![]() ![]() In Interpretation of Dreams, Anna was stitched among others-her siblings, Freud himself, their family friends-to form the basis, the very evidence, for the workings of the unconscious. A friend of Freud’s recalled, “Regardless of which bell one rang,” for apartment or for office, “invariably the other one opened.” To make his theories, Freud turned not just to his patients but to his own family and intimate circle. These spaces materially overlapped, with the salon adjoining a family bedroom, and the waiting room through the wall of the salon. His laboratory was not just the clinic but the home. The father of psychoanalysis was also a father of a family. As a father, Freud gave his daughter her privacy while, as a theorist, he made her an example. Unwitting, Anna had fed her father the strawberry dream. She was a little experiment, the terms of which were only now being clarified. Outside of the dream, now an adolescent, Anna may have suffered and affirmed the shock and delight of recognizing herself in the sentences written down as theory. Dreams are the one place where we can have what we want. By possessing it in her dream, Anna stayed asleep, and for Freud, this is the function of dreams. With evidence from his children’s utterances, he tells us that the child’s wish was for a nonsexual kind of forbidden fruit. Because her nurse had decided she was ill due to them, her dream wish was “thus retaliating … against this unhappy verdict.” Anna’s desire for wild strawberries, Freud writes, illuminates what he called “wish fulfilment” in dreams. ![]() She wanted the kind that caused her sickness and persisted in her infantile desire for more anyway. Asleep, she listed out, according to her father’s record, an extensive menu of foods, starting with her own name: “Anna Fweud, stawawbewwies, wild stawawbewwies, omblet, pudden!” Sigmund then interprets the dream quite straightforwardly as a double, split desire for strawberries in two forms (both cultivated and wild). Anna had been ill throughout the day, vomiting. Then, leafing through those hundreds of pages, Anna spotted her name.Īmong her brothers’ and sisters’ dreams, there appeared one from when she was just nineteen months young. Young Anna perhaps fingered the gold chain on her neck, neatened the severe middle part of her hair while reading his seemingly endless volume on dream interpretation. By 1910, Sigmund Freud had completed some forty articles and several of his famous books. In the home where its key texts were written, perched on a ladder, the fifteen-year-old Anna Freud began her study of psychoanalysis. ![]()
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![]() a sequence of musical events) or within any competitive products that are sold or relicensed to multiple third parties.In these scenarios the Licensee must arrange an extension with Singomakers.This license is granted for a single user only (and is given on a worldwide basis). The Licensee MAY NOT use the Sounds in isolation as sound effects (i.e. The Licensee may use the Sounds in combination with other sounds in music productions (which include soundtracks of such as films, video productions, radio/TV programs or commercials, computer games and multimedia presentations, library music), public performances, and other reasonable musical purposes within musical compositions. All copying, lending, duplicating, re-selling or trading of this product or its content is strictly prohibited.Only the original purchaser of this product has the right to embody and reproduce the enclosed sound samples within their music compositions. The sound samples in this sample pack are licensed, not sold, to you to be reproduced within your original musical compositions only. "All Rights not expressly granted to the user are reserved. 3 from a dealer or distributor authorized by Big Fish Audio. This License is only valid for the individual who has purchased an unopened, new and lawfully made copy of Mainstage Trap Vol. The Following End User License Agreement is included with Mainstage Trap Vol. You will find your products in the "My Products" area of your account page. You can return to your Big Fish Audio account at any time and download your products. During this time you should download the file and expand it. *When ordering the download product from Big Fish Audio you will be given one or more links for each of your product purchases. Logic Sampler/NNXT/EXS24/Kontakt/Battery/WAV Download includes Logic Sampler/MIDI Files/NNXT/EXS24/Kontakt/REX/Battery/WAV Download includes Logic Sampler/Reason/MIDI Files/NNXT/EXS24/Kontakt/REX/Refill/Battery/WAV Download includes Logic Sampler/MIDI Files/NNXT/EXS24/Kontakt/Apple Loops/REX/Battery/WAV Download includes Logic Sampler/MIDI Files/NNXT/EXS24/Kontakt/REX/Battery/Live/WAV Download includes 63 Sampler Patches for Battery, EXS24, Kontakt2+ & NNXT 80 Drum Beats (40 Full Drum loops, 40 Top Loops) This wide variety of Complex Bass Loops, Experimental Melodies, Processed Vocals, Punchy Drums is suitable for many genres from Trap, Dubstep, Drumstep, EDM, Drum & Bass, Moombahton, Moombacore, Tropical Bass, Twerk, Electro House, Bass and a lot more!