![]() As mentioned above, intersectionality surfaces in the film’s content due to the plot of the film being about how black women not only had to overcome bigotry during the film’s hostile setting (Virginia in 1961), but also the sexism still present despite the women’s rights movement in the 1920s. Hidden Figures personifies these ideas by showing how culminating experiences of white women and black men cannot account for the experiences of black women. ![]() How does the Theme of Intersectionality Surface in the Content and Structure of the Film? You cannot comprehend the experience felt by a black woman by simply combining the experiences felt by a white woman and a black man (Valentine 13). It assumes that there exists a base identity (white, male, able-bodied) on which other identities are added. One must be cautious, however, for this way of thinking can be interpreted as essentialist given that it implies that a set of differences are to be added incrementally to one another. Therefore, it ought to be reasonable to suggest that “someone at the intersection of three systems of oppression-a disabled black woman, for example- would be more oppressed than a black woman who was considered to be at the intersection of only two” (Valentine 13). Legal scholar Kimberlé Crenshaw was the one who coined and popularized the term, which is a concept described by Gill Valentine as “the way in which any particular individual stands at the crossroads of multiple groups” (Valentine 12). It is important to understand that the theme of intersectionality is the driving force which gives this film its content and structure. This will be done by initially establishing a common sense understanding of intersectionality, followed by a series of critical reviews of several major narrative beats and story lines. This paper will argue that Hidden Figures is model for feminist geography concepts such as intersectionality, by which the film’s content and structure focus deliberately around this concept. Johnson, Octavia Spencer as Dorothy Vaughan and Janelle Monáe as Mary Jackson. The film was directed by Theodore Melfi and stars Taraji P. They were women, after all.Hidden Figures details the true-story, set in 1960s Virginia, where three brilliant African-American women overcome bigotry and sexism to become the brains behind the launch of the first American astronaut into space. Why would the computers have the same desire for recognition that they did? many engineers figured. Even a woman who had worked closely with an engineer on the content of a research report was rarely rewarded by seeing her name alongside his on the final publication. The work of most of the women, like that of the Friden, Marchant, or Monroe computing machines they used, was anonymous. She might spend weeks calculating a pressure distribution without knowing what kind of plane was being tested or whether the analysis that depended on her math had resulted in significant conclusions. ![]() A woman who worked in the central computing pools was one step removed from the research, and the engineers’ assignments sometimes lacked the context to give the computer much knowledge about the afterlife of the numbers that bedeviled her days. “Women, on the other hand, had to wield their intellects like a scythe, hacking away against the stubborn underbrush of low expectations. ![]()
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