Sandero I

Dacia Sandero

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Infobox musical artist with missing or invalid Background field

Sandero III

In feminist theory, the male gaze is the act of depicting women and the world, in the visual arts and in literature, from a masculine, heterosexual perspective that presents and represents women as sexual objects for the pleasure of the heterosexual male viewer. In the visual and aesthetic presentations of narrative cinema, the male gaze has three perspectives: (i) that of the man behind the camera, (ii) that of the male characters within the film's cinematic representations; and (iii) that of the spectator gazing at the image. The concept was first used by the English art critic John Berger in Ways of Seeing, a series of films for the BBC aired in January 1972, and later a book, as part of his analysis of the treatment of women as objects in advertising and nudes in European painting. It soon became popular among feminists, including the British film critic Laura Mulvey, who used it to critique traditional media representations of the female character in cinema, and coined the phrase. The psychoanalytic theories of Sigmund Freud and Jacques Lacan are foundational in Mulvey’s development of a male gaze theory, as they provide a lens through which Mulvey was able to interpret the "primordial wish for pleasurable looking" satisfied through the cinematic experience. As a way of seeing women and the world, psychoanalytic theorizations of the male gaze involve Freudian and Lacanian concepts such as scopophilia, or the pleasure of looking. The terms scopophilia and scoptophilia identify both the aesthetic pleasures and the sexual pleasures derived from looking at someone or something. The male gaze is conceptually contrasted with the female gaze.

Draft AfC submissions

Renault Stepway (crossover)

Stub-Class biography (sports and games) articles

Pedro Nolasco Jústiz Rodríguez

Low-importance biography (sports and games) articles

Peruvanam Kuttan Marar is a chenda artist. He leads several popular traditional orchestra performances in Kerala. He is a recipient of Padma Shri award in the year 2011 for his contributions in the field of art.
M Sankara Narayanan

Renault Sandero

Pedro Nolasco Jústiz Rodríguez, better known as Peruchín (January 31, 1913 – December 24, 1977), was a Cuban pianist specializing in jazz-influenced Cuban popular music. He was an important figure in the 1950s descarga (jam session) scene in Havana, and one of the most influential Cuban pianists of the 20th century.

WikiProject Biography articles

Sandero II

Peruvanam Kuttan Marar

Peruchín

Male gaze

Money Heist

Template-Class football articles

Money Heist (Spanish: La casa de papel, "The House of Paper") is a Spanish heist crime drama television series created by Álex Pina. The series traces two long-prepared heists led by the Professor (Álvaro Morte), one on the Royal Mint of Spain, and one on the Bank of Spain. The narrative is told in a real-time-like fashion and relies on flashbacks, time-jumps, hidden character motivations, and an unreliable narrator for complexity. The series subverts the heist genre by being told from the perspective of a woman, Tokyo (Úrsula Corberó), and having a strong Spanish identity, where emotional dynamics offset the perfect strategic crime.

The 2018 U.S. Classic, known as the 2018 GK U.S. Classic for sponsorship reasons, is the 35th edition of the U.S. Classic gymnastics tournament. The competition was held on July 28, 2018, at the Schottenstein Center in Columbus, Ohio.

Money Heist (Spanish: La casa de papel, "The House of Paper") is a Spanish heist crime drama television series created by Álex Pina. The series traces two long-prepared heists led by the Professor (Álvaro Morte), one on the Royal Mint of Spain, and one on the Bank of Spain. The narrative is told in a real-time-like fashion and relies on flashbacks, time-jumps, hidden character motivations, and an unreliable narrator for complexity. The series subverts the heist genre by being told from the perspective of a woman, Tokyo (Úrsula Corberó), and having a strong Spanish identity, where emotional dynamics offset the perfect strategic crime. The series was initially intended as a limited series to be told in two parts. It had its original run of 15 episodes on Spanish network Antena 3 from 2 May 2017 through 23 November 2017. Netflix acquired global streaming rights in late 2017. It re-cut the series into 22 shorter episodes and released them worldwide, beginning with the first part on 20 December 2017, followed by the second part on 6 April 2018. In April 2018, Netflix renewed the series with a significantly increased budget for 16 new episodes total. Part 3, with eight episodes, was released on 19 July 2019. Part 4, also with eight episodes, was released on 3 April 2020. A documentary involving the producers and the cast premiered on Netflix the same day, titled Money Heist: The Phenomenon (Spanish: La casa de papel: El Fenómeno). In July 2020, Netflix renewed the show for a fifth and final part, which is scheduled for release in 2021. The series was filmed in Madrid, Spain. Significant portions of part 3 and 4 were also filmed in Panama, Thailand, and Italy (Florence). The series received several awards including Best Drama Series at the 46th International Emmy Awards, as well as critical acclaim for its sophisticated plot, interpersonal dramas, direction, and for trying to innovate Spanish television. The Italian anti-fascist song "Bella ciao," which plays multiple times throughout the series, became a summer hit across Europe in 2018. By 2018, the series was the most-watched non-English-language series and one of the most-watched series overall on Netflix, with a particular resonance coming from viewers from Mediterranean Europe and the Latin American world.

2018 U.S. Classic

Peruchín Jústiz

In feminist theory, the male gaze is the act of depicting women and the world, in the visual arts and in literature, from a masculine, heterosexual perspective that presents and represents women as sexual objects for the pleasure of the heterosexual male viewer. In the visual and aesthetic presentations of narrative cinema, the male gaze has three perspectives: (i) that of the man behind the camera, (ii) that of the male characters within the film's cinematic representations; and (iii) that of the spectator gazing at the image. The male gaze is conceptually contrasted with the female gaze.