A survey of the literature suggests that media representations of ethnic minorities have been politically motivated by white ideology and it has explored methods that have been proposed as strategies for undermining this cultural dominance.
The struggle for control of representation is a crucial one, as representation does not merely reflect reality ‘as it is’, but forms that reality in the social environment by shaping perceptions and understandings in the audience.
As such it is imperative that research continues to interrogate representation with a critical eye, in order to develop new, radical methods of representation.
However, whilst inequalities prevail in representation, it is important to examine how individuals make sense of, and utilise existing representations in the construction of their identities.
A Roman walks into a bar, holds up two fingers, and says ”Five beers, please.”
i dont get it
No one explain it
After the Roman drinks the beers, he tells the bartender, “I want a martinus.”
"Don’t you mean a martini?”
"If I wanted two, I would’ve asked for them."
i cant stop laughing omg
Kanto Illustrations #050 - 073 - Created by Piper Thibodeau
Piper’s fantastic series to illustrate the entire Pokedex marches on, and here is the latest installment! As usual, Piper’s take on each Pokemon is fun, creative, and delightfully well executed. Be sure to follow along on Tumblr or Twitter for all the latest updates.
Just before the filming of X-Men 2, I was approached by Gordon Smith of FXSmith to come up with a tattoo design for the Nightcrawler. Gordon’s dilemma was the challenge of making the tattoos show up on the Nightcrawler’s blue-black skin. I suggested that an etched scarified effect, inspired by the traditional Maori moko would show up well and would give an added dimension if it were implied that the wounds were self-inflicted.
My challenge was to create a tattoo design that reflected the psychospiritual dimension of the character who was Roman Catholic and spoke High German. My wife Raven suggested angelic sigils (i.e. signatures) that would reflect the Nightcrawler’s faith, combined with alchemical symbols that emphasized his spiritual conflict because of his outward demonic appearance and sulphurous smell. The apparently opposing forces of spirit and form would be balanced and integrated into one harmonious expression of wholeness in the tattoo.
Initially Bryan Singer and his committee wanted only half the Nightcrawler’s face tattooed. After he saw my drawings, however, and heard our proposal, he decided on the whole face, and, later, the upper torso and arms. The writers had to rewrite parts of the script to incorporate the Nightcrawler’s tattoos in a new backstory of the character.
Gordon’s special effects team made casts of Alan Cumming’s face, torso and arms and I mapped the designs on the casts. I was later told that Alan found the whole plaster cast experience claustrophobic and anxiety-inducing; the FX team had to prematurely pull it off his face. Fortunately, the plaster cast stayed in one piece.
Prior to X-Men 2, the tattoos I was asked to do for films tended to be the stereotypical gang members and criminals. I am grateful that in X-Men 2, I was finally given the opportunity to express in a film the essence of tattoo as a spiritual healing art that realigns body and soul.