More than thirty years later, the prophetic nature of that whimsical dialogue enhances enjoyment of it, though many would claim it was a bit off in its assessment of comfort level. However, the prediction of universal face coverage resonates no less during the Covid-19 pandemic than does a bit of advice that Fezzik gives his fellow accomplice Inigo Montoya elsewhere in the film. As Montoya prepares to engage their pursuer in a sword fight, he tells his friend. "You be careful. People in masks cannot be trusted." In addition to the role of the mask in various health practices over time, representations in popular culture, theater, literary prose, and eventually in film provide a revealing account of human masking and unmasking over the centuries. America's tumult of mistrust and apprehension over pandemic face coverings in 2020 has unfolded as the latest chapter in the history of humans alternately covering their faces and leaving them unmasked. In particular, a selective examination of masking in other times, both in historical context and in the virtual venues of literature, reveals much about American society since the election of Donald Trump. In The Princess Bride the man in black, played by Cary Elwes, makes his way up the Cliffs of Insanity, through the Fire Swamp, [End Page 199] and into the Pit of Despair--fantasy destinations that again scream metaphorical comparisons to 2020. This tour, however, first provides historical context, then drops in on a couple of exceptionally garish masked balls from 19th and 20th century literature. They are the type of festivity that would be inconceivable for a non-literary party planner. Similarly, prior to the ascendancy of Donald Trump in politics, the unprecedented spectacle of his administration could scarcely have been conceived outside of fantasy. While the Pit of Despair is not a destination on this overview of mask culture, we will drop by 1600 Pennsylvania Avenue. Masks are optional there.
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December 29, 2021: Effective Thursday, December 30, 2021, new Health Officer Order rescinds the face mask amendments allowing fully vaccinated people to go unmasked in some limited settings. Everyone, regardless of their vaccination status, must mask in all indoor public settings.
In two studies, participants completed an emotion perception task where they had to assess the emotional similarity between a pair of unmasked faces. We measured how participants used two types of information to make their responses: First, participants could use purely visual cues, referring to the placement and shape of facial landmarks, such as eyebrows, nose, and mouth. For example, participants who used this type of cue might rate faces as similar if both pairs of eyes were opened wide, eyebrows were raised, and mouths were downturned. Second, participants could use affective cues, referring to the valence and arousal expressed by the faces. Participants who relied on this type of cue would rate faces as similar if they were both expressing negative emotions, such as disgust and anger, or dissimilar if they were expressing emotions of differing intensities, such as sleepy and surprised.
Indeed, as people shift their focus to the position of facial features, they do so at somewhat of a cost to the conceptual information present in the face as a whole. Specifically, we see the consequences of this shift in attention in our affective cue results: people are using arousal cues less. This shift to focusing on the physical locations of features rather than a more holistic view might also explain why we see an increase in mouth cues, despite the mouth largely being covered by masks during social interactions. If people are learning to shift to using the physical placement of facial components rather than more conceptual cues of the face as a whole, they might then have an increased sensitivity to the position of separate facial components and direct their attention to them when they are available. Another possible explanation for the decrease in arousal cues is that there may be a limit to the amount of facial information people process at any given time. If so, then focusing on the eye area of the face may detract from focus on arousal cues. To fully understand how face processing may be changing, future research would benefit from eye-tracking to confirm where people are attending as they observe emotional faces.
When hackers exploited a bug in Parler to download all of the right-wing social media platform's contents last week, they were surprised to find that many of the pictures and videos contained geolocation metadata revealing exactly how many of the site's users had taken part in the invasion of the US Capitol building just days before. But the videos uploaded to Parler also contain an equally sensitive bounty of data sitting in plain sight: thousands of images of unmasked faces, many of whom participated in the Capitol riot. Now one website has done the work of cataloging and publishing every one of those faces in a single, easy-to-browse lineup.
