title: Body image

text: Greater importance was soon placed on fitness. Actress Farrah Fawcett introduced a more toned and athletic body type. The exercise craze continued in the 1980s with Jane Fonda and the release of workout videos, motivating women to be thin but fit and svelte. This era also saw the rise of tall, long-legged supermodels, such as Naomi Campbell and Cindy Crawford, who set a new beauty standard for women around the world.


title: Body image

text: In the 1990s, supermodel Kate Moss popularized the stick-thin figure instead. The fashion industry pushed her image further with the heroin chic look, which dominated the catwalks during that time.: waifish appearances, bony structures, thin limbs, and an androgynous figure. Although this extreme period was short-lived, the 2000s saw the rise of the Victoria's Secret models, who altered beauty norms to include slim but healthy figures, with large breasts and bottoms, flat and visible abs, and prominent thigh gaps. More women pursued cosmetic surgery practices, on top of diets and exercise regimes, to attain the perfect appearance.


title: Body image

text: As of 2017, efforts to promote a better body image have included an emphasis on fitness and plus-size models in the fashion and media industries. However, the advancement of technologies and pressures from the media have led to even greater importance being placed on the way we look as an indication of our personal value.


title: Body image

text: Advancements in communication technology have resulted in a "platform of delivery in which we intercept and interpret messages about ourselves, our self-worth, and our bodies." Social media in particular has reshaped the "perfect body". Apps and filters retouch images to make people look beautiful, often with inconsistent ideals for hair, body type, and skin tone.


title: Body image

text: According to a study by Dove, only 4% of women thought they were beautiful, while approximately 70% of women and girls in the UK believed the media's portrayal of impractical beauty standards fueled their appearance anxieties. As a result, the U.S. Department of Health and Human Services reported that, 91% of women were mostly unhappy with their bodies, while 40% will consider cosmetic surgery to fix their flaws.


title: Body image

text: "Social currency for girls and women continues to be rooted in physical appearance". Women "all over the world are evaluated and oppressed by their appearances", including their ages, skin tones, or sizes.


title: Body image

text: Many advertisements promote insecurities in their audiences in order to sell them solutions, and so may present retouched images, sexual objectification, and explicit messages that promote "unrealistic images of beauty" and undermine body image, particularly in female audiences.


title: Body image

text: Body dissatisfaction creates negative attitudes, a damaging mentality, and negative habits in young women.


title: Body image

text: The emphasis on an ideal female body shape and size is especially psychologically detrimental to young women, who may resort to grooming, dieting, and surgery in order to be happy. A negative body image is very common among young adult women. "The prevalence of eating disorder development among college females is especially high, with rates up to 24% among college students." Body dissatisfaction in girls is associated with increased rate of smoking and a decrease in comfort with sexuality when they're older, which may lead them to consider cosmetic surgery.


title: Body image

text: Global eating disorder rates such as anorexia and bulimia are gradually rising in adolescent girls. The National Eating Disorders Association, reported that 95% of individuals who suffer from an eating disorder are aged 12 to 26, and anorexia is the third-most-common illness among teenagers. Teenage girls are most prone "to internalize negative messages and obsess about weight loss to obtain a thin appearance".


title: Body image

text: The pressure on women and girls "to cope with the effects of culturally induced body insecurity" is severe, with many reporting that "their lives would be better if they were not judged by their looks and body shape, [as] this is leading to low self-esteem, eating disorders, mental health problems and depression."


title: Body image

text: "Cultural messages about beauty (i.e. what it is, how it should be cultivated, and how it will be rewarded) are often implicitly conveyed through media representations of women."


title: Body image

text: Women who compare themselves to images in the media believe they are more overweight than they actually are. One reason for this is because "idealised media images are routinely subjected to computer manipulation techniques, such as airbrushing (e.g. slimming thighs and increasing muscle tone). The resulting images present an unobtainable 'aesthetic perfection' that has no basis in biological reality."


title: Body image

text: However, other researchers have contested the claims of the media effects paradigm. An article by Christopher Ferguson, Benjamin Winegard, and Bo Winegard, for example, argues that peer effects are much more likely to cause body dissatisfaction than media effects, and that media effects have been overemphasized. It also argues that one must be careful about making the leap from arguing that certain environmental conditions might cause body dissatisfaction to the claim that those conditions can cause diagnosable eating disorders.


