This paper aims to discuss how the female body has been an object for male sexual pleasure in patriarchal culture. Female body is considered as the focus of the male gaze. This research uses a ...feminist theory by Laura Mulvey that focuses on sexual objectification of women. Data analysis was performed through qualitative descriptive techniques by interpreting the data found in Jane Eyre by Charlotte Brontë and Layar Terkembang by Sutan Takdir Alisjahbana. This paper aims to expose how smart, independent, and strong women still cannot break free from the male gaze. Women see themselves through the eyes of the men. Consciously and unconsciously, women do not only shape their physical appearance but also their ideology based on the male gaze Despite the fact that these novels were written at different times and places, Brontë and Alisjahbana raised the same theme about women empowerment through the main female characters. The result of this study shows that both authors have failed to fully create strong and independent female characters since both of the characters were still confined by the male gaze.
When observing point light walkers orthographically projected onto a frontoparallel plane, the direction in which they are walking is ambiguous. Nevertheless, observers more often perceive them as ...facing towards than as facing away from them. This phenomenon is known as the “facing-the-viewer bias” (FTV). Two interpretations of the facing-the-viewer bias exist in the literature: a top-down and a bottom-up interpretation. Support for the top-down interpretation comes from evidence that social anxiety correlates with the FTV bias. However, the direction of the relationship between the FTV bias and social anxiety is inconsistent across studies and evidence for a correlation has mostly been obtained with relatively small samples. Therefore, the first aim of the current study was to provide a strong test of the hypothesized relationship between social anxiety and the facing-the-viewer bias in a large sample of 200 participants recruited online. In addition, a second aim was to further extend top-down accounts by investigating if the FTV bias is also related to autistic traits. Our results replicate the FTV bias, showing that people indeed tend to perceive orthographically projected point light walkers as facing towards them. However, no correlation between the FTV bias and social interaction anxiety (tau = −0.01, p = .86, BF = 0.18) or autistic traits (tau = −0.0039, p = .45, BF = 0.18) was found. As such, our data cannot confirm the top-down interpretation of the facing-the-viewer bias.
•We often see ambiguous point-light walkers as facing towards us.•Top-down theories argue approaching walkers are more threatening.•We find no correlation between the facing-the-viewer bias and social anxiety or autistic traits.•Our results speak against a top-down interpretation of the facing-the-viewer bias.
Depth-ambiguous point-light walkers are most frequently seen as facing-the-viewer (FTV). It has been argued that the FTV bias depends on recognising the stimulus as a person. Accordingly, reducing ...the social relevance of biological motion by presenting stimuli upside down has been shown to reduce FTV bias. Here, we replicated the experiment that reported this finding and added stick figure walkers to the task in order to assess the effect of explicit shape information on facing bias for inverted figures. We measured the FTV bias for upright and inverted stick figure walkers and point-light walkers presented in different azimuth orientations. Inversion of the stimuli did not reduce facing direction judgements to chance levels. In fact, we observed a significant facing away bias in the inverted stimulus conditions. In addition, we found no difference in the pattern of data between stick figure and point-light walkers. Although the results are broadly consistent with previous findings, we do not conclude that inverting biological motion simply negates the FTV bias; rather, inversion causes stimuli to be seen facing away from the viewer more often than not. The results support the interpretation that primarily low-level visual processes are responsible for the biases produced by both upright and inverted stimuli.
Perceptions of ambiguous biological motion are modulated by different individual cognitive abilities (such as inhibition and empathy) and emotional states (such as anxiety). This study explored ...facing-the-viewer bias (FTV) in perceiving ambiguous directions of biological motion, and investigated whether task-irrelevant simultaneous face emotional cues in the background and the individual social anxiety traits could affect FTV. We found that facial motion cues as background affect sociobiologically relevant scenarios, including biological motion, but not non-biological situations (conveyed through random dot motion). Individuals with high anxiety traits demonstrated a more dominant FTV bias than individuals with low anxiety traits. Ensemble coding-like processing of task-irrelevant multiple emotional cues could magnify the facing-the-viewer bias than did in the single emotional cue. Overall, those findings suggest a correlation between high-level emotional processing and high-level motion perception (subjective to attentional control) contributes to facing-the-viewer bias.
Orthographically projected biological motion point-light displays are generally ambiguous with respect to their orientation in depth, yet observers consistently prefer the facing-the-viewer ...interpretation. There has been discussion as to whether this bias can be attributed to the social relevance of biological motion stimuli or relates to local, low-level stimulus properties. In the present study we address this question. In Experiment 1, we compared the facing-the-viewer bias produced by a series of four stick figures and three human silhouettes that differed in posture, gender, and the presence versus absence of walking motion. Using a paradigm in which we asked observers to indicate the spinning direction of these figures, we found no bias when participants observed silhouettes, whereas a pronounced degree of bias was elicited by most stick figures. We hypothesized that the ambiguous surface normals on the lines and dots that comprise stick figures are prone to a visual bias that assumes surfaces to be convex. The local surface orientations of the occluding contours of silhouettes are unambiguous, and as such the convexity bias does not apply. In Experiment 2, we tested the role of local features in ambiguous surface perception by adding dots to the elbows and knees of silhouettes. We found biases consistent with the facing directions implied by a convex body surface. The results unify a number of findings regarding the facing-the-viewer bias. We conclude that the facing-the-viewer bias is established at the level of surface reconstruction from local image features rather than on a semantic level.
