For the Rhetoric in Practice project, I created an online website called learn2femmefatale, which looks at the basics of being a Femme Fatale. Following the idea behind a mensfitness.com article on doing a workout, the website had to follow genre convention of the website and the Femme Fatale. The focus of the website is towards women between the ages of 18 and 55. For website conventions, an HTC blog talks about the basic website genre conventions, which require a Logo in the top left, an easy navigation, and clearly defined buttons and links. Keeping with these guidelines, I researched Femme Fatale traits and following the mensfitness web site, was listed out in concise sentences that explained the different parts. John Blaser talks about the main points to the femme fatale, describing, “She exudes a unique sexuality, which she uses to define herself and manipulate men”. I chose noir color scheme for the website. The age of Film Noir was a time of female empowerment, helps reach out to women looking to break free. I also included famous actresses in their roles of playing various types of femme fatale. This provides examples for the female target audience to follow as well-known role models that succeed in their roles. Finally, visual examples of what a Femme Fatale look like are weaved into the website. This helps cement ideas about the audience should be aiming for, while makes it easier to see the noir, and implied strength of becoming a femme fatale. Following these
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Red Scarf Girl is a historical memoir written by Ji-li Jang about her experiences during the cultural revolution of China, with a foreword by David Henry Hwand Red Scarf Girl, Ji-li was at the top of her class and the da-dui-zhang, or Student Council President, of her school. However, her father prevents her from auditioning for the Central Liberation Army Arts Academy due to their political status, which she had no knowledge of at the time. Her family is considered a "Black Family", because her grandfather was a land lord and her father was considered a "rightist", (though her father reassured her that he is not). Many people accuse Ji-li of her family's old ways, or "Four Olds" and the "Five Black catagory" that Chairman Mao Zedong
Representation refers to the construction of media languages which are used to portray a particular type of filmic world to an audience (slide). This essay shall outline different treatments of filmmaking used to establish certain societal groups from the critically acclaim superhero film The Dark Knight (2008) directed by Christopher Nolan. This sequel film follows Batman, with help from Lieutenant James Gordon, and new district attorney Harvey Dent eradicating crime from Gotham city until a crazy mastermind criminal, the Joker appears in Gotham, creating chaos. The first paragraph introduces the stereotypical representation of masculinity in superhero film through the aspects of mise-en-scene and acting of the male protagonist. Storyline and mise-en-scene help establish the representation of pretty, leading- female characters that semi-disrupts the damsel in distress stereotype. Before lastly describing the representation of menacing villains through cinematography decisions, sound and an actor’s performance.
What would happen if defying the government could result in death? In the memoir Red Scarf Girl, Ji-li describes how everybody had dutifully followed Chairman Mao and took action in helping the Communist Party. On the other hand, others flouted the Party. During the events of the Cultural Revolution, Ji-li Jiang has self-conflicts about her true beliefs. Ji-li once believed in the kindness of the Communist Party and had confidence that the Cultural Revolution would benefit the fate of China. However, Ji-li’s beliefs soon change from following the footsteps of Chairman Mao to going against the Cultural Revolution for the sake of others.
Should this disease have gotten this far in society? “The more you engage in any type of emotion or behavior, the greater your desire for it will become.”-Chris Prentiss. In the documentary “Chasing Heroine” that was filmed on PBS Frontline, was extremely shocking to watch. This film was filmed in 2016. It followed current and former addicts, their love ones, and advocates. This documentary actually told the truth of certain things in regard to heroine. The light was shed on how the heroine was brought into history, social problems, and shame, and the system.
The article, “Looking at Women” by Scott Russell Sanders published in The Norton Reader, 13th edition, embarks on a journey to find out why men look at women. Sanders starts off with his personal encounter as adolescence were he was told not to look at women out of lustful desire, because women would not want to be stared at like that. He also wondered from his early college days, were his bunkmate had pictures of nude women and he and others would endlessly stir at these pictures. Sanders questions whether women enjoy being looked at by men and how should men look at women. He uses quotes from people and facts to find answers to these questions. He also analyses the problem from global perspective. He wonders why women try so hard to look good. He concludes with the fact that women like looking good, but they sometimes don't like it when men stare at them. Sanders opines in his thesis that " to be turned into an object – whether by the brush of a painter or the lens of a photographer or the eye of a voyeur, whether by hunger or poverty or enslavement, by mugging or rape, bullets or bombs, by hatred, racism, car crashes, fires, or falls – is for each of us the deepest dread; and to reduce another person to an object is the primal wrong” (188).