title: Body image

text: When female undergraduates were exposed to depictions of thin women their body satisfaction decreased; when they were exposed to larger models, it rose. Many women engage in "fat talk" (speaking negatively about the weight-related size/shape of one's body), a behavior that has been associated with weight dissatisfaction, body surveillance, and body shame. Women who overhear others using fat talk may also experience an increase in body dissatisfaction and guilt.


title: Body image

text: Monteath and McCabe found that 44% of women express negative feelings about both individual body parts and their bodies as a whole. 37.7% of young American males and 51% of young American females express dissatisfaction with their bodies.


title: Body image

text: In America, the dieting industry earns roughly 40 billion dollars per year. A Harvard study (Fat Talk, Harvard University Press) published in 2000 revealed that 86% of teenage girls are on a diet or believe they should be on one. Dieting has become common even among very young children: 51% of 9- and 10-year-old girls feel better about themselves when they are on diets.


title: Body image

text: Similarly, media depictions idealizing a muscular physique have led to body dissatisfaction among young men. As many as 45% of teenage boys may suffer from Body Dysmorphic Disorder (BDD), a mental illness whereby an individual compulsively focuses on self-perceived bodily flaws. Men may also suffer from muscle dysmorphia and may incessantly pursue muscularity without ever becoming fully satisfied with their physiques.


title: Body image

text: Research shows that the greatest impact on men’s criticism of their bodies comes from their male peers, including likeminded individuals or potentially people they admire who are around the same age, as opposed to romantic partners, female peers, or male relatives like fathers or brothers.


title: Body image

text: 18% of adolescent males were most worried about their weights and physiques (Malcore, 2016); 29% frequently thought about their appearances.; 50% had recently complained about the way they looked.


title: Body image

text: 25% of males report having been teased about their weight, while 33% specify social media as the source for self-consciousness. Following celebrities on social media sites makes it possible to interact personally with celebrities, which has been shown to influence male body image. A number of respondents also admitted to being affected by negative body talk from others.


title: Body image

text: The ideal male body is perceived to feature a narrow waist and hips, broad shoulders, a well-developed upper body, [and] toned "six-pack" abs. The figure may be traced back to an idealized male doll, G.I. Joe. The "bulked-up action heroes, along with the brawny characters in many video games, present an anatomically impossible ideal for boys, much as Barbie promotes proportions that are physically impossible for girls." Boys who are exposed to depictions of muscular warriors who solve problems with their fists may internalize the lesson that aggression and muscles are essential to masculinity.


title: Body image

text: 53% of boys cited advertisements as a "major source of pressure to look good; [though] social media (57%) and friends (68%) exerted more influence, while celebrities (49%) were slightly less persuasive". In spite of this, 22% of adolescent boys thought that the ideals depicted by the media were aspirational, while 33% called them healthy.


title: Body image

text: A cross-cultural analysis of the United States and South Korea focusing on social media found that between South Korean men and American men, Korean men are more likely to have a higher self image the more they post, both are susceptible to negative self-image as a result of social media usage, however American men are more likely than Korean men to experience negative self-esteem as a result of social media usage.


title: Body image

text: Many teenage boys participate in extreme workouts and weight training, and may abuse supplements and steroids to further increase muscle mass. In 2016, 10.5% acknowledged the use of muscle-enhancing substances, while 5 to 6% of respondents admitted to the use of steroids. Although dieting is often overlooked, a significant increase in eating disorders is present among men. Currently, 1 out of 4 men suffer from eating disorders, while 31% have admitted to purging or binge eating in the past.


title: Body image

text: Men often desire up to 26 pounds of additional muscle mass. Men who endorse traditional masculine ideas are more likely to desire additional muscle. The connection between masculinity and muscle can be traced to Classical antiquity.


title: Body image

text: Men with lower, more feminine waist–hip ratios (WHR) feel less comfortable and self-report lower body esteem and self-efficacy than men with higher, more masculine, WHRs.


title: Body image

text: Although body dissatisfaction is more common in women, men are becoming increasingly negatively affected. In a longitudinal study that assessed body image across time and age between men and women, men placed greater significance on their physical appearances than women, even though women reported body image dissatisfaction more often. The difference was strongest among adolescents. One theory to explain the discrepancy is that women have already become accustomed and desensitized to media scrutiny.


