Glyburide & Metformin

rape in the movies

KEYBOARD GUEST: QUARTER SOTO LETICIA

The viewing of specific scenes of violations that we discussed in class [Broken Blossoms, Gone with the Wind, Straw Dogs, Blue Velvet, Pink Sauce, Kika, Baise-Moi, Irreversible, Defendants], obviously unpleasant. I do not understand what it seeks to contribute to society or the world of film to shoot scenes as horrific and as pointed out in class, it seems that every time you spend more time with each film to such scenes. It

very plausible that through film attempt to carry out an awareness campaign about sexual violence on women, but I understand that you can accomplish the same thing if that raising awareness is a more implicit. That is, in general we know that rape is completely reprehensible action, because it involves a humiliation of women, a total submission to the will of man, is also the woman becomes a mere object, is a violation, etc., but all that we know, or at least know the vast majority of the population, so intrinsic to the human condition itself, for our moral understanding, our own code of conduct and ethics code itself has established social evolution have taught us well.

is true that years ago we had this idea, but the woman was a mere object that was subject to the free disposal of man, not only within their closest personal. But we can not deny is that yes that evolution has occurred.

So is there a real need to shoot these films? In my opinion no, or at least not this way, because as said in the morning these scenes have been defragmented of those movies and ended up appearing in the "top ten" Most viewed the scenes, but most viewed by whom? I honestly do not think that 80% of people who view these scenes is to analyze specific and aware, but I believe that at least the 80% do so to satisfy a need that really nasty and take pleasure in contemplating the suffering of women . And yes, although this is not the interest of the Director, but on the contrary, ie, even though its ultimate goal is to raise awareness, which is being achieved in nurturing the library of these subjects.

Because I really believe that you can at least be able to get the most, ie with a concrete scene as if we said performance Buck to Beatrix Kiddo in Kill Bill, without showing explicitly the concrete images of the violations, the audience clearly realizes the harshness of the situation.
Another case that I would mention is the film "Baise-moi." The protagonist who behaves in a passive mode at the time of the violation, in the end says something like that should not give greater importance, that fact does not make women victims ,.... And reading in class that was removed was positive about these words, but I think what we have not really discussed is that those words what they are implying is that he is glossing over the fact you may get are not marked by that, but I understand that we can draw from these words is that the protagonist is somewhat resigned, saying good, not to put on a drama about this because it is not the first time it happens, that is, it seems like we just have to live with the possibility that one day someone for being a woman and presumably be at a disadvantage we have to endure this type of sexual violence.

Well, and also the dilemma we proposed that how can you give a lecture on the subject without showing these images? Then repeat the same, sometimes with as little as can be achieved, that is, for example, for a person to realize the harshness of a situation is not necessary the 15-minute show that a subject is stabbing another man 20 times and slowly teach every stab, blood, the agony ... No, because the viewer in a situation of this magnitude and become aware from the start is not necessary to show all the macabre details.

Alternate To Grecian Formula

The woman warrior: origins and variations

This Thursday, November 18, at 20 pm. on the fourth floor of Building Iron and within days of the city to celebrate Women's Day, give a lecture on women and violence in movies. I will focus on the figure of the woman warrior and will develop arguments protagonita be centered in the film Kill Bill de Quentin Tarantino. Argue that there are demonstrations warrior women, while not conforming to the seventies feminist orthodoxy, they can not be accused of reflecting the patriarchal culture. My argument, in the case of Kill Bill, will focus on ... The morning at eight I hope to discuss these issues at home.

to be heating up the atmosphere, two slogans of works that address the origins and certain peculiar variations of the female warrior in film.

[1] Ripley (the heroine of Alien ) may be criticized by appealing to their arguments Waites?
[2] and Barbara in the remake of Night of the Living Dead of Savini? KEYBOARD

The Best Conditioning Mascara

The woman warrior in the game and post-feminism Feminism

GUEST: ANGEL CASTRO STOP


addition of world cinema, literature and oral tradition, the prevalence of female warrior stereotype extends to other areas of culture such as the video game. Although this is a relatively recent, it is difficult to find examples that fit perfectly to the definition developed by Kate Waites in his article "Babes in boots: Hollywood's oxymoronic warrior woman."

