Analysis of the Movie “Juno” Essay

Sixteen year-old Juno MacGuff is the oddball of girlfriend that beats to her protest drummer, and doesnt really c argon what others may commend of her. She learns that shes pregnant from a one-time inner encounter with her best friend, Paulie Bleeker. Juno and Paulie like for apiece one other, that dont figure themselves to be exclusive boyfriend/ daughter let alone be attain to be a family complete with child. Although she would instead not be pregnant, Juno is fairly practical astir(predicate) her situation. Paulie really leaves all the decisions about(predicate) the baby to Juno. Initially, she decides that she will have an abortion, only when thats something that she ultimately cannot go by with. So she decides to have the baby and separate it up for adoption. But first she has to dictate her father, Mac, and stepmother, Bren, that she is pregnant.Although they would have preferred if Juno was on disfranchised drugs or expelled from school, Mac and Bren too ar e pragmatic about Junos situation. The nigh step is to find prospective parents for the only unborn child. In the Penny recoverer ad section, Juno finds Mark and Vanessa Loring, a yuppie couple living in the suburbs. Juno likes the Lorings, and in some respects has found who looks to be a kindred spirit in Mark, with whom she shares a love of grunge medicament and horror films.Vanessa is a microscopical more uptight and is the one in the relationship seemingly most eager to have a baby. On her own choosing, Juno enters into a closed rather than idle adoption contract with the Lorings. During the second and tierce trimesters of Junos pregnancy which she treats with care but detachment, Junos relationships with her family, with Paulie, and with the Lorings develop. She gives the baby to Venessa, when she gives birth. At the end, Juno and Bleeker restore together and they realized their feeling to each other.After summarizing the movie, I want to break down it. The 2007 film r elease of Juno offers certain challenges to old conceptualizations of girlhood, yet the representation of female grammatical gender as tied to traditional notions of femininity remains substantially unchanged. Juno represents a ethnic artifact of changing ideologies of girlhood, yet it similarly functions as an example of the pervasive ambivalence towards the familiar subjectivity of girls.The representation of girls as sexless is challenged. Rather than a stereotyped depiction of the female body as intimate object, sexual desire is visibly expressed and acted upon by the girl character. end-to-end the film, Juno is shown as agentive in the decisions she makes about her body, sexual desire, and modes of self-expression her classification as a girl who identifies as a freak, cares little about what other people think of her, and dresses in grunge style clothing connote an independent self-confidence that is apparent in all of her intimate relationships.Although Juno has recei ved approbation for its originality, the story is most notable as a surprisingly familiar ethnical fairy-tale. Junos character is understandable as a metaphor for conditions of female sexual urge that continue to limit girls full expressions of sexual desire. Like the character of Juno, girls today are caught between increased expectations of federal agency on the one hand and continuing restrictions of their sexual expressions of desire on the other.In conceptualizing Junos agency it is important to recognize the strong and social ways in which Junos agentive choice is constrained. Juno is not a isolated agent her actions and her agency operate in connection to material and social structures influencing her passing(a) livelihood. The central paradox within Juno is that it celebrates agency for girls while simultaneously linking that agency to their corporeal desirability and role as authority reproducers.