Popular Culture Review Vol. 10, No. 2, August 1999 | Page 55

African American Female Identity 49 larly, the lesbian character Cleo is also perceived as an atypical form of the hetero sexual Jezebel. Instead of being “preoccupied” with sex involving a male partner, Cleo’s lesbian relationship is depicted as very sexual in one of the two scenes where her lover is present. It is in this scene where the sexual nature of their rela tionship supercedes all other aspects, thus perpetuating this construct of the Jezebel. This image is further compounded by the fact that Cleo has little inclination to rise above her circumstances; instead, she is happily resigned to a lazy life in the ‘hood where she lives a commodified version of the American Dream. As an extension, the controlling image of the welfare mother is inherent in Set It Offs character Tee-Tee. In the beginning of the film, we observe Tee-Tee as a single mother dependent on social services to aid her in transition to mother hood. While she has no other familial unit to assist her with childcare, Tee-Tee is overly dependent on her “sistahs” to help her find employment. This perpetual cycle of economic oppression becomes more pervasive as Tee-Tee is fired from her job and her son is taken into foster-care until she can prove herself worthy of her parental responsibilities. Although this experience may be a reality for many young mothers, African American and otherwise. Set It Off unknowingly sustains the image of welfare mother which has been wrongly associated solely with Afri can American women. As we observe Tee-Tee’s evolution into motherhood and adulthood, it is quite obvious that her immaturity and naivete contribute to her inexperience with and apprehension of her newfound adult obligations. Thus, it is plausible to conclude that the financial trappings of single motherhood and limited education are obstacles also experienced by women of all racial and ethnic groups. Similarities and Differences in Portrayals of African American Women The current textual analysis indicates that the movies Waiting to Exhale and Set It Off, targeted to the African American community, contain controlling images historically and traditionally ascribed to African American women. The controlling image of the matriarch, as portrayed in both movies, presents the Afri can American woman as provider of emotional and spiritual strength for others. Waiting to Exhale's character Gloria maintains this image by preserving the fa cade of the asexual (i.e., indiscriminant), overbearing, and overweight female. Conversely, Set It Offs Stoney is a pinnacle of strength and courage for her “sistahs,” yet challenges this matriarch image through her petite stature and overall aware ness of her feminine and sexual identities. Though many of the characters possess characteristics and qualities that are double-edged in their connotative meanings, it is the matriarchal characters’ moral fiber in Waiting to Exhale and Set It O ff that demonstrate positivity and “completeness” as experienced by some African Ameri can women. In Gloria’s case, she is the only woman of integrity who deservedly wins the unconditional love of a divorcee committed to making her happy. As for