The concept of woman warrior may vary slightly depending on the time or the cultural base on which to settle, but almost always has some common characteristics, which were created in a variety of different male myths nature. The influence of feminism has been able to modify, moderate and soften certain nuances of his personality and modus operandi, but its roots remain unaffected male and remain defining when to establish the concept.

is why, oddly enough, examples at first appear to be formally distant, such as the legendary Amazons of Greek mythology, Judith, heroine of the Old Testament or the femme fatale representative of black cinema from the golden age of Hollywood, once stripped of the cultural elements that conform strictly and according to its graphical representation, modus operandi, and motivation we can see that their similarities are obvious.

The basic features of the woman warrior can be summarized into four:

1) Physical attraction, reinforced by the use of costumes that emphasize their feminine attributes.
2) Led by a male figure present or absent, which may even end up giving back, in clear reference to the Oedipus complex.
3) act nursery grounds.
4) occupy a subordinate role to the conventional system, which is sometimes reflected in their nicknames (Lady, Angels, Kiddo ...).

The traditional role of women in video games are confined at first to mere damsel in distress, one whose purpose McGuffin main (and often only) was the hero to lead a long way in order to rescue her from the clutches of the villain of the moment. The vast majority of classic video games with a minimal narrative claims (Super Mario Bros., Nintendo, 1985-2010 - Final Fight, Capcom, 1989 - The Legend of Zelda, Nintendo, 1986-2010 - Dragon Quest -Enix/Square Enix, 1986-2010 - Final Fantasy -Squaresoft/Square-Enix, 1986-2010 -), etc.) based on that premise, relegating women to a position not only inferior, but also identifying it as a prize for the skilled player who successfully reach the end game.

Over time, as women constituted a claim for public it was becoming important, reaching a niche within the main groups of heroes and antagonists, but without abandoning its defining characteristics, generally opposite to those of their male counterparts. Their low strength and endurance parameters are compensated in part with great potential for magic, besides requiring the protection of a male figure, which serves as a knight errant.

now not uncommon to find examples of female warrior with a role totally self-sufficient character. This is the case of Samus Aran (Metroid, Nintendo, 1986-2010), whom we will focus from now on in our study.

Samus is a bounty hunter which operates under the command of the Galactic Federation or on his behalf, in a fictional universe reminiscent of the Alien saga. Its mission is carried inhospitable places, must procure the equipment in place to break through previously inaccessible areas.

Unlike paradigmatic warrior woman described by Waites, external appearance for almost the whole of adventure serves no cliché. Wearing a suit of heavy combat, it enhances their skills and giving it strength, superhuman strength and agility, not at any time make use of her femininity to achieve their goals, indeed, the deliberately hidden in order to obtain performance impossible to achieve otherwise.

However, being a woman is exposed in two key moments, when he dies and when it completes its mission successfully, in which case it rewards the player who has played a number of requirements (complete the adventure in a time period determined or fill the entire inventory) with a picture of Samus without her armor (or Power Suit), discovered as an attractive young woman.

Despite being born as a mute character, no lines of dialogue, the appearance of sequelae was providing data about their personality, ideology, objectives and motivations, setting a much more complex. Paradoxically, the process led to a progressive stereotype, especially at the level of graphical representation, with the inclusion of an alternative to the classic Power Suit Suit, called the Zero Suit, tight to the body

Following this line of adaptation to the successful formula of the female warrior, Samus is also led by a male figure. Other M In Metroid (Nintendo / Team Ninja, 2010), known to his superior, Adam Malkovich, which exerts a powerful influence over her, pointing the way forward and authorizing or denying the use of arms and / or skills. At the same time, and given the status of orphaned Samus, fills the gap of the absent father figure, embracing the role of mentor.

Interestingly, this latest installment chronicles the encounter between two characters, after Samus take a different path, feeling "as if he had somehow betrayed a parent," appealing to the Oedipus complex.

Samus fighting two battles, one to survive in hostile territory and another to leave to occupy a subordinate role to the conventional system. Nicknames, apparently caring, granted by their peers and boss (lady, princess), at the bottom can hide a view to minimizing its importance in a world dominated by men. Samus is not initially welcome the research group led by Adam, but allows their presence provided to comply with its orders, which reinforces the idea of \u200b\u200bsubjection spoken of Waites.

Regarding his motivations, also Metroid Other M is explained clearly, unlike most of the deliveries predecessors, which generally described little or nothing about it. Samus goes into the rugged Nave bottle to hear a distress message such as "cry baby" from it. Thus acts motivated by maternal instinct, the same instinct that causes him to invade a feeling of guilt for failing to protect the breeding metroide who saved his life.

So, Samus meets the requirements Listed by Waites, demonstrating that the warrior woman archetype transcends all boundaries, physical or cultural.