Adobe flash player essay

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Adobe flash player essay

Critics of the Adobe flash player essay novel Watchmen traditionally marginalize Laurie Juspeczyk Silk Spectre in favor of mapping out more overt complex characters like Dr.

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Even monographs on Alan Moore's fiction, such as Annalisa Di Liddo's otherwise illuminating study, fail to address both the archetypal referents and the psychological and sexual politics inherent to Laurie's character.

This essay, then, offers a corrective to the undervalued Silk Spectre, positioning her characterizations in the graphic novel and film against one another to assess each not in terms of historical fidelity to the other. Rather, the essay articulates why the visual choices that Snyder makes defuse so much of Laurie's sexual resistance found in Moore's text.

That is to say, Snyder's Watchmen fetishizes Laurie's initial sexuality, recapitulating that erotic power into a far more regressive and objectified passivity. Sketching out the criticism testifies to the disinterest with which scholars view Laurie. For example, in one of the first critical studies on WatchmenBrent Fishbaugh rightly attends to Laurie's trajectory in the narrative, but ultimately sees her as little more than a counterpoint to Rorschach.

Hughes's research concerns Watchmen in light of Louis Althusser's theory on the necessity of antagonistic classes as represented by Adrian Veidt Ozymandias and Jon Osterman Dr. While such an idea breathes new life into readings of the text's end, it neglects Laurie almost completely.

Elizabeth Rosen's analysis reveals a similar neglect even as it focuses on the role that nostalgia plays in forming Rorschach, Nite Owl, Sally Jupiter, and Ozymandias's identities. Again the lack of study on Laurie stands out. Brandy Ball Blake comes close to a sustained analysis in her examination of psychological trauma and the way Adobe flash player essay Laurie "contends with the rape of her mother" para.

Manhattan and the way that time, and his existence outside of it, complicates his traumas. Finally, although Bryan D. Dietrich is interested in how Laurie and Dan Dreiberg have "so descended into their alternate identities that they cannot remember how they are without the costume, without the cape," he too is ultimately more invested in how pictorial stains repeat and are alluded to throughout the course of Watchmen.

Time and again, Laurie Juspeczyk is treated like a secondary character in critics' analyses. The release of the Watchmen film, however, reveals anew the subtlety with which Moore and Gibbons instilled agency in Laurie.

Adobe flash player essay

These criticisms on Snyder's adaptation choices are not to be viewed through the restrictive and essentialist complaint about the filmic Watchmen 's lack of narrative fidelity. As film theorist Robert Stam notoriously asks, "Do not adaptations 'adapt to' changing environments and changing tastes, as well as to a new medium, with its distinct industrial demands, commercial pressures, censorship taboos, and aesthetic norms?

Stam's question, of course, is merely rhetorical. Any transfer of a text's medium or authorship will inevitably alter its meaning, however minutely, as the content is recoded and reinterpreted.

That itself is not the problem. What this essay analyzes is the extent to which Snyder's "changing tastes" reveal an adverse taxonomy of sexual objectification. Such a maneuver fetishizes Laurie, a character who works so resolutely in Moore and Gibbons's graphic novel to attain resistance from her familial and social objectification.

The filmic Watchmen thus simplifies Moore and Gibbons's most important female character into a subjectless object. It is best to briefly sketch Laurie's role in the Watchmen narrative. Laurie is thrown into the superhero mix by her mother Sally, the first Silk Spectre, who feels nostalgic about her crime-fighting past and tries to relive it through Laurie.

However, neither Sally nor Laurie is able to circumvent the power relations instituted by the patriarchal society in which they belong, so their respective empowerment can only be understood when constructed through sexuality.

Indeed, Laurie's costume is self-consciously designed to be form-fitting, with her mother sexualizing her as more of a fetish model than a crime-fighter.

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Picking up on this point, Sarah Donovan and Nick Richardson contend that "it is acceptable for women to be crime fighters and thereby take on a masculine social rolebut only if their femininity remains beyond question by their dressing according to a hyperfeminine social role " The filmic Watchmen tries to deconstruct notions of the sexualized woman by being overt about this kind of sexual construction, changing Laurie's costume from a short black skirt and yellow gauze material in the graphic novel to a seemingly intertextual gloss of Comic Bad Girl dominatrix garb through her latex and thigh-high boots Figures Such gross simplification misreads the extent of patriarchal dominion over Sally and Laurie and, furthermore, collapses all of patriarchy's desires onto Laurie herself.

Boodakian's notion of the culturally constituted gaze, despite lacking any visible referent to feminist film criticism, builds on Laura Mulvey's concept of a male gaze instituted through the apparatus of the camera. Indeed, remember Mulvey's central argument: In their traditional exhibitionist role women are simultaneously looked at and displayed, with their appearance coded for strong visual and erotic impact so that they can be said to connote to-be-looked-at-ness" Especially in the film, Laurie's costume seems constructed to such a mandate, offering a culturally determined and auto-surveyed objectification.

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Sadly, this notion of a patriarchally mediated costume extends far beyond Laurie's Silk Spectre identity. In both texts, the United States government tolerates her only insofar as they can depend on her body to placate Jon sexually. In their eyes she is only useful to keep him from becoming disinterested in protecting earth and, specifically, the United States.

Although both texts allow Laurie to be dismissive toward her costume, when Laurie enjoys a dinner conversation with Dan Dreiberg the Nite Owlthe filmic Watchmen adopts a facetious rather than critical tone. As the graphic narrative of Watchmen conceives of the scene, Laurie asks Dan, "Do you remember that costume?

With that stupid little short skirt and the neckline going down to my navel?Adobe player for TOEFL test Dear hannibal, It is a problem with your Flash player for sure and not our system because you are the only client right now to have such a problem.

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Think of three reasons why, and explain them in an informational essay. Remember to write a topic sentence, and provide details in each paragraph.

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