Īll samples in this pack are oversaturated by energy and have been processed by HQ studio equipment like Avalon VT 747, Manley Passive EQ, UAD-2, LA2A compressor, and a lot more!Īnd remember, when you get Singomakers samples - you get not only high quality samples from professionals of the sample industry, but you also get the most important thing - a huge piece of inspiration!Ĭheck this supercharged demo and grab your copy of Mainstage Trap 3 TODAY! In detail expect to find 1.08 Gb of wav 24 bit samples including 170 One Shots,ĥ0 Complex Bass Loops, 60 Synth Loops, 80 Drum Beats (40 Full Drum loops, 40 Top Loops), 30 Vocal Loops, 110 Midi Files, 80 FX, 240 Rex2 Files, 63 Sampler Patches, 20 Snare Rolls. Inspired by crowd shaking rhythms of Yellow Claw, Jack U, Diplo, Dillon Francis, Dope D.O.D, Skrillex, DJ Snake, Loudpvck, Jai Wolf, Zomboy and a more. And you can easily use your favorite hardware to control every nuance of your performance.Singomakers are back with volume 3 of their popular series - Mainstage Trap, a hot fusion of Trap, Dubstep and Trapstep. With the Mac as the core of your live rig, setup is faster, teardown is faster, and everything in between is more reliable. You’ll also find new features like an improved Mixer, easier-to-use channel strips, and more. ![]() You can even expand your show with prerecorded backing tracks. ![]() And use all your favourite hardware controllers. Sound as big as you want with backing tracks. You can use all your favourite instrument and effect plug-ins from Logic Pro. MainStage has something for every kind of performer. Apple MainStage 3 v3.6.6 macOS Team TNT | 08 December 2023 | 1.08 GB Collection of Plug-ins and Sounds ![]() ![]() ![]() Hitting Shift+Q will change the out point of any targeted tracks to reach the playhead position. I find this one particularly useful for quickly extending the duration of image assets that I’ve just added to a track. This isn’t a targeted function, so if you want to prevent specific tracks from being razored, make sure you’ve locked them off first.Įxtend preview edit to Playhead – Shift+Q Hitting W will Razor all the clips under the playhead and the ripple delete (collapse) them, while Q will razor and delete the clips before the playhead position. I’ll freely admit that I didn’t know about this one for an embarrassingly long time, despite the fact that it’s a primary editing function. The edit points will then be highlighted in red, and you can adjust them accordingly. To do this, hold down Ctrl as you draw a selection area over the required clips. For example, you might need to use the Rolling Edit tool ( N) on multiple clips to adjust their Out/In points simultaneously. ![]() Sometimes you might find yourself wanting to adjust edit points, rather than clips. Similarly, Shift+Up/Down will cycle through the next/previous edit points on all tracks, which I tend to use more often. If you’re working methodically through a clip sequence, then using Ctrl+Up will automatically select the next clip on the targeted tracks, and vice versa for Ctrl+Down. This isn’t a toggle, so repeating the command won’t deselect them-for that, you can just hit Ctrl+Shift+A (which is a modifier for the Select All command- Ctrl+A). If you want to select all of the clips on targeted tracks under the current playhead, just tap D on the keyboard. I’m going to assume that you already know the basics like the keys for switching editing modes, and toggling Snap To with S, but I reckon there might be one or two keyboard shortcuts in here that you may not have come across. So if you’re looking at where the greatest productivity gains are likely to be found, then this is probably the best place to start your search. The timeline is, quite literally, where the action is. Delete preferences and cache: Shift+Alt.Fullscreen previews: Ctrl+` (Accent Grave).Maximize panel under cursor: ` (Accent