![]() The first will involve Dorothy Vaughan’s and Vivian Mitchell’s plotline. In order to illustrate how the theme of intersectionality surfaces in the film content and structure, three differencing plot lines will be considered. Moreover, intersectionality surfaces in the film’s structure for director Theodore Melfi and writer Allison Schroeder knew that they would need to show the differing aspects of racism and sexism and how they accumulate and provide the experiences felt by the three protagonists of the film. 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. 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.
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