PERCEPTION OF IMPERFECT MOVIE VIEWERS ON WOMAN’S BODY IMAGE: SOCIAL AND ISLAMIC PRESPECTIVES

Abstrak: Tujuan dilakukan penelitian ini adalah untuk mendeskripsikan mengenai persepsi penonton dalam menafsirkan dan mengevaluasi perilaku komunikasi artis dalam film Imperfect dan mendeskripsikan mengenai persepsi penonton tentang body image perempuan dan bagaimana agama islam memandang jika terjadi perubahan bentuk fisik yang di sengaja oleh manusia. Jenis penelitian ini adalah kualitatif dengan metode penelitian deskriptif. Teknik pengumpulan data yang digunakan yaitu dengan cara observasi, wawancara penonton, dan dokumentasi. Hasil penelitian ini menunjukkan bahwa film Imperfect merupakan film yang membawa kepada aura yang sangat positif tentunya bagi penonton, karena film ini mengajarkan kepada penonton film Imperfect untuk tidak lagi memandang dan melihat seseorang berdasarkan bentuk fisiknya saja yang terlihat sempurna, apalagi perempuan selalu dituntut untuk berpenampilan langsing dan menawan, dalam perspektif Agama Islam QS.At Tiin:4 telah dijelaskan bahwasanya “Allah telah menciptakan manusia dalam bentuk sebaik-baiknya”, dalam adegan tersebut Rara terlihat cantik setelah diet ekstreme selama 1 bulan, dia sebagai tokoh utama menampilkan berbagai ragam wanita dengan senyum bahagia tanpa harus mengambil jalan pintas yakni dengan cara operasi plastik. Diakhir film, pesan social yang disampaikan kepada para penonton yakni mengubah rasa Insecure menjadi lebih bersyukur karena kita diciptakan dengan berbagai kekurangan dan kelebihan masing-masing.

Queen Anne's Body in Stuart Court Sermons

This article aligns the 1605, 1606, and 1609 court sermons of Lancelot Andrewes with Ben Jonson's Masque of Blackness and Masque of Beauty (performed in 1605 and 1608, respectively) in order to argue that both genres politicize James VI and I's domestic life by commenting on Queen Anne's political and domestic roles. Scholars have examined the ways in which Anne's performance in the court masques allowed her to claim a sense of authority and agency over her body. Recent research on sermons has demonstrated how they were another form of court entertainment, more akin to masques and plays than we might expect, and that the sermon genre often commented on ongoing political and domestic situations in the Stuart court. Yet, scholars have not considered how the masques prompted a response from another popular court genre, the sermon. In placing these two genres—sermon and masque—alongside one another, I argue that Andrewes's patriarchal downplaying of the woman's body in the Biblical Nativity narrative is actually a response to Jonson's masques, rather than the normative touchstone of early modern understandings of gender and maternity. Considering Andrewes's view of the female body as a contrast to Jonson's display and celebration of the female body reveals multiple models for understanding maternity in the early modern period.

To the characteristics of the three phases of menopause in women

B. Tsondek (1930), analyzing the hormonal changes in the female body in menopause and menopause, distinguished the following three phases of menopause: 1) hyperfollicular, when a woman's body has a large amount of estrogenic hormone (hyperestrogenism), 2) hypoghormonal, or agormonal, when there is an extremely a small amount of both estrogenic and gonadotropic hormone of the pituitary gland, and 3) hypergonadotropic, when there is no estrogen hormone in the body at all, but there is a significant amount of gonadotropic hormone.

Patriarchy and Virginity Myth in the Mahābhārata

Scriptures are often used to make patriarchal control sacrosanct over women’s bodies. A stereotypical monogamous woman is generally idealised by patriarchy; Polyandrous Draupadī in the Mahābhārata, however, stands sharply in contrast and the epic struggles to legitimise it by different myths to soothe the moral discomfort. Principal women characters of the epic like Draupadī, Kuntī and Satyavatī having more than one man in their life suggest that during the early stages of development of the epic, the values that governed man–women relations were not as rigid as they became later. During the growth of the epic, the lives of these women characters were transformed according to patriarchal perception, which expects that a woman should be a virgin when a man marries her. As a way out, the epic repeatedly restores the virginity of these women characters. As men are considered as owners/protectors of womens’ bodies/sexuality, the restoration seems to have restored the sense of honour and also redeemed the transgressions of men who ‘soiled’ them. Obsession with virginity also indicates the attitude of the commodification of the woman’s body. These women characters are portrayed as passive, whose lives and bodies are manipulated according to men’s perception.

Nutrition for pregnant women: debunking the myths!

The basis of the normal course of pregnancy is a healthy lifestyle, including nutrition as the main component. It is necessary that the diet of a pregnant woman is balanced and contains the optimal amount of not only macro-, but also micronutrients. Vitamins and minerals obtained from food play an important role in the course of many metabolic processes that ensure the growth and development of fetal tissues, and, prevent intrauterine malformations. They are fundamental to ensuring the normal course and outcome of pregnancy. Additional intake of micronutrients is aimed at ensuring the increased physiological needs of a pregnant woman’s body associated with fetal growth, placenta formation, and restructuring of the mother’s body. In recent years, many myths have arisen about the nutrition of pregnant women, in our article we will discuss the most common.

Mitos Kecantikan Tubuh Wanita Pada Kakawin Smara Tantra

The concept of beauty attached to a woman's body does not only occur in the real world but also in literary works. Beauty myths form interpretations to women in the analyzed Smara Tantra kakawin. Beauty myths intimidate women in such a systematic and organized way. As long as women think that being beautiful according to the representation of society's glasses is an absolute necessity. Kakawin Smara Tantra, which is quite famous among Balinese people, only sees from the point of view of men the beautiful construction of women. Beauty myths created in kakawin Smara Tantra have shackled women so that women no longer respect themselves and only focus on physical form. Although the true beauty of women is not only radiated from the physical but must be balanced with beauty that comes from within (inner beauty).

New Women’s Biopics: Performance and the Queering of Herstor/ies

This article revisits the debates about the postfeminist biopic in the 21st century through the films Wild Nights with Emily (Olnek, 2018), Florence Foster Jenkins (Frears, 2016), The Favourite (Lanthimos, 2018) and particularly Colette (Westmoreland, 2018) to examine the ways in which new women’s biopics queer women’s histories. The article examines the debates about representation concerning the female biopic (Bingham 2010, Polaschek 2013), especially the problematic conflation of a woman’s body/sexuality with her body of work and proposes an analysis of screen biography as a filmic (that is, mediated) event open to non-normative identifications and desires. Biopics of women demand a shift in focus from representation to performance, both in relation to the actor’s function as the cornerstone of the biographical fiction and in relation to the performativity of the genre itself. Drawing on Landsberg (2015), I argue that new women’s biopics stage encounters between the spectator and the historical figure through different forms of mediation. In this respect, I examine the modalities of reflexive performance in connection with queer bodies and subjectivities in the first three films cited above, before moving on to a case study on Colette. Colette largely plays in the mid-Atlantic idiom of the postfeminist biopic (Polaschek 2013), including a non-imitative star turn by Keira Knightley, whose star persona is briefly analysed, yet the film’s queerness entertains a complex relationship with this postfeminist framework. While queer identities risk becoming diluted into the standard trajectory of female emancipation proposed by the film (a narrative invested with added urgency in the post-#MeToo moment), performance inflects this narrative differently: the intermedial mise-en-scène (particularly photographic posing, theatre, and dance) makes Colette a biopic equally concerned with the retrieval of women’s histories as with the production of the queer female self against the backdrop of patriarchal cultural industries.