Grave).Select/deselect all tracks: Ctrl+Shift+click.Extend preview edit to Playhead – Shift+Q.I’m also assuming that you’re using a Latin-based keyboard with a US layout, and I’ll be using the term playhead and not CTI (current time indicator). Mac users should just swap Alt to Option and Ctrl to Cmd. Usual caveats: Just like I noted in my article on After Effects shortcuts, I’m a PC guy, so I’ll be listing my choices with the Alt / Ctrl key modifiers. And if you get to the end and find that I’ve missed something, please feel free to share it with the rest of the class in the comments section. So let’s take a look at some of the keyboard shortcuts and Premiere Pro tricks I use to make my edits move a little faster. Sadly, there’s not much I can do to move that looming deadline for you, but I think it’s likely that you’ll find a useful Premiere Pro keyboard shortcut or two below. That’s assuming that they look up from the monitor for long enough to hear you ask the question in the first place. Ask an editor “what do you want more of?” and their response is likely to be a hoarsely whispered “ Time… I just need more time.” ![]() ![]() ![]() To do this, grab your TV remote and follow these steps: Step 2: Enable Screen Mirroring on Your Samsung Smart TVīefore you can connect your smartphone to your Samsung Smart TV, you need to enable the screen mirroring feature on your TV. Stay tuned for the following steps, where we will guide you through enabling screen mirroring on your Samsung Smart TV and smartphone. Once you have confirmed that both your Smart TV and smartphone are compatible with screen mirroring, you are ready to proceed to the next step. However, for the purpose of this guide, we will focus on the built-in screen mirroring feature offered by Samsung. There are alternative methods available, such as using third-party apps or devices like Chromecast, that can enable you to connect your smartphone to your TV. If your Smart TV or smartphone is not compatible with screen mirroring, don’t worry. If present, it indicates that your smartphone is compatible with screen mirroring. To check if your device supports this feature, go to the Settings menu, look for the Display or Connections options, and check for a screen mirroring or Smart View option. Samsung smartphones running on Android 4.4.2 or later versions usually have the screen mirroring option. Next, confirm that your smartphone is compatible with screen mirroring. You can refer to the user manual or visit the Samsung website for detailed information about your TV’s compatibility. However, it’s always a good idea to verify if your specific model supports this feature. Most Samsung Smart TVs that were released in recent years come equipped with built-in screen mirroring functionality. Start by checking the specifications of your Smart TV. The first step in connecting your smartphone to your Samsung Smart TV is to ensure that both devices are compatible with screen mirroring. ![]() ![]() (Maybe because he's the owner of the hotel and even the evilest of villains know not to bite the hand that feeds them?) Either way, though, this is just one more facet of Evan Peters' character that I find both extremely fascinating and downright terrifying. It's still not clear how March is able to control the demon. He keeps the Addiction Demon from attacking her so long as she doesn't mettle in his affairs and does his bidding. That's when March rips into Sally, reminding her of the deal that they've made. But before the deed is done, March cuts him down - he needs John alive if he's to carry out his murderous work. Sally is in love with John and wants to be with him forever, so having him become a ghost would be like a dream come true for her. In a flashback, we see Sally standing idly by as John attempts to commit suicide (via hanging) in his hotel room at the Cortez. Like the fact that, apparently, Sally isn't the one who's able to control the Addiction Demon's actions after all - Mr. However, "The Ten Commandments Killer" revealed an interesting piece of intel about this formidable foe. So I was beginning to think he just served as a sort of one-off nightmare that wouldn't contribute much to the main storyline. Yeah… remember that guy? We haven't seen or heard much from this vile creature since he brutally violated Max Greenfield in the season premiere, aside from a few brief elevator appearances. March's connection to the AHS: Hotel Addiction Demon. ![]() But while the majority of the episode was dedicated to his perilous