# data[].attributes.body
casanova has 3 nom de plume's; im keeping it here to make my feed fuller

1. giacomo casanova: promiscuous, lol the kind free sex dude, the one women loves, 'loves' victoria; @public
2. salvato: loves francesca, @francesca
3. bernardo guardi: @paprizzio, to trick him to not see francesca
(4. giovanni: "@the church", for fleeing purposes only)

((SCREAMS I LOVE CASACESCA SO MUCH))

l8er giovanni becomes giacomo for fleeing purposes; but hm wiki said he continued casanova's promiscuous adventures?? smh playboi he got for himself and his very own life a fyne chicc why he tryna look for more

(but yay to victovanni nonetheless)

# data[].attributes.body
(click here for the google docs ver.)

Casanova (2005) is a film that revolves around Giacomo Casanova, who was infamous for his promiscuity, and his adventure to find out what real love truly is. The story takes place in the heart of the Renaissance era, Venice, Italy.

His exposure to women as a player only taught him lust, leaving him in oblivion and confusing it and love together. Though (in)famous in women and the Inquisition that had been trying to catch him and succeeded, the Doge (the ruler of the city) was sympathetic towards him; he took custody of him before his imprisonment by Detective Dalfonso and therefore ordered him in a casual chat after the court to get married before something else happened.

Giacomo fell in "love" with Victoria, a young woman who had kept her virginity for so long only for the famous Giacomo Casanova she had always wanted to marry and... 'be married to'. It wasn't until he discovered another woman named Francesca, whose swordsmanship (and later, values and life principles) captivated him into curiosity, and eventually, deep trenches of love. He came across her when her brother, Giovanni, challenged him to a swordfight in jealousy towards Giacomo and Victoria's engagement, because he had long liked her first.

He then changed his identity, playing as a new man by the nom de plume Salvato- and a clean one too I guess; he overheard Francesca mentioning reserved pureness for the future partner. Besides, there was no way for a promiscuous Casanova to catch her attention.

Along the way to her heart, Salvato noticed that her mindset and values were different from other women; a new level of womanly virtues and its degree of demand. It prejudiced him, thinking that she might've already gotten a man behind the curtains.

(There was a point where Bishop Pucci from Vatikan took over the court and sent Detective Dalfonso into exile to the tropics.)

That made him very ambitious to spy on her daily life and all the jazz behind it; he discovered the illegal feminist books he didn't know she wrote under the nom de plume Bernardo Guardi. By that he came to a conclusion that there hadn't been any man to her yet, aside from her early engagement to Paprizzio, a rich man from Genoa.

The day of the latter's arrival in Venice, lovesick Salvato befriended Paprizzio, brought him to his house, told him that he was the famous Bernardo Guardi and kept him in as Salvato treated him with remedies that would help him look like the thinner version of him in the painting... for engagement imagery purposes, and the upcoming city ball. He then left him for Francesca's dwelling, again, changing his identity into Paprizzio (hence Francesca's fiance). He was the type to do anything to get his love in his reach.

Soon, the city ball came and everyone was welcome to join. This was where the identity chaos sparked. This particular man we had been setting the spotlight on attended the ball as both Giacomo Casanova (Victoria's fiance) and Paprizzio (Francesca's fiance). He was a fine actor indeed.

The court (which was in the hands of Pucci) wasn't aware of Casanova's multiple identities, so they had trouble hunting for him in the ball. With his interchanging masquerade masks, Pucci and his ministerial had to thoroughly solve puzzles from the core; from making sure that his house was empty (in which they found the true Paprizzio), finding out if the illegal author Bernardo Guardi was the real Bernardo Guardi (who was another man and illiterate, ironically), and searching throughout the ball.

The guise Paprizzio and Francesca went on a beautiful date on a hot air balloon when his tongue slipped and revealed his state of pretense. Remember her "reserved pureness" Casanova overheard? Francesca, who willingly set her walls down for and began truly falling in love with her first/one and only (assigned) "fiance", realized that she had been lied to (and betrayed), thus became so upset she brought the balloon down to land.

The court took advantage of this situation, caught the couple, and bought clarification to this identity chaos. Both Casanova and Francesca were sentenced to death by the Bishop, despite trying to spare each other's lives by taking allegations (aww). Casanova was guilty of his promiscuity, sexual abuse and act of adultery, while Francesca was guilty of her feminist books, that were considered as an unforgivable heresy.

Their supposedly execution took place in the town square on the Pope's birthday, but the Cardinal was late. Bishop Pucci was about to command execution (mostly to condemn Casanova as soon as possible) when the Cardinal came and announced the release of the couple, under the reason that it should be a happy day to everyone, regarding the Pope's birthday.

