Sometimes stars don’t align and we walk away empty handed. Sometimes stars align and the timing is right, and all goes well. What we can do is put our energy and our focus on what we can control. There is so much that you and I cannot control in this life time, so we’d be fools to try. You will never be able to control someone else’s emotional decisions.Īll the real control you will ever have, is the control over how YOU show up. (A beautiful process of course when it all works out!)įalling in love is a process that is based on many small nuances and emotional triggers. You simply can’t logically convince a man to fall in love with you NOR can you do it by over-proving yourself as a woman of value.įalling in Love is an emotional and subconscious process. Trait 2) It is your ability to be open and vulnerable in spite of fear.In dating, this is really the only thing that matters….Fact is… Our brains were shaped by hierarchy….Trait 1) It’s your ability to show up as a….Do men fall in love differently than women?.To inspire a man to fall in love, requires a completely different approach.Why being attractive is NOT one of these 2 traits.Here’s why these two traits work like magic….Karen Hollinger is an associate professor in the Department of Languages, Literature, and Dramatic Arts at Armstrong Atlantic State University. Hollinger considers all of the major issues in feminist film criticism-from audience reception to the identification with characters, from sexuality to racial identity.Įngaging and provocative, In the Company of Women is an entertaining and enlightening account of one of contemporary cinema’s most vital genres. This blend of empowering and conservative elements makes the female friendship film neither a true challenge to the status quo nor a mere confirmation of dominant ideology but rather a multifaceted cinematic form that reflects both of these strains. Hollinger argues that the female friendship film, by attempting to assimilate into the mainstream, uses ideas from the women’s movement, like female autonomy and sisterhood, that are particularly susceptible to compromise. She argues that while many of these films initially seem to affirm the power of female friendship and reject traditional images of women, most of them ultimately fall back on conventional feminine roles. Of the 1930s and 1940s, such as Mildred Pierce and Stella Dallas, Karen Hollinger studies the character of the films themselves and how they speak to female viewers. In the Company of Women is the first critical work to investigate the recent resurgence of this variety of the “woman’s film.”Įxamining the female friendship film since the 1970s and setting it against older films From Desperately Seeking Susan, Steel Magnolias, and Thelma & Louise to Desert Hearts, Girl Friends, and Passion Fish, mainstream cinema has seen a wave of films focusing on friendships between women.

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