journey down a murderous rabbit hole, there were a few non-John related details worth noting - such as Mr. Max Greenfield just showed up for half a split second in the newest promo for American Horror Story: Hotel, and hes nearly unrecognizable in his role of 'creepy guy under the bed.' We. March… The Countess… Sally - they all played significant roles in creating the killer that John became. (Spoiler alert: it doesn't.) But regardless of how you felt about this not-so-shocking twist, there's no denying that the American Horror Story: Hotel writers did a nice job of piecing everything together in a neatly wrapped (and downright bloody) bow. I keep thinking that if I repeat this statement long enough it will feel less disappointing. (Max Greenfield), a previous victim who is sewn into the mattress in the room in which she is staying. They stopped by the makeshift flower bouquet stand on the way out to pick up some freshly cut flowers.John Lowe is the 10 Commandments Killer. Naomi Campbell plays a Vogue Editor in AHS: Hotel. She brings it to her new home in Mountain View. A security-oriented commercial for 'Aura' and testimonial from an Aura customer convinces Jaslyn Taylor to purchase the smart doorbell system. After moving into a new home, a married couple is terrorized by a cryptic visitor. Also in attendance was Cat Deeley and Nigel Lythogoe from the Emmy-nominated So You Think You Can Dance. 'Aura' is the second episode of the second installment of American Horror Stories. Max attended the Fox soiree with his wife, casting executive Tess Sanchez, who is due with their second child later this month. In case you're wondering though, New Girl doesn't start filming again until October, so Max has plenty of time to get back to his natural shade of dark brown. Here are the results: Leslie Grossman (AHS: Cult) - 200 votes. In case you dont know, to see which actors who havent appeared more than one season should return, including Cult newcomers. ![]() American Horror Story: Hotel has concluded, and the cast is an eclectic mix of creator Ryan Murphy's veterans, plus alums from his other shows, like. AHS Cast survey results : r/AmericanHorrorStory. Ryan Murphy recently said in Vanity Fair that we'll see Max "like we never have before," which pretty much hit the nail on the head if you're going by this look. The Full Cast of American Horror Story: Hotel. The striking blond color is for Max's new role on the upcoming season of American Horror Story: Hotel, which premieres on FX in October. Take a look: Max spent time chatting with New Girl director-and The Grinder executive producer-Jake Kasdan. Thanks to a bottle of peroxide-and some major confidence-Max Greenfield might as well have been at Fox's TCA party last night for a new show called New Guy. Needless to say, this is not the Schmidt we remember. ![]() ![]() ![]() ![]() ![]() Notwithstanding anything to the contrary in the Outsourcing Software Management clause, Customer’s VDA E3 and E5 Licensed Users may remotely access Windows software under these Remote Virtualization rights on any Listed Provider’s Servers dedicated to Customer’s use. Dedicated Servers that are under the management or control of an entity other than Customer or one of its Affiliates are subject to the Outsourcing Software Management clause. If all permitted Virtual OSEs are used Customer may use the Physical OSE only to host and manage the Virtual OSEs.Īny user of a Licensed Device, or any device used by a Licensed User, may remotely access up to four Virtual OSEs or one Physical OSE of Windows software acquired through a volume licensing agreement on (a) device(s) dedicated to Customer’s use. Licensed Users may run Windows software acquired through a volume licensing agreement on up to four Virtual OSEs locally on devices licensed with a Qualifying Operating System. This local use right applies to VDA Per Device licenses only if the Licensed Device is also licensed with a Qualifying Operating System. It will allow organizations to create multiple desktops dynamically, enable user access to multiple virtual machines (VMs) simultaneously, and move desktop VMs across multiple platforms, especially in load-balancing and disaster recovery situations. You may run Windows software acquired through a volume licensing agreement on up to four Virtual OSEs locally on Licensed Devices. Windows VDA is a device-based subscription license. This provision does not apply to SLs acquired under the Microsoft Cloud Agreement and Microsoft Customer Agreement or by way