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Love and Basketball (2000)

The movie Love and Basketball (2000) focuses on the love and basketball careers of Monica and Quincy, two African-Americans. Acting as a microcosm from the impact of social, political, and economic institutions on women who choose to make sports a career, the film neatly underscores some of the most significant dilemmas faced by such women in a typically male dominated career. For example, Monica is considered a ôtomboyö because of her athletic prowess and her dislike of things typically associated with females and romance like getting flowers from a boyfriend. In an early scene when Monica and Quincy are young, Quincy wants Monica to ride on the handlebars of his bike to school. She prefers to ride her own bike in what summarizes their lifelong pattern. When they are both stars on the male and female USC basketball team, Monica feels she is perceived negatively and penalized for aggression that would be granted accolades on the menÆs team. The pressures of being a female athlete are encapsulated by the film, including how such a choice by women impacts love and personal relationships. At one point Quincy crudely asks Monica, ôIf you concentrate on basketball so much, why you boninÆ me? Why donÆt you bone Dick Vitale?ö (Prince-Bythewood 2000). This analysis will address the impact of social, political, and economic institutions on women who participate in sports, primarily focusing on social institutions.

Ironically, women in the Colonial era participated in American sporting life ôfar more than the portraits of them in many histories would suggestö (Struna 1221). However, during the nineteenth century such social movements and philosophies as the enlightenment and the rise of the capitalistic structure of society served to limit roles for women to the domestic sphere, defined distinctions based on biological differences, and resulted in what Struna calls the ôdoctrine of separate spheresö (1222). Such a doctri...

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Love and Basketball (2000). (1969, December 31). In Retrieved 22:04, May 24, 2020, from