Tuesday, May 10, 2011

Analysis#7

Analysis #7
Human as an object!
Said presents the idea by analyzing the relationships between East and West during the nineteenth and twentieth century by giving the example of the way European dominates Easterners.   According to Edward W. Said’s Orientalism noted that, “made Oriental.  There is very little consent to be found, for example, in the fact that Flaubert’s encounter with an Egyptian courtesan produced a widely influential model of the Oriental woman; she never spoke of herself, she never represented her emotion, presence, or history.  He spoke for and represented her” (1870).   Asian or Middle Eastern was very common in the 19th Century in Europe and was a driving force behind many works of European art. 
J.A.D. Ingres, Grande Odalisque.  A woman in the picture is showing her ideal body.  She has a well- proportioned body.  At that time, people thought a woman body should be like the women in the picture.
Jean-Leon Gerome, Slave Market.  European superiority – since Europeans had banned slavery before the USA.  A woman slave is sold as an object in the market.  She needs to show her body in front of male gaze.


What happens when women become an object?  A woman is commodity.  A nude woman displays for the consuming men European.  Those two pictures as I show are Academic style.  The pictures look real, but idealize at nineteen century.  The women are an exotic “Oriental” object display for the consuming male gaze which is idealizes body part to feed superior.  The gaze confers power according to gender.  The presumed viewer is a heterosexual.  At that time, a big issue came to rise; it was over how women are portrayed in the society.  Many people seem to think that women are negatively portrayed in the society, and that leads towards negative effects on how women are treated. 

Work cite
Leitch, Vincent B. The Norton Anthology of Theory and Criticism. New York: W. W. Norton &, 2010. Print.

Tuesday, May 3, 2011

Analysis#6

Analysis #6
Fix and firm
          Feminism is the belief in social, political, and economic equality of the sexes.  They have been held back and their opportunities taken away from them because of the fact that they were women.  Theory portrays women’s liberation through episodes that illustrate the historical record of male domination.   Viewers are asked to consider the aggressive nature of looking, especially the aggressive nature of male gaze and its relation to violence against women.  According to Susan Bordo’s Unbearable Weight noted that,
“With the advent of movie and television, the rules for femininity have come to be culturally transmitted more and more through standardized visual images.  As a result, femininity itself has come to be largely a matter of constructing, in the manner described by Erving Goffman, the appropriate surface presentation of the self.  We are no longer given verbal descriptions or exemplars of what a lady is or of what femininity consists.  Rather, we learn the rules directly through bodily discourse: Through images that tell us what clothes, body shape, facial expression, movements, and behavior are required.” (2244)
These pervasive ads influence kids to demand poor food choice, to think drinking is cool, and sex is a recreational activity and that anorexia is fashionable. 
          Sky vodka ad relates to sex
Male dominates fancy high job and female is getting tan at home as social history. 

  
At the same time, the advertiser cannot say in word that being skinnier will make you sexier, but the image deliberately links “Virginia Slims” and women’s body in a visual appeal to unconscious desire.  At that time, this advertisement made women believed that smoking a cigarette would make them skinnier, and make them healthy and powerful.  Although the society has changed, women are still dominated by men.  They are still an object, and men have history as subject.  They are still submitted to men, and they call for male’s attention.
Work cite
Leitch, Vincent B. The Norton Anthology of Theory and Criticism. New York: W. W. Norton &, 2010. Print.