of the Student Use Benefit. Windows Virtual Desktop is a free service and can be used with your existing Microsoft 365 or Windows per user license. The virtual machines can be run directly on a. Software Assurance) applies to the following licenses. VDA for thin client licensing is an annual subscription license available in Microsoft Volume Licensing. Windows software acquired through a volume licensing agreement may only be installed or activated on devices licensed to run one of the qualifying operating systems (OS) below: These remote virtualization rights can be accessed/used through any of the listed licenses provided that they have not been purchased under a Microsoft Cloud Agreement (aka CSP) and Microsoft Customer Agreement or by way of the Student Use Benefit.īear in mind, that local virtualization and local physical OSE use rights however require the licensed user's devices to be licensed through a qualifying OS, you can find below which Windows 7 editions suffice. There's no need to license separate copies of Windows 10 Pro for such use (remote virtual access/use of Windows instances on a dedicated server) because the stipulated rights permit both access/use of such virtual instances of Windows 10 Pro without a qualifying OS, and the applicable rights also permit down-editioning from Enterprise to Pro, hence the licensed users can avail of Windows 10 Pro without any further license. Windows Enterprise E3 licensed users are entitled to avail of the below stipulated remote virtualization rights, which means that each licensed user is permitted to remotely access 4 virtual instances of Windows on a dedicated device or on a dedicated, on-premise server. Wei Apologies for the delay in response and all the inconvienince caused because of the issue. ![]() ![]() ![]() Changes in the source code, trigger automated builds to analyze the The next sections describe the development process driven by a change-based strategy, followed by aĬontinuous integration approach. Where they have proved valuable for improving the reliability of software produced in the scientific Software development process of the former European Commission-funded project INDIGO-DataCloud, The following sections describe the quality conventions and best practices that apply to theĭevelopment phase of a software component within the EOSC ecosystem. “RECOMMENDED”, “MAY”, and “OPTIONAL” in this document are to be interpreted as described in RFC 2119 The keywords “MUST”, “MUST NOT”, “REQUIRED”, “SHALL”, “SHALL NOT”, “SHOULD”, “SHOULD NOT”, Providing recommendations on external security assessment. Lower the barriers of software adoption by delivering quality documentation and the utilizationĮncourage secure coding practices and security static analysis at the development phase while Validated by the automated execution of the relevant tests.Īdopt an agile approach to effectively produce timely and audience-specific documentation. Propose a change-based driven scenario where all new updates in the source code are continuously Improve the quality and reliability of software by covering different testing methods at Promote code style standards to deliver good quality source code emphasizing its readability and Set the base of minimum SQA criteria that a software developed within EOSC development projectĮnhance the visibility, accessibility and distribution of the produced source code through theĪlignment to the Open Source Definition. Upcoming software development efforts within the European research community, and continuouslyĮvolve in order to be aligned with future software engineering practices and security The result is a consolidated Software Quality Assurance (SQA) baseline criteria emanated from theĮuropean Open Science Cloud (EOSC), which aims to outline the SQA principles to be considered in the These guidelines evolved throughout the project’s lifetime and are being extended in theĮOSC-Synergy, as well as the past DEEP-Hybrid-DataCloud and This document has been tailored upon the recommendations and requirements found in the Initial Planįor Software Management and Pilot Services deliverable Received funding from the European Union’s Horizon 2020 research and innovation programme under The INDIGO-DataCloud, DEEP-Hybrid-DataCloud, eXtreme-DataCloud and EOSC-Synergy projects have Copyright NoticeĬopyright © Members of the INDIGO-DataCloud, DEEP Hybrid-DataCloud eXtreme DataCloud andĮOSC-Synergy collaborations, 2015-2021. To conform a Software Quality Assurance plan to serve as a reference within