¶ … Miss Sunshine, Olive emerges as the epitome of robust and healthy psycho-social development within the family framework. However, the Hoover family is undergoing a series of stressors that put strains on individual relationships between members, as well as on the family structure as a whole. As White & Klein (2008) point out, all families have a life course and life cycle that are parallel to individual psycho-social development; these developmental stages within the family are "inevitable," (p. 126). Therefore, it becomes critical to look at the one-on-one dynamics as well as the collective macrocosmic elements in the family.
The Hoover family is white and middle class, placing them firmly within the dominant culture. Their family history reveals some facts that can illuminate the current life cycle issues. For example, Sheryl is in her second marriage. Reasons for the breakup of her first marriage are unknown, but she does have custody of the son. Dwayne is establishing his identity. As an adolescent, Dwayne's personal psychological development and psycho-social development are almost more important than his role within the family. His silence speaks volumes about why Dwayne is currently detached from the family structure, which tacitly supports him, as it understands the need for adolescent identity formation. The family depicted in Little Miss Sunshine is quirky, and has its own internal norms. Families do create internal norms, partly as a way to create family identity but also as a means of mitigating conflict between the family and external social norms (White & Klein, 2008). In Little Miss Sunshine, the normative culture of the beauty pageant becomes the formative symbol by which the Hoover family asserts its cohesive identity. Olive is far more concerned about the internal social norms governing the family, expressing deep respect for her grandfather even in his death. She is less concerned with the approval of the committee or of her peers, as she has a high sense of self-esteem.
Her uncle Frank, on the other hand, depends on the approval of others for his self-esteem. His dysfunctional relationships have caused him to become suicidal, but the family treats him with compassion. Scabini & Manzi (2011) point out that there is a confluence of social and psychological identity formation. The individual coping mechanisms cannot be viewed out of context. There are three main dynamics of family identity, all of which interact with individual identity formation. In Little Miss Sunshine, all three of these indent dynamics are evident. First, the family identity emerges at the group level. This is the "special identity" that makes the family all dance on stage together in support of Olive at the end of the move; it is also the "special identity" that causes the whole family to take the road trip together (Scabini & Manzi, 2011, p. 565). Second, the "couple subsystem level" is the unique one-on-one dynamics that emerge (Scabini & Manzi, 2011, p. 565). In Little Miss Sunshine, these one-on-one dynamics exist between Olive and her grandfather; between Sheryl and Frank; and between Richard and his father. Finally, the individual subsystem level is "the component of individual identity that comes from being part of a specific family group," (Scabini & Manzi, 2011, p. 565). The individual subsystem level is the level at which Frank contends with his own insecurities and dysfunctional relationship. His insecurities are also related to career identity. Frank's primary career identity as a scholar is called into question when his rival not only usurps him in the bedroom but also in his career; Frank's self-esteem has therefore been completely shattered as he rethinks his role and purpose.
Both the Olson Circumplex Model and the Beavers Systems Model offer frameworks for analyzing family systems, their multiple dimensions, and their functioning. The primary difference between the two systems is methodology. Although both are "cross-sectional, process-oriented, and capable of providing structure for family research," the Olson model suffers from "definitional problems and a total reliance on curvilinear dimensions...
Character "Little Miss Sunshine" Case Study of Character "Little Miss Sunshine" Course Code The film that we are going to focus on in this essay is "Little Miss Sunshine." The film was released in 2006. It was directed by Jonathan Dayton and Valerie Faris and written by Michael Arndt. The film stars Steve Carell, Toni Collette, Greg Kinnear, and Abigail Breslin. Abigail Breslin was the lead character of this film as she played
He has finally accepted himself and his family, and with this empowerment he needs to let go of those pipe dreams which only made the family so dysfunctional in the first place. Future If they continue to accept and support each other, I see a bright future for the family. Throughout the movie, "the family pulls together in facing life's challenges head on and in the moment" (Rubin, 2009, p 131).
Family Loyalty Is at the Heart of Any Successful Family Without the obvious family loyalty peppered throughout it, "Little Miss Sunshine" would be just another film. The purpose of this paper is to introduce, discuss, and analyze Denise Duhamel's poetry collection "Kinky," and Valerie Faris and Jonathan Dayton's film "Little Miss Sunshine." Specifically it will discuss the role of family in the works. Clearly, the Hoover family of "Little Miss Sunshine"
His face is expressionless as he focuses on the heavy bar he raises and lowers. The camera then cuts to shot of the boy's room; we see the boy's arms only lifting the bench press. The camera then cuts to a shot the boy jumping rope, doing sit-ups, push-ups, and finally pull-ups. The scene ends with the boy writing down and crossing off day 473 on a very long
Critics and audiences are fascinated by how an actor interprets a formidable historical figure, bringing her or him to life on the big screen. Television actors have more leeway but the roles that earn actors awards tend to be quirky and unusual, such as Hugh Laurie in House, Alec Baldwin in 30 Rock, and America Ferrera in Ugly Betty. Will Ferrell and Jack Black may be correct about comedians not
Beauty Pageants are meant to show the world how poised and well-articulated a young girl is. However, it can also show the world what society thinks a girl should be, beautiful and well-behaved. Girls need to understand that the world is not simply what judges expect in a pageant show. As much as pageant shows want to highlight the talents of young girls, in reality, beauty pageants value beauty and
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