Life span and deep rooted fruitfulness are a couple of the reasons why a human might wish to end up the eponymous animal, clarifies Colin Farrell’s lead character at the start of “The Lobster.”
As in a society with rules of its own, the single or unendingly unattached people are required to live in a hotel where they have 45 days to locate a sentimental match or be transformed into their preferred creature. Lanthimos’ sci-fi presents us rules that are surrealistic and draw a line between us humans and animals. The results are inordinately strange and tiresomely glum, but in spots hideously funny.
We have seen different ways in which mainstream ideas regarding the self in the society have changed; self-identity is much more flexible than it used to be. Today, it appears to be more suitable to accentuate that, inside of limits, media is a power for change. The conventional perspective of a woman as a housewife or low-status laborer has been kicked out of the scene by strong “woman power” ideology. At the same time, very masculine ideas like toughness, manly-confidence and power have been demolishing. This has been happening in the past 10-15 years, however, it would not be appropriate to say mass media is not promoting masculinity or being sexist sometimes. Television programs like Bachelorette is one of them as an instance where women are shown as depended, powerless and unintelligent. Cinema as a form of mass media, has brought a lot into the discussion of conventional representation of gender. Far from heaven is one of the films in which the story points out both racial and sexual problems in 20th century, which we still experience those problems in our days. I believe that Far from heaven challenges conventional gender representation, thought, not very directly.
Continue reading ““Far from Heaven” challenging conventional gender roles”
A diagnosis of video games in popular culture is a convoluted one. A couple of decades back one could say that video games belonged in the niche market but as of now, they are one of the most popular modes of entertainment. Video games are technically softwares; a game is a written code with an engine running it with correlated graphics but this just the technical side. Excessive classification of games as softwares and game developing as software developing undoubtedly misrepresents the creative labor in this industry. There is a huge distinction between what goes into the production of a video game and “just programming”. The wide cluster of aptitude, expansive social marvel that encompasses games and the cutting edge technological and political-monetary framework that encompasses the game industry cannot and ought not to be caved in into the simple class of software. The creative collaborative work that is essential for the production of games is sufficiently imperative to be respected. Without a doubt, the development of programming frameworks has dependably been and will keep on being a piece of this action, yet it cannot be pushed into that particular classification. Continue reading “Are video games just software? Creative labor in video games.”