"This brilliant, innovative, and beautifully organized book on using masks for actor training is a real treasure. Internationally known teacher anddirector Eli Simon focuses on four systems of masking that illuminate the most important and enduring premises of acting technique. Simon's text proceeds smoothly from building and using full-face and bag masks through clowning, commedia, and improvisation in its steady progress toward improving the skills of young actors. Honed in one of the top actor training programs in the country, the exercises in Masking Unmasked celebrate the instantaneous transformations available to actors at all different skill levels." - Michael Flachmann, Professor of English at California State University, Company Dramaturg for the Utah Shakespearean Festival
The infamous growl performed by Christian Bale was much rougher in this movie than Batman Begins (2005), and has been parodied countless times due to its extreme nature. However, the common misconception is that Christian Bale was fully responsible for this voice. The real voice, during filming, was more toned down, and then heightened to a rougher, grittier vibe during post-production under the decision of writer, producer, and director Christopher Nolan.
The sky-hook device is, in contrast to many other Batman gadgets, not fictional. The full name is the "Fulton surface-to-air recovery system", and was developed in the 1950s by inventor Robert Edison Fulton, Jr., for the Central Intelligence Agency. The first pick-up of a human happened in 1958. The experience is described as less violent than that of opening a parachute.
In the original origin story of The Joker, he was disfigured by acid, whereas in this movie, it was done by a blade. This ties into the notorious 1947 murder and disfiguration of Elizabeth Short, who was referred to as "the Black Dahlia". The first time The Joker describes his scars, he says that they were made with a knife, and were intended to create a smile. When Elizabeth Short was killed, this is exactly what was done to her face. Until the Manson murders in 1969, the Short murder and mutilation represented the most hideous and deeply shocking crime in all of Los Angeles history. The concept in this movie, that The Joker had a smile carved into his face, adds to the terrifying nature of the character.
In an interview, the original TV Batman, Adam West, commented on the The Dark Knight Trilogy as well as the other more recent, darker iterations of the character: " West spoke candidly about modern versions of The Caped Crusader, calling for more humour and less angst. "The new movies, Batman is very full of vengeance and deep-seated angst and so on," West told a roundtable of journalists at New York Comic-Con while promoting the animated movie "Batman: Return Of The Caped Crusaders," via Den of Geek. "They're very dark." He added: "Enough violence. Let the costume work for you. And put a little humour into it. I think it's about time to relieve that all of that kind of attitude of vengeance and 'I can't take it anymore, I'm going home and I'm going to suck my thumb.'"'
The Joker's primary handgun/sidearm is a Glock 17-two tone converted to full-auto with a modification fittingly called a "giggle switch", with a stainless slide and a Glock 18 standard thirty-three-round magazine, which has been converted to full-auto as the gun lacks the Glock's 18's firing selector switch on the side of the slide. The movie's armorer referred to the gun as a Glock 18, but this is less of a mouthful then "Glock 17 converted to full-auto to resemble a Glock 18". Not to mention, he likely assumed no one would know the difference anyway. The armorer also mentioned how three Glocks were used, including two converted Glock 17s and one flashpaper model for close shooting scenes where blanks are harmful. To make the Joker's Glock sound more impressive, the sound editors mixed in the report of a GE M134 Minigun. Despite the extreme cyclic rate difference (roughly 1300rpm to 4000rpm), this sound fits quite nicely. This particular pistol had previously been used in the film Mr. & Mrs. Smith (2005).
Christopher Nolan designed Dent's scarred appearance in the film as one of the least disturbing, explaining, "When we looked at less extreme versions of it, they were too real and more horrifying. When you look at a film like Pirates of the Caribbean--something like that, there's something about a very fanciful, very detailed visual effect, that I think is more powerful and less repulsive." Framestore created 120 computer-generated shots of Dent's visage. Nolan felt using make-up would look unrealistic, as it adds to the face, unlike real burn victims. Framestore acknowledged they rearranged the positions of bones, muscles and joints to make the character look more dramatic. For each shot, three 720-pixel HD cameras were set up at different angles on set to fully capture Aaron Eckhart's performance. Eckhart wore markers on his face and a prosthetic skullcap, which acted as a lighting reference. A few shots of the skullcap were kept in the film. Framestore also integrated shots of Bale and Eckhart into that of the exploding building where Dent is burned. It was difficult simulating fire on Eckhart because it is inherently unrealistic for only half of something to burn. 2ff7e9595c
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