiden, Bruno Balp. 1999.