Laura Kipnis

from the book Unbroken and the sniper from the short story “The Sniper” shows Bravery through the joining the war while trying to survive, and already being in the war while being prepared and trying to survive. First off, In the story Unbroken By Laura Hillenbrand Louie is brave by joining the war and trying to survive.The first piece of evidence is “The military was going to make him a bombardier. That fall, Louie was on his way to becoming an airman”(HillBrand 45). According to the quote how that

termed as ‘the male gaze’. Laura Mulvey, a femininist, film theorist and architect of the male gaze puts the spectator as a masculine subject, with the figure of the woman in the image as the object of desire. “The cinema offers a number of possible pleasures. One is scopophilia. There are circumstances in which looking itself is a source of pleasure, just as, in the reverse formation, there is pleasure in being looked at.” (Visual Pleasure and Narrative Cinema Pt. 2a By Laura Mulvey) Although Mulvey

how the female body is displayed in the story, where it becomes something that revolves around beauty, appearance and sexual satisfaction. The story implies that because women are supposed to be dependent and accepting, men have the power to decide their faith. In which case, the Erl-King is already in the process of “weaving for [her]” (Carter 90) a cage, where she is meant to stay “among the other singing birds” (90) as another one of his “accessories” and prized possessions. The cage acts as a

answer to this question isn’t very simple. Depending on social status or moral beliefs, viewpoints vary. Success is demonstrated in Unbroken by Laura Hillenbrand, “The Shift” from The Road To Character by David Brooks, “Purpose” from Angela Duckworth’s Grit, and personal interviews with Lynn Harder and Nanci Bush. Unbroken is a biography written by Laura Hillenbrand about Louis Zamperini. Louis Zamperini, known as Louie, was an Olympic runner who enlisted in the Army Air Corps during WWll and ended

As the election of this turbulent cycle final came to a close, more than any other week, staying focused on the readings was difficult. However, it helped bring about conversation since as students, both Connor and I were already vulnerable to the emotions felt by the campus. In fact, we had to postpone our original meeting date as Connor attended the protest that was organized here in Baltimore. So in light of the situation, although we were both starting to feel weary to all that was happening

Filmmakers use traditional gender stereotypes to produce characters audiences can easily identify with by portraying conventional images of a person with identifiable characteristics. In previous years, the dominant representation of a women in film has been the passive, subjugated protagonist. However, through the development of female empowerment and added feminist representations of film, the female heroine transformed to become strong and independent women in her own right, as an individual character

being stalked. Cities are constructed in a manner in which these terrors are a reality, especially in isolated areas. The darkness provides an optimal opportunity for the gaze; an individual can openly look without the fear of being caught or judged. Laura Mulvey’s article “Visual Pleasure and Narrative Cinema” discusses the manner in which cinema caters to the male heteronormative gaze turning the representational female form into a visually pleasurable object. The process of turning the female form

Cinema provides anthropomorphic stories for audiences to escape from their own realities and immerse themselves in a fictional world where everything is controlled by the director, who structures the film around a main controlling figure. The way that the cinema displays the space, surroundings, and the human forms in the film allows the director of the film, like Hitchcock, to use camera techniques that create an oppressive male gaze towards female characters in the movie. Most mainstream films

Many film theorist have defined Vertigo (Directed by Alfred Hitchcock, 1958) as a film about the subjecting power of the male protagonist and their use of a configuration of looks to solidify their domineering agency. Yet this analysis of the film is limited in its predominant focus on Scottie (James Stewart) as an empowered male protagonist with mastery over his own looks. Instead the film disempowers the main protagonist and his gaze’s ability to control and subjugate, by focusing on a conflict

In order to fully understand the following thesis one must understand the terms “male gaze” and “patriarchy.” The male gaze is a theory that was first introduced by Laura Mulvey in her essay Visual Pleasure and Narrative Cinema in 1975. She argues “that women on the screen are objectified and reduced to stereotypes” (195 FINISH). Patriarchy can be defined as “the practice of economics being organized by male inheritance and descent” (267 FINISH). The male gaze that The Girl With the Pearl Earring