Pucci was left with no choice but to release the couple, until a kid scratched the paint on the carriage and became the party pooper. The set of people who came as Cardinal previously were busted as the second, this time real, Cardinal came to the town square.

The couple and their friends, families, and everyone else who were involved enough with Giacomo Casanova (and his other identities) and who were there to watch their supposedly execution made their run out of Venice before they got them. They made it to Paprizzio's merchant ship when Victoria's father decided to stay back as a true Venetian. His daughter had to stay back too; later, Giacomo and Giovanni exchanged identities, initially for runaway purposes, but the movie hints us other intended purposes Giovanni might had taken advantage of.

That leaves us with three couples on the boat; Giacomo-Francesca, the fake Cardinal-his wife, who was Giacomo's mother who left and promised him her return when he was younger, and Paprizzio-Andrea, Francesca's mother; to an unknown destination. And the movie ends with an older version of Casanova writing his works on women, especially the one woman he loved ever so dearly; Francesca Bruni. He had been a man of liberal expression indeed, but that makes us question, did he live the womanizing life after the runaway? Was he the same Casanova the Venetian women adored after marriage?

helluuu ;w;)/
(((theory/analysis time)))

I personally would like to associate this movie with the Conflict Theory in the 2nd chapter of 11th Grade Sociology; it includes interclass conflict, which in this case is the dominant Church/Cardinal being too strict on anti-feminism and liberal form of pleasure satisfaction, causing a social outbreak by Giacomo-Francesca;

AND the Role Conflict in the 3rd chapter, which I think has a similar concept to the Functionalist Theory in the 2nd chapter; both has something to do with the fulfillment of a role of a person/part of a society, in which if disrupted, may cause instability of the social order. The Role Conflict is much more corresponding to this movie than the Functionalist Theory, because it supports how Casanova had to switch between identities and their respective roles in accordance to what kind of situation (and women) he put himself into. It's not that he naturally had multiple roles that he became into so much conflict, both externally and internally; but rather by the women he had chosen to add identities and roles for, along with his real Casanova reality he had to simultaneously deal with.

~end

# data[].attributes.body
https://www.buzzfeed.com/jobarrow/these-stunning-illustrations-contain-powerful-messages-for-w?utm_term=.srb1lGOOg#.btylAMqqD

(open the link for more)

# data[].attributes.body
a study made by one of the graduate students from  University of Wisconsin (2003) stated that when a negative body image gets severe, it may contribute to several disorder, including body dysmorphic disorder, anorexia nervosa, and bulimia nervosa. a negative body image could also lead to anxiety, depression, lowered self-esteem, sexual dissatisfaction and dysfunction, and most importantly, low self-esteem and life satisfaction.

concluding this essay, we should all remember that self-esteem (also known as self-regard) is defined as people’s evaluations about their own worth, competence, and desirability; it's not limited to whether one feels physically "decent", it also involves the questioning of their holistic worth. not a little fail in overcoming this mental conflict and make unwanted--unnecessary--decisions, as we are all humans of the same worth.

https://www.youtube.com/watch?v=Xrp0zJZu0a4

# data[].attributes.body
the video proves that fashion magazines contribute in the downhill of self-esteem of readers, be it of any gender (women mostly on fashion magazines, men mostly on health magazines).

this is a sad truth, a cruel bite of the poisoned apple sheathed under coats of sugar, considering the irony of how the models are made prettier yet how readers are left with an ugly mirror.

(buzzfeed: women's ideal body type throughout history)

i'd like to associate this problem with the Symbolic Interaction Theory-labeling theory; and Injustice-stereotypes.

this whole thin-idea media problem wouldn't have been a problem if only the readers cease to not give too much thought of what beauty truly looks like. it all starts whether an individual interprets something as beneficial or harmful, good or bad, or anything else of opposition.

in this case, the magazine is the "sign" readers (as the "human") gives "meaning" to, unfortunately this time,  that is in a bad light. they interpret "ideal" figures these models have as a gauge/criterion to what being pretty--being happy--truly is, in which if attempted to reach, will cause nothing but harm, both physically and mentally. "unpretty"
people are the victims of this labeling theory that are, by the thin-ideal media, regarded as problematic. once they realize this, readers tend to "fix" themselves and change from being a member of the problematic to one of the purer or better, at the very least. Ellis-Ordway (1999) said “fat people participate in their own persecution, believing that their failure to be thin is due to some flaw within themselves, some lack of willpower."

the cultural stereotype that thinner people always have better lives also takes a big role in body dysmorphic disorder and depression. some people also take further decisions after that, for example, some women decided not to have any kids, fearing the pregnancy aftereffect of weight gain.