the European researchĮcosystem related projects for the adequate development and timely delivery of software products. The purpose of this document is to define a set of quality standards, procedures and best practices National Institute of Nuclear Physics (INFN) Universitat Politècnica de València (UPV) Laboratory of Instrumentation and Experimental Particle Physics (LIP) Spanish National Research Council (CSIC) Institute of Physics of Cantabria (IFCA) A set of Common Software Quality Assurance Baseline Criteria for Research Projects A set of Common Software Quality Assurance Baseline Criteria for Research ProjectsĪ DOI-citable version of this manuscript is available at. ![]() ![]() ![]() And if you’re like most people, you don’t really know where to put them all. If you’re like most people, you have a lot of receipts. You can use it to track your spending, find deals, and get tips from the Expensify community. ![]() It also integrates with accounting software like QuickBooks or NetSuite to keep track of your expenses.Įxpensify is a mobile app that helps you save money on your expenses. The new iPhone app, Mileage, integrates with your phone’s GPS sensor to track your mileage and import credit card transactions. It has a variety of features that make it easy to keep track of your spending. The snap feature is also very helpful.Įxpensify is a great app for managing expenses. This is important when you don’t have a lot of time to deal with them. The app is great for travelers because it saves time when you’re trying to save receipts. This makes it easy to see what was bought and when. It’s been awarded many times, so it’s definitely worth checking out.Įxpensify lets you snap a picture of the receipt, and it will process the receipt photo to pull out all the important details. Expensify #Įxpensify is a great app for scanning and managing receipts. Scanning receipts with the ExpensifySmart Receipts app: ABUKAI ExpensesGenius ScannerClear ScannerTiny ScannerOffice LensFitfin Budget AppZoho. Receipts by Wave for Business: ABUKAI ExpensesGenius ScannerClear ScannerTiny ScannerOffice LensFitfin Budget AppZoho Some great apps for scanning and managing receipts include: There are many great apps for scanning and managing receipts. The best receipt scanning apps were those that were easy to use and had high quality scans. ![]() ![]() ![]() ![]() ![]() Find discussions, screenshots, artwork, videos, news, guides and reviews from other LEGO: Universe fans and players. This persisted until the middle of 2015, when in early June a series of agreements and understandings caused the LUNI Server Project to be re-understood, re-represented, and relaunched in a way where development would be much easier and a community could be effectively formed. Join the Steam Community group for LEGO: Universe, a game that lets you create and play with LEGO models in a virtual world. This caused a severe split in the community (most notably among the developers, many of whom decided to work on further development privately). LEGO Universe was a Massively Multiplayer Online Game created by The LEGO Group and NetDevil, a Denver, Colorado based gaming company. Eventually, the LUNI Server Project was formed, and later was granted limited permission ( view e-mail) from The LEGO Group to continue the project.Īround August 2013, a large scale disagreement started, focused around the re-hosting of the LUNI Server software. At this point, users actively looked for possibilities for the game to be preserved. Interactive Entertainment, launched on October 26th, 2010, and closed on January 30, 2012, with news of the closure coming a few months earlier. LEGO Universe, a game developed by NetDevil in partnership with The LEGO Group and distributed by Warner Bros. LUNI ( LEGO Universe Newly Imagined, previously an acronym for LEGO Universe or Leggendary Universe Nations Iperspace) is a not-for-profit effort by fans creating a server emulator for the MMOG LEGO Universe, written in C++ utilizing RakNet and MySQL, as well as other tools for the web-based management interface. ![]() ![]() ![]() Neo looks, and the Agent’s gun points directly at the camera, aligning the three looks (author’s screen grab).The woman in the red dress walks past Neo, also locking eyes with him (author’s screen grab).Neo looks, and in the next shot the police officer returns his look (author’s screen grab).A false eyeline match suggests that this symbol for “stop” is what Cypher sees (author’s screen grab).Cypher’s “elevator eyes” emphasize how