Women come to view themselves in terms of external perspectives. Self objectification is a feminist theory that women and girls internalize the image of women as sex objects, and the unrealistic images of thin women as the ideal. During this time the person develops identity if they feel confidant that their inner self matches their outer self, and they develop a sexual identity. During adolescents, according to Erikson, a person becomes concerned with how he or she is perceived by others. Sexual behavior will include at what age an individual becomes sexually active, how sexually active they are, and their attitude toward being sexually active.Īdolescents, as defined by Erik Erikson’s psychosocial stages of development, spans the ages from eleven to eighteen and is a stage during which adolescents either develop a sense of identity or role confusion.Internalizing problems may include anxiety, depression, and social withdrawal. Poor mental health will be defined as having poor body image, self objectification, and internalizing problems.How are adolescent girls affected by over sexualization of women in the media? Do adolescent women develop different identities or social roles for themselves as a result of this presentation? Are the images of women in the media to blame for the increasing amount of adolescent females diagnosed with anxiety, depression, and eating disorders? Do these images have an effect on their mental health, body image, or sexual behavior? Exposure to these images during a sensitive period could have a large impact on mental health, the development of self image, and the development of social roles in adolescent women. ![]() Media, like Cosmo or Seventeen Magazine, which is targeted to women revolves largely around sex, relationships, fashion, and beauty products. The physical appearance and sexual aspect of women is over emphasized in the media. Throughout their lives, women are surrounded and saturated with television, radio, advertisement, news print, and internet in which women are underrepresented and over sexualized. After a while, the many faces of Watts began to feel like too much of a good thing.)īy the time The Tracey Fragments fills in its last dark fragments, they don't have the emotional impact they probably should have.The media is an inescapable reality of today’s society. (A similar problem affected the Naomi Watts indie flick, Ellie Parker, in which Watts played an actress auditioning for different roles. Barely 19 years old here, but looking even younger with her petite body and baby-faced features, she immediately earns our sympathy, but even with her considerable resources, she risks wearing us out with her run-on monologue and run-on images repeated in variations across multiple screens. The world, in short, treats Tracey like hell, and the film is her confession, her protest, her lament against injustice and despair.Īctress Ellen Page ( Hard Candy, X-Men: The Last Stand) has already become widely recognized as a fresh force in acting. Also fun is Lance, a sleazebag who wavers between laid-back slacker generosity and disturbing outbursts of violence. The performances from Ari Cohen and Erin McMurtry, as Tracey's obnoxious parents, are overbearing.īetter are the sequences of Tracey away from the adult world, lusting after the aloof new boy, Billy Zero, with his stick-like body and topknot of curls making him a human Q-Tip. Why Tracey's shrink is played by a cross-dressing man is also puzzling, beyond a fairly obvious notion that the shrink has a separate agenda than the one that she is apparently promoting. There is, for example, the peculiar idea that Tracey's apparently mentally handicapped younger brother thinks he's a dog (and that Tracey believes she hypnotized him into that belief), which feels like strained whimsy. After a half hour or so, it becomes distracting - an extra distancing device in a script that already has enough surreal flourishes to keep the audience at a distance. Tracey's tormentors include her squabbling parents, high-school crush Billy Zero (Slim Twig), the lowlife "Lance from Toronto" (Max McCabe-Lokos) and her shrink (a cross-dressing Julian Richings).Īt first the multiple-screen technique is attention-grabbing, an objective correlative to someone whose mind and spirit are being torn asunder. ![]() The screenplay is adapted by Maureen Medved from her monologue-derived novel about a disturbed and bullied 15-year-old. The core of the story is a monologue delivered as she rides a Winnipeg bus in winter, wearing only her underwear beneath a shower curtain, while haphazardly looking for her little brother. Veteran Canadian director Bruce McDonald ( Roadkill, Hard Core Logo) uses split screens to show the fragmented experience of Tracey (Ellen Page), who says she's just an average 15-year-old girl who hates herself.
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