In gender theory the concept of women as a unified, homogeneous group is challenged through the theory of intersectionality. This theory states that the status of being female is not the only defining characteristic in oppression. As opposed to there being a unified experience of “female oppression” which defines all oppression experienced by women, oppression is defined by the interaction of gender with factors such as class, sexuality and culture (Carbado, 2013).
The movie Pariah displays a number of intersectional facets that interact to create identity. Gender and sexuality are the most obvious intersectional factors explored in the movie. However, Alike’s family is firmly middle class and her friend Laura’s family is working class and this further influences their identity, opportunities, and responsibilities in their day to day life. Although race is not portrayed in an obvious way as there is no direct portrayal of black and white in the film, none-the-less it is clear that sexual identity and social class both influence how Alike, Bina and Laura experience being a black female (Griffin, 2014).
In the movie Pariah, two characters that demonstrate the concept of intersectionality are Alike and Bina. They both respond differently to their families and societies view of being a woman and the concept of masculinity and femininity.
Although Bina never states she’s a lesbian she displays same sex attraction in her feelings for Alike. While both girls would be classified as lesbians, they experience this differently and it shapes their identity differently. For Alike, being a lesbian is a defining characteristic and she wants others to recognize her as a lesbian and accept her instead of trying to reshape her into their idea of a woman. Her mother wants her to be more feminine and insists she dresses the part while her sister knows what she is going through and rejects her anyway. The movie portrays being femininity as a critical part of being “female.”
Alike doesn’t want to hide who she is but feels she has to in order to be accepted. Bina, on the other hand, willingly behaves and dresses like their society expects women to. She acts and dresses feminine and Alike’s mother, Audrey, while rejecting Alike’s lesbian friend, Laura, for dressing masculine which she terms “causal,” Audrey is the one who insists that Alike become friends with Bina. Because Bina appears the way Audrey expects a girl or woman to appear, it doesn’t cross her mind that Bina could be a lesbian or express an attraction to her daughter.
Bina manages to keep her sexual preference secret though in her own mind it appears she is not certain of her sexual identity, stating that she is not “GAY gay”. This shows the variation in not just women but in lesbians and the two identities interact with each other and with other facets to differently define identity for each of the girls. Laura’s outward appearance and acceptance by society also gives her the ability to explore her sexuality without being punished by her family or society. The desire to be accepted is expressed by both girls but for Alike her identity as a lesbian and being accepted despite that is the important thing while Bina can fit herself to other’s expectations externally without feeling it robs her of part of her identity since acceptance overall is what is important to her. As long as Bina acts and appear feminine she remains below the radar for others to identify her as a lesbian. Alike tries to pretend by covering her feminine clothes with more masculine clothes which she is more comfortable in and changing back before returning home. Yet her actions and dress continue to “slip out” and she is consistently rejected in her society by family and neighbors. Alike realizes the experience of being a woman is more about appearing and acting feminine or masculine but that the rest of her community outside of the lesbian minority do not understand this.
Works Cited
Carbado, Devon W., et al. "INTERSECTIONALITY." Du Bois Review: Social Science Research on Race 10.02 (2013): 303-312.
Griffin, Rachel Alicia. "Marking My Black Feminist Heterosexism." Critical Articulations of Race, Gender, and Sexual Orientation (2014): 179.