Knowing or anticipating one’s audience is key to effective writing. Kaus is clearly cognisant of who will be reading her article as she focuses the content to highlight television shows that are extremely popular with the female demographics of the university. In 2014,
The author means that the internet these day are children are always on it, posting all their situations on Facebook, Instagram, Tweeter, and so on. The authors message, “Never has a communications system played so many roles in our lives – or exerted such board influence over our thoughts- as the internet does today. Yes, for all that’s been written about the net, there’s been little consideration of how exactly, its reprogramming us.”
The age old question men always ask themselves about, how to look at women? A question which has plagued society since the beginning. Of course there have been many opinions on the question ranging from both sides of the spectrum. In “Looking at Women” by Scott Russell Sanders, “Saudis in Bikinis” by Nicholas Kristof, and Moral Equivalence by Malcolm Evans each creator shares their opinion on how men and society should view women. Kristof, Sanders, and Evans use similar strategies to try to convey their different opinions effectively. The authors uses similar strategies such as figurative language and vocab to draw the reader in. The authors also try to get their varying themes across to the readers. Some of the authors are more effective in conveying their opinion to the reader than others.
Throughout the textbook, The Rhetorical Power of Popular Culture by Deanna D., there were many types of methods discussed in each chapter in which they provided end-of-chapter papers as examples that reflected this method. In chapter seven the method feminist perspective is discussed and an essay example the film The Hunger Games was examined and provided how the film relates to this method. During the sample paper
Throughout the world women are depicted to be oversexualized among forms of media such as video games and comic books. The idea of oversexualization towards female characters is that they have been often drawn and animated in hypersexual ways. Even going as far as viewing them as a sex object, their revealing body images are eye candy through the eyes of men. Hence women found in comic books and video games are frequently emphasized by their excessive physical appearances, objectification, portrayal, and character role.
For this project, I have chosen to pick one of our recent studies on the film “I’ve Heard the Mermaids Singing” directed by Patricia Rozema. Not only did I go through several challenges and obstacles in picking my topic, there are definitely challenges I know I will encounter during the actual process on issues of notability when implementing such important information on a website used world-wide, as well as navigating my way through the sandbox. Due to the fact that many of my interest related to feminist theatre have already an extensive amount of information written on Wikipedia, I had to think of possible solutions and new topics which forced me to change my topic for the better. Many critics of this film admit that a discourse with feminism
Comparing a study done by Gloria Cowan and Margaret O'Brien concerning the differences between male/female survivors vs. non-survivors in slasher films during the 1980's to the characterization of women victims in the media in the early 1800's show striking similarities. In the study female non-survivors wore more revealing and/or provocative clothing, were nude, or undressing, and were presented as promiscuous more often than female survivors in slasher films. Further victims were more frequently engaged in sexual behavior right before the killing. They were also more likely to be doing drugs more often than the survivors. The non-survivors were generally more physically attractive and were not the instigators of the violence. More survivors than non-survivors provoked the villain into direct confrontation. The message seems to be that sexual. women get killed. The good woman is asexual and the bad woman who has sex dies because of it. The films reinforce the concept that female sexuality is dangerous for the female.(Cowan, 187-196)
In pre-Raphaelite paintings, a famously known model, Elizabeth Siddal appears as an idealised form of female body. In the 19th century, she was the central figure of the muse that often combined with man’s fantasy and sensuality with poetic idealism. Although Rossetti and Siddal’s marriage was not so idealised rather a tragedy, but they formed a relationship of an artist and the muse. After the death of Siddal, Rossetti departed from the notion of ideal women but he was preoccupied with the theme of “Lilith’ in both his paintings and poetry. Rossetti manifested many of the demonized figure imagery, the “femme fatal”, in his art and to a certain extent, we could see that he was not free from the memory of his wronged wife. Furthermore, it is noteworthy that many male artists depicted the female body imagery in two categories, which are either the idealised, “the muse” or the cult of feminine beauty, “the femme fatale.” Those binary structured perception between the muse and the femme fatale have a strong relationship with the man’s agony and anxiety over the female challenges that were emerging at different levels of society. Bear this ideas in mind, the paper attempts to explore the “Lilith” images in Rossetti’s art with the particular focus on how the muse turned into femme fatale. Furthermore, it will discuss Rossetti’s engagements with his wife, Elizabeth Siddal from the perspective of personal and psychological aspects. First, the paper will briefly discuss the
The roles of males and females in society have significantly changed, as opposed to the predominant roles in our history. In the modern culture of today, women have begun to break out of the mold that which society has placed her in. This much can’t be said when it comes to modern gender representation in mass media advertising. It can be safe to state that woman are seen as sexual, fragile, exotic—whereas men are portrayed as tough, in control, and aggressive. This trend can be one seen as an inhibitor to the advancement of our culture, because especially for women, it is hard to pull away from the stereotypes that are continuously represented. As examples of the given trend, the following