he objectifies Trinity (author’s screen grab). ![]() Cypher is in focus as Trinity’s exit functions as an in-camera wipe effect (author’s screen grab).Cypher and Trinity continue speaking in two shots (author’s screen grab).Cypher and Trinity speak, as the scene cuts back and forth between them (author’s screen grab).A reverse shot shows Trinity noticing Cypher watching her (author’s screen grab).Trinity closes the door, revealing Cypher (author’s screen grab).Something catches Neo’s attention, and the film cuts so we see what he sees (author’s screen grab).A classic screen siren distracts the protagonist in The Matrix (1999) (author’s screen grab).Instead, The Matrix gives us something very different-a set of symbols deconstructing this formal device and warning us to think carefully about how we look. ![]() We anticipate indulging in the visual pleasures of narrative cinema. When we see the male character looking, we expect to see what he sees. Like the earlier cut, there’s a playfulness to this moment generated from the audience’s knowledge of how the male gaze is supposed to work. Here, the red silhouette and red dress evoke the bloody specter of castration and are eventually superseded by a phallic symbol: the gun. The symbolism here is almost comically on the nose, for the male gaze is designed to diffuse the anxiety provoked by the image of the castrated woman. The cut reveals that the woman in the red dress was actually Agent Smith all along, not a sexy screen siren but, similar to the police officer, another representative of the law. When the looks of the character, camera, and spectator are aligned, this pretense that the actress is not aware that she is being watched permits the audience to indulge in the pleasures of sadistic voyeurism.įigure 12: Neo looks, and the Agent’s gun points directly at the camera, aligning the three looks Although the camera isn’t aligned with Cypher’s perspective, this moment encapsulates a power dynamic that is central to the male gaze: the fiction that the actress on screen is unaware of being watched by the character within the film or the audience outside the film. As she closes the door, a shot framed from behind Trinity reveals that she is being watched by Cypher. Trinity leaves Neo’s room, deep in thought. Initially, the sequence uses formal techniques to reveal how the male gaze is structured and to convey its disquieting sadism. Instead, it begins when Trinity drops off some food beside the sleeping Neo. But this seductive character, reminiscent of Marilyn Monroe, isn’t where the sequence begins. This sequence introduces the protagonist Neo to the infamous “woman in a red dress,” a computer simulation designed to be maximally appealing to heterosexual male desire. The Matrix accomplishes this through a sequence toward the middle of the film that takes audiences from the reality of the rebel ship to a training simulation built to resemble the oppressive artificial world that is the film’s namesake: the matrix. It also reveals the crucial importance of form in structuring-and deconstructing-the male gaze.įigure 2: Something catches Neo’s attention, and the film cuts so we see what he sees As a result, the film offers a feminist cinematic experience produced through, rather than against, the formal strategies of dominant, popular cinema. Moreover, it does so through exploiting the very techniques that produce the male gaze in cinema: shot reverse-shot editing patterns that can be used to align the camera and the audience’s perspective with the diegetic look of the male character. Through close reading a sequence from The Matrix, I show how the film examines, mocks, and punishes the male gaze. This claim is only potentially counter-intuitive, for although The Matrix may appear at first glance to be addressed primarily to teenage boys, it is part of a filmography that Cael Keegan has shown is powerfully and compellingly trans, queer, and feminist. This time, I’ll be arguing that the male gaze is interrogated and policed in the Wachowski sisters’ sci-fi blockbuster The Matrix (1999). ![]() Now, I want to look at another potentially counter-intuitive iteration of the gaze. In my first column for Flow, I discussed how the Magic Mike franchise-which might appear to cater to heterosexual female desire-serves as a powerful demonstration of the persistence of the male gaze in popular cinema. Figure 1: A classic screen siren distracts the protagonist in The Matrix (1999) ![]() |
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