Reading as a Lens

Reading as a lens

The film, Real Women Have Curves, illustrates that identity is flexible and dynamic, adjusting to social contexts, language choices, and expectations of a particular culture. One clear depiction of the fluid nature of identity in the movie is seen when the girls are at the factory, engaging in various activities such as sewing clothes, talking, and laughing both in Spanish and English. On the surface, the factory scene seems to depict nothing else than the life of Latina girls. However, in relation to Gloria Anzaldúa's essay, How to Tame a Wild Tongue, it provides another layer for the analysis of identity and its formation, as it allows one to see clearly that the formation of an individual's identity is largely shaped by their choice of language.

It should be stressed that as mentioned above, the issue of identity is fluid and thus changes depending on language choices made by the speaker. According to Anzaldúa, the act of defining identity is closely related to the use of one language or another. She points out that language plays an important role in establishing hierarchies among the population. Thus, language is a means of creating power relationships and dividing different social groups into categories based on linguistic identity.

As it was pointed out before, linguistic identity plays a crucial role in the construction of personal identity. Anzaldúa gives an excellent account of her experience growing up and learning different varieties of Spanish and English that were considered incorrect by others. She asserts that ethnic and linguistic identities are interrelated, to such an extent that there cannot be an individual's ethnic identity without their native language. It is obvious from the movie that the girls' language choices are shaped not only by their cultural backgrounds but by their current social environment as well. To be more precise, Spanish mostly represents private spheres where girls joke about themselves and their bodies. However, when they engage in some work-related activity and interact within the context of an American culture, English predominates. In this respect, it is necessary to note that identity is not a static concept but the process of performing oneself depending on the company the person keeps and the social context they find themselves in. Hence, the Latina girls change not only the language of communication but also the identities corresponding to each of the languages and social contexts.

It should be admitted that the use of language can be regarded as the act of regulation and oppression in terms of gender norms and expectations of society. Indeed, Ana is regularly criticized for being rebellious in regard to the way she behaves, dresses, and talks. Similarly to Anzaldúa, she faces regular correction for her inappropriate use of language and words. In her essay, Anzaldúa points out that when you feel insulted and humiliated for using incorrect language, your torturers may remind you that they can hurt you saying "If you want to really hurt me, talk badly about my language." In case of the film, however, the girls' freedom is violated not only through their words, but also through their voice, tone, and intonation. They can become victims of their use of language, as it is controlled by cultural conventions and expectations, especially with regard to the behavior of women.

Besides linguistic oppression, body control is also used in order to regulate people's identities in the film. Speaking about the Latina girls, they confess to having insecurities concerning their body weight, appearance, and society's pressure. However, the heat in the factory forces them to take off the top part of their clothes, leaving only their undergarments. This scene is symbolic since the girls rebel against the cultural script that imposes shame on women, especially Latinas. They openly share their insecurities and feel confident with their bodies and selves because of the solidarity they develop and resistance to the imposed cultural norms. Thus, in the same manner as Anzaldúa calls to resist taming of the wild tongues, the girls try to escape the dominating cultural norms and create their own identity based on their preferences.

At the same time, there is no question of absolute freedom of the girls' actions in the film, which illustrates how difficult it can be to establish an identity. The factory turns into their safe place where they can freely communicate, but even while being there they are aware of what others may think of them when they hear them talk. The film proves the concept of code-switching presented by Anzaldúa that implies changes in language in order to avoid discrimination and segregation. While talking in the factory, the Latina girls switch languages depending on the social context in which they find themselves.

Thus, one may conclude that although there are occasions of freedom, there is still a certain limit to it. Indeed, the Latina girls' freedom of speech at the factory should not be considered complete freedom, because they are surrounded by oppressive forces.

Speaking about the protagonist, Ana, it can be said that in the course of her identity formation, she makes great progress. Indeed, from a girl who was afraid to assert herself and unsure about her objectives, she becomes more confident, participates actively in discussions and gives her view on the problems of body image. From these observations, it can be concluded that the formation of identity is a long process and that, as Anzaldúa claims, one has to assert his or her voice in order to establish social bonds.

By looking at identity in the context of linguistic oppression and resistance suggested by Anzaldúa, one comes to the conclusion that identity is dynamic and complex in nature. Language can serve as a way of regulating and controlling, but can also unite people who resist the dominating culture and its values. Expanding linguistic identity to include the issues of the body and cultural expectations, the film shows the role of ordinary interactions in identity creation.

Works Cited