The article deals with the peculiarities of the creation of documentary television stories in the genre of infotainment and examines the characteristics of their impact on the television audience. As ...a result of the analysis of specific materials of the “Morning of Russia” program, the author proves the necessity of using dramatic techniques in order to form the emotional perception of information when writing journalistic texts and creating a video footage. Much attention is paid to the concept of “conflict” and the importance of its use for direct and indirect impact on the viewer. Building a retrospective from the moment of the appearance of the genre as something entertaining, sensational and shocking, to the moment of its penetration into serious television information formats, the author shows the importance of merging the news-related, detached, distanced approach with the emotional, personalized context of the information plot to focus the audience’s attention on the problem points of the material. The author considers the impact on the audience by means of dramatic techniques and within the concept of the genre “infotainment” in order to form one or other opinion in the viewer as an important aspect of the influence of electronic media, correlating with the literary, artistic component on the one hand, and modern technical means on the other. The choice of artistic means, style of writing, characters appearing in the television story, are the most important factors influencing the final perception of the television product. The material created with the help of such technical and artistic means, according to the author, can not only emphasize the importance of a particular social issue, but also form a certain point of view on all aspects of the topic concerned, allow the viewer to take a particular position, and thus become like-minded or, on the contrary, an opponent within the particular event or phenomenon. В статье рассматриваются особенности создания документальных телевизионных сюжетов в жанре инфотейнмента, исследуются характерные особенности их воздействия на телевизионную ауди-торию. В результате анализа конкретных материалов программы «Утро России» автор в целях формирования эмоционального восприятия информации при написании журналистских текстов и создании видеоряда доказывает необходимость использования драматургических приемов. Большое внимание уделяется понятию «конфликт» и значимости его использования для прямого и опосредованного воздействия на зрителя. Выстраивая ретроспективу от момента возникновения жанра как развлекательного, сенсационного, эпатажного, до момента его проникновения в серьезные телевизионные информационные форматы, автор показывает важность слияния новостного, отстраненного, дистанцируемого подхода с эмоциональным, персонифицированным контекстом информационного сюжета в целях фокусировки внимания аудитории на проблемных точках материала. Воздействие на аудиторию методами драматургических приемов и в рамках концепции жанра «инфотейнмент» в целях формирования той или иной точки зрения у зрителя рассматривается автором как важный аспект влияния электронных средств массовой информации, коррелирующий с литературной, художественной составляющей с одной стороны, и современными техническими средствами, с другой. Выбор художественных средств, стилистики написания текста, действующих лиц, появляющихся в телевизионном сюжете, являются важнейшими факторами, влияющими на конечное восприятие телевизионного продукта. Созданный с помощью подобных технических и художественных средств материал, по мнению автора, может не только подчеркнуть важность той или иной социальной проблемы, но и сформировать определенную точку зрения на все аспекты затрагиваемой темы, позволить зрителю занять ту или иную позицию, а значит, стать единомышленником или напротив, оппонентом в рамках того или иного события или явления.
The present study, involving female university students, examined differences in their impression of captions written using different types of font and arrangements shown on a still screen of footage ...on the process of cooking Japanese food. The students were asked about differences in the readability of the caption and palatability of the food. The names of dishes and ingredients were written using five types of font and arranged around the screen. First, a total of 25 different screens were prepared. The students stated that the "readability" of captions written in a Gothic font was high, and those written in semi-cursive and block styles were "suitable for the food". They chose a block style as "the font most suitable" for the screen showing food. This means that the students placed more importance on whether the font style of a caption was suitable for the Japanese food than its readability. Following this, the students assessed 32 screens on which the names of dishes and ingredients written in a block style were arranged in different combinations. The screen showing a Japanese dish was "most appropriate" when the name of the dish was in the upper-left corner and the ingredients were in the lower-right. When reading a caption shown on the TV screen during a program, the viewer's gaze is considered to move from the upper-left corner to lower-right. There were no significant differences in the mean time needed to read the caption between the 32 screens.
This chapter contains sections titled:
A Painting of Reference and Memory: Referential Theatricality
A Painting of Pathos: The Breadth of Emotions
Painting the Process and the Gap: Processional ...Theatricality
The Correct Distance and the Area of Interiority: Humilitas
Matter and Essence: The Issue of Visual Registers
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