DonT Look Now : The Male Pin Up By Richard Dyer

His constant use of reflections and vertical framing helps the audience to interpret the change of the characters identities. Mirrors make for a visual confusion and could cause the audience to question whether what they are seeing is reality or simply a reflection. Vertical framing and multiple images of characters create an aesthetic view of characters identity and through film language visually portrays them as trapped within the change and confusion of the cities identity as well as their own.

Looking back on history men’s and women’s roles haven’t always been divided; both genders were needed to work and provide and until the fourteen hundreds, they wore the same clothing. Men’s fashion developed to show the reality of their bodies with apparel such as tights, while women’s bodies were accentuated in tight bodices. Bordo shows us that as men’s clothing became more comfortable and utilitarian their role in society followed suit. Men today are supposed to be active; they are workers, the penetrators, the ones in control. Advertisements in the essay show us men continually portrayed as “rocks,” aggressively facing the camera or actively working. When women appear, they are simply to be gazed at and admired for their beauty. The images of men acting coincide with society’s standard of men being the

instructional tone by telling the reader what to do in order to create the image in their

Quite clearly, male sexual performance was a major key to being male. It was a man's sexual organs that made him different and superior to the woman. But maleness was somewhat fragile, and it was important for a man to keep demonstrating his maleness by action and thought, especially by sexual action. It was part of his duty to keep his female partners happy and satisfied, and unless he did so, he had failed as a man. (41)

The posture used by the models conveys modern day society’s quintessential perspective of how the ideal masculine and feminine form should appear. The male is standing tall and proud while showing off his trophy for all to see his achievement. Greer explains, “To be successful young men have to achieve a measure of

This source provides a camera lens, condensed version of lectures Jill Zimmerman Rutledge, LCSW, has done on body image. This paper provides interviews with many females such as an aspiring model, a 12-year-old girl, and many female models.

The gaze deals with how the audience views the people presented in visual culture, in this case, adverts, magazines and Cinema. The ‘male gaze’ is the male ability to exercise control over women by representing them in visual means as passive, sexual objects of male desire. The power of men over women has always existed. They are seen as the more powerful and clever species. This control over women has been seen predominately in linguistics senses in past times. It is clear that there are more derogatory terms for women than there are for men. Men can also wolf whistle or cat-call in order to harass a woman but

Response: This is important to the development of the story because it gives us descriptions as to what he looks like, so we can better visualize the character as the plot progresses. It also describes a little bit of what his father looks like and what his dead mother used to look like.

3) In this essay, Bordo discusses how and where one is positioned, as subject or object, and in the moment of vision. The section, “Rocks and Leaners”, Susan Bordo presents an argument that the gaze and position of men in advertising give off a message of masculinity. She describes the gaze, and how it can show dominance. The male models are the objects in the advertisement and meant to create a certain reaction depending upon there position. There is the “face up, face down, and stare down” (182). She also discusses how often in advertising, the lean is used in a seductive way. The angle of the camera is used as a powerful tool in advertising to capture certain moments and feel that the product is trying to convey. Whether it is a seductive lean with a face of stare, the male model is trying to get the viewers to remember and focus on him, therefore selling a product.

In this magazine, a model is standing tall and confident with her beauty she holds. We also see a quote, beside the model, by Julie Henderson, the quote indicates that “every women is beautiful.” Their magazine focuses on the real beauty of each ethnicity and culture. The magazine shows a model that is not “typical skinny and blond” girl; instead she is “black.” The significance of this model, standing tall and confident, represents that all women and everyone are beautiful.

Elian's eyes capture a reflection of his little head floating around a long robe that Mr. Samuels has swirled around him and folded into his collar with a napkin. Every so often he takes looks at the barber as he works The barber's movements distract him, combing and snapping, combing and snapping.

I acknowledge that the male gaze is present in our modern society and it is what influences our fashion industry to produce imagery that contains visually desirable female bodies. However, what I wish to put forth is that the female body portrayed in my work is used as a beautiful vessel that contains psychological human depth and emotions revealing a multi-faceted human being. By distorting my work I challenged the critiques and conversations during my senior year which encouraged me to break through from beauty and fashion aesthetic in order to get closer to a more conceptual, psychological realm. By breaking through, I put forth what I am most interested in, the psychology of the visceral. Beauty is just a tool to draw the viewer into my

In terms of conventional western femininity, the model has been groomed and presented to us as the epitome of expected femininity, a standard that women should aspire to become and a guideline for what a man should look for in a woman. Altogether, her appearance has time and thought out into it, which is often a pushed rule onto women in that their appearance becomes their most important aspect. Also, the lack of space the model takes is indicative of the dainty stereotype that women are small and unable to complete most tasks without help, this also presents a toxic guideline for men; that they are expected to take care of a woman and that she is helpless instead of equal division between tasks, careers and daily functioning. The strength of the image and its portrayal of femininity is backed up by the near complete lack of masculine traits being

Men and women often use their bodies in different ways, this is not breaking news. However, the reasons and consequences behind this difference is important. The situations women will often put themselves in will vary greatly from men because of the perceived abilities of our bodies. Most women would not accept a job on a construction site because of a lack of belief of what the female body is capable of. Similarly, women who apply to these types of jobs are often not hired. When lifting objects, or using force to accomplish a task, we “frequently fail to summon the full possibilities of our muscular coordination, position, poise, and bearing.” (pg. 26) This is, in part, because “feminine bodily existence is overlaid with immanence.” (pg. 29) Instead of using her whole body, a woman will “concentrate motion in one part of the body alone, while the rest of the body remains relatively immobile.” (pg. 29) While men often experience the full ability of their bodies, and therefore, can fully accomplish, without issue any task they want, this is not often the case for women.

In the second section of Neale’s essay, he identifies two modes of looking: voyeuristic and fetishistic looking. Taking his cues from Mulvey, Neale explains the necessity of distance between spectator and spectacle in terms of voyeurism. Neale states that this distance “allows the spectator a degree of power over what is seen” (16). While, according to Ellis, fetishistic looking “implies the direct acknowledgement and participation of the object viewed” and “has much to do with display and the spectacle” (17). Neale states that “physical beauty is interpreted in terms of the female body,” and the female body is the “recipient of the spectators looks” (17). Meanwhile, Neale states that “the spectacle of male bodies [are] unmarked as objects