You can make the sign calmly, or angrily extend your arm toward the intended recipient, depending on how upset you are. The gesture involves sticking up your middle finger with your palm facing in. Giving them "the finger." The gesture means screw you. The most offensive gesture in America is flipping someone off. It may also have a particular meaning only to one subset of people, such as gay people or the elderly, no matter where in the country you are. To make things more difficult, a gesture's meaning can also differ within a country, depending upon the locale. Many hand gestures that are innocuous or positive in one country can be incredibly insulting or obscene in another. What you should be thinking about are local hand gestures, especially if you're someone who can't speak without animatedly flinging your hands and arms about. The rest comes via body language: gestures, posture, facial expressions, proximity and touch. Words comprise but a mere 7 to 35 percent of human communication. Worried about your upcoming trip abroad because you don't speak the native language? That's probably the least of your problems. I suggest that the Roman period provides a suitable setting for an allegorical critic of present day neoliberal enslavement, highlighting its cruelty by the extreme violence that a historical narrative of Rome can afford.Fast bowler Shoaib Akhtar of Pakistan give the "cutis" (an obscene gesture in India and Pakistan) to the Australian cricket team as he leaves the field during a rain delay in the middle of a test match between the two countries in 2004. In this paper I propose a critical reading of the Spartacus series in light of neoliberal capitalism and its supportive technology, by comparing its features with the principles of the system and by analyzing its correspondence to the reality TV format. The epic history of Spartacus received numerous adaptations in the last couple of centuries, and in 2010 the Starz Network released their version of the story in the form of a historical television drama series. The reality TV genre became ubiquitous in this modern era of Internet and neoliberalism, and previous publications have identified its roots in neoliberal philosophy. The rise of Internet and smartphone technologies, which saturate the modern individual with a choice among multiple screens for communication, media consumption and information, provided means to further substantialize neoliberal hegemony. Over the past three decades, neoliberal ideology has become, in practice, the principal sociological philosophy of economics and labor. The art of storytelling has always corresponded to its period's philosophy, politics, and technology. Reflecting the endpoint of contemporary post-feminist ideologies, Spartacus and Bromans ultimately leave power in the hands of the men. However, this agency is constrained by each series’ narrative trajectory and moral coding and their privileging of monogamous heterosexual relationships. The female gaze can thus be seen as empowering for women by giving female characters and participants agency in their personal relations. By examining moments of viewing across shows operating within different genre conventions (historical drama and competitive reality) we find that this gaze can be desiring, loving or hostile. Through two twenty-first-century television series showcasing the gladiator body and its female admirers, Spartacus: Blood and Sand (2010) and Bromans (2017), we interrogate the female gaze anew. Across this tradition, female characters view the gladiator body, and have the opportunity to own the gaze, which, since Laura Mulvey’s ‘Visual pleasure and narrative cinema’ has typically been seen as male. Women’s admiration for gladiators was documented by ancient writers, captured by nineteenth-century artists and brought to life by twentieth-century film makers.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |