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lar fine. But that has always interested me more is the question of the ambiguity of the gaze: obviously look at is own, but who is regarded also can catch. Be subject to the gaze of another can be an instrument of power. There are examples to cascoporro, but I've always found particularly interesting the battle scenes of front load washers, starting with the mutual gaze of troops. Looking and being looked converge in the same gesture that deals starkly with confrontation and power.

And that's where I wanted to go, because yesterday I had the pleasure of going to see 300 and as was the viewing Mulvey was thinking about military conflict since the film can be understood as a set of exhibitions and providesations really brutal, which converges minority force the mass of the powerful gaze (ie, Persian) in one point: their bodies held in the pass of Thermopylae. There

functions partly Mulvey's theory, the Spartans look like we're Persians, that is to assume the position of the predator. However, the potential of these bodies subject to discipline is much more acute. Seeing the reviews of the movie, athletic body of Leonidas and his followers are taken as a pretty fun. To me, all fascinated by the camera caresses me seem far more damn. These bodies are offered to male eyes, covered and scrutinized to excess. One example will suffice:

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The effect is so hyperbolic that I find tremendous (and saving me comment on the contrast with the accumulation of corpses of the first image). It is strange to contemplate both male body adjusted to the canon of beauty and exposed as an object of visual pleasure. There Mulvey fans would say that we trasnvestimos spectator spectators ... ehem. But I think that the excessive accumulation of distortion creates a very interesting (very consistent with the origin of the text, a comic book) that works the opposite way and raises many questions about the fantastic representation of the male body. For example, Mr. Tenbrink observed that were retouched ... obviously, as the perfect bodies of ldor into many other issues (the body as a supplement, the artificiality of disciplined meat, etc) ... in which I enter no not bored.

Conclusion 1: As my esteemed Rachilde said, "The chair, the chair fraîche, Souveraine puissance du monde." Conclusion 2: As fish a pirated version of the movie, I'm going to raise very serious use in the classroom, in the end and had planned a nice session on male bodies and masculinity more, with reasonably good material, but working this .. . can be delightfully devastating.