On one hand, she is isolated geographically and discursively from her sister Nettie, who for many years was the only person in the world who cared about Celie. On the other hand, she does not live an isolated life. In one particular short scene near the end of the film, the existing power relations between Celie and Mister are completely upended. This scene occurs when Celie announces that she is going to Tennessee with Shug and will be leaving Mister — The entire family and their guests are sitting around the dining room table, having a lavish dinner—roast chicken, cranberry sauce, black eyed peas, potatoes.
Celie is coming with us. And for the first time in their relationship, Mister is unable to physically strike Celie. He lowers his fist, staring transfixed at her outstretched hand. Celie goes on to inherit a house and a shop, which she manages successfully, and to make many close friends. The convenience of this is certainly because in Hollywood endings are as easy to control as editing a script.
However, there are practical applications and new ways to theorize the rhetoric of domestic abuse that we can glean from this mediated representation. How does a curse perform subversively and in the performing exert real power? And how can we use this theory to better understand and dismantle the hegemonic rhetoric of domestic abuse? So once again, we are faced with the victim empowerment frame. If Celie can do it, so can you! While The Color Purple is not as sodden with cultural legitimations as might be expected, it sends mixed messages.
Related Papers. Domestic Violence and Film English. By Salar Said. By Fozia Chandio. For chapter. By Soni Shah.
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