The Realness

relief advertisement centers the focus of attention by displaying a picture of a disabled boy to stir up feelings of guilt and despair in the viewer. The hands are all located at the very edge of the image. This is done in order to emphasize the positioning of the boy. The circular shape of the hands act as a visual perimeter as if encasing the boy inside a pen.The gravity of the image is showcased by the amputated right leg of a young boy who is wrapped in bloody bandages. On a closer look the blood from the bandages has bled out onto the sheets and onto the diaper of the baby 's lower body, in addition an IV runs through the right leg of the boy. The fact that the boy has not been cleaned in up in preparation for the picture adds to the realness of the image and situation. Perhaps the hospital attending to him cannot afford enough bandages and sheets to change them frequently.The image is taken with the boy in this condition rather the after a bandage change to boost the sense of sympathy and pity provoked out of the viewer. As well, the young boy body’s language and facial expression gives an aurora of sadness that rubs off on the reader. The boy’s glare stares directly at the viewer. Since the boy seems to be acknowledging the viewer, the eye contact creates a personal call to action and the…

This is an interesting topic and something I had definitely not considered prior to enrolling in this class. After having read about Bazin and his views on film Realism, it makes sense that he would disagree with directors manipulating the “realness” of a film for the sake of the image (Blakeney, 2009). Bazin was a stickler for the importance of realness for film to be considered art (Blakeney, 2009) so in his opinion films should not have over-the-top editing or manipulation and should rely on…

Feminist scholars disagree about survivor narratives and their ability to inform the issue of rape. The question is: what is real? Does a survivor narrative constitute the “real” experience or does the constructed narrative version itself become the “real” experience? How are these experiences dissociative for the performers (actual rape survivors who transmit their own experiences) and the audience? Framing trauma “realistically” creates an expectancy, an interchange between the audience and…

One might ask then why not just make them legal? Even if these drugs were legal to all athletes it would not change the fact that it would be changing the sport for the worse. For instance when one looks at the steroid era in baseball the game was not the same. Although the a certain excitement was spiked in the sport when Mark McGuire and Sammy Sosa were going back and forth after the single season home run record the home runs they were hitting were not legit. The reason they were not legit…

made "real" by people. According to Swatos Jr. social constructionism (2015:1) is, " what human beings at any moment hold to be “real” in social experience is itself a social creation, and in that moment is simultaneously a social product and production". For this reason our view of gender as "real" is the result of us simultaneously performing gender and reproducing it; as we actively partake in gender we reinforces its "realness". Moreover, Swatos Jr. 's (2015:1) self identification is the…

In the 1976 TV adaptation to Cat on a Hot Tin Roof, the cast was strategically chosen to capture realness, express desperation, and ironically depict the “lies and mendacity” theme that the original play was built upon. The TV movie adaptation remained true to the plot line of its theatrical play write version. The cast isn’t as precise in depicting the characters exactly as described, but the film brings to life the homosexual undertones of the original Cat on a Hot Tin Roof, which could not be…

were being fired on from a village in Vietnam. No one was hurt, however, the lieutenant still ordered airstrikes against the village. The men had to sit there and watch the village burn to the ground. As they headed into the village, “Rat Kiley bent over the corpse. ‘Gimme five,’ he said” (O’Brien 226). They had just seen a dead man who had died, in a way, because of them. However, even with the heaviness of the situation, Rat Kiley, not wanting to feel the realness of it all, made a joke. A…

In Paris is Burning (1990), Jennie Livingston explores the 1980s New York City drag balls with a focus on the African American and Latino gay and transgender society involved. The film begins with the purpose of the balls and the culture that surrounds it. Different key players in the drag world explain the aspects of a ball such as “voguing,” “realness,” and “houses.” Livingston reveals how the subjects dealt with the adversity of this lifestyle of poverty, racism, and homophobia. She shows…

what makes a person real?” She finally asks the question that leads to what defines what’s real. Being real to Rhea means being the same outwardly and inwardly. She wants the Dildos to be just as punk as their music. The truthful realization that Rhea has is that “not caring makes a person real.” To be real punk rockers they have to stop worrying about being real punk rockers. Real punk rockers don't question what they are because they know they are. “Who decides?” Shouldn’t be a question you…

Stereotype, Realism, and the Struggle Over Representation Realism is the attitude of accepting situation. In media today, there is no sense of realness. The media does not reflect the daily life of many American. In real life, there are multiple races and religion but on tv white people are mostly shown. On tv, there are no black people who represent me or act like me. Like in reality tv, there is no realness there. It is just people playing over the top characters in order to get money.…