title: Body image

text: Studies suggest that the significance placed upon body image improved among women as they got older; men in comparison showed little variation in their attitude. Another suggested that "relative to men, women are considerably more psychologically aware of their appearances. Moreover, women's greater concern over body image has a greater impact on their daily lives."


title: Body image

text: As men and women reach older age, body image takes on a different meaning. Research studies show that the importance attached to physical appearance decreases with age.


title: Body image

text: The desire to lose weight is highly correlated with poor body image. Kashubeck-West "et al." reported that when considering only men and women who desire to lose weight, sex differences in body image disappear.


title: Body image

text: In her book "The Beauty Myth", Naomi Wolf reported that "thirty-three thousand women told American researchers they would rather lose ten to fifteen pounds than achieve any other goal." Through repeated images of excessively thin women in media, advertisement, and modeling, thinness has become associated with not only beauty, but happiness and success. As Charisse Goodman put it in her article, "One Picture is Worth a Thousand Diets", advertisements have changed society's ideas of beauty and ugliness: "Indeed to judge by the phrasing of the ads, 'slender' and 'attractive' are one word, not two in the same fashion as 'fat' and 'ugly.'"


title: Body image

text: Research by Martin and Xavier (2010) shows that people feel more pressure from society to be thin after viewing ads featuring a slim model. Ads featuring a larger sized model resulted in less pressure to be thin. People also felt their actual body sizes were larger after viewing a slim model as compared to a larger model.


title: Body image

text: Many, like journalist Marisa Meltzer, have argued this contemporary standard of beauty to be described as anorexic thinness, an unhealthy idea that is not representative of a natural human body: "Never before has the 'perfect' body been at such odds with our true size."


title: Body image

text: However, these figures do not distinguish between people at a low or healthy weight who are in fact overweight, between those whose self-perception as being overweight is incorrect and those whose perception of being overweight is correct.


title: Body image

text: Post-1997 studies indicate that around 64% of American adults are overweight, such that if the 56%/40% female/male dissatisfaction rates in the "Psychology Today" study have held steady since its release, those dissatisfaction rates are if anything disproportionately low: although some individuals continue to believe themselves to be overweight when they are not, those persons are now outnumbered by persons who might be expected to be dissatisfied with their bodies but are not.


title: Body image

text: In turn, although social pressure to lose weight has adverse effects on some individuals who do not need to lose weight, those adverse effects are arguably outweighed by social pressure's positive effect on the overall population, without which the recent increases in obesity and associated health and social problems (described in both popular and academic parlance as an "obesity epidemic") would be even more severe than they already are.


title: Body image

text: Overweight children experience not only discrimination but overall body dissatisfaction, low self-esteem, social isolation and depression. Because of the negative stigma, the child may suffer severely from emotional and physical ailments that could persist past childhood into adulthood.


title: Body image

text: The association of light skin with moral virtue dates back at least to the medieval era, and was reinforced during the Atlantic slave trade. The medieval theory that all races had originated from the white race was an early source of the longstanding association of white bodies and beauty ideals with "normality," and other racial phenotypes as aberrant. The 1960s Black is Beautiful movement explicitly attempted to end that mindset.


title: Body image

text: A lack of racial diversity in the fashion industry contributes to body image issues among non-white minorities. A 2003 experiment presented 3 photographs of attractive white, black and Asian women to white, black and Asian students. The study concluded that Asian women found the photograph of the white woman most attractive, and reported high levels of body dissatisfaction.


title: Body image

text: Mexican American women who have been attuned to mainstream US culture reported greater body dissatisfaction and have described their ideal body types to be similar to a white norm. Although ethnicities naturally have different body types, this ideal has led to disordered eating amongst Latinas.


title: Body image

text: Plastic surgery is popular in Asia as a means of Westernizing facial features; rhinoplasty and blepharoplasty may be employed to make noses and eyelids look more Caucasian.


title: Body image

text: Skin lightening products are also prevalent even in countries where non-white ethnicities are the majority, and the industry makes billions of dollars every year. In India alone, whitening products make up 45% of the skin care market. Some whitening cosmetics have dangerous side effects; hydroquinone causes irritation and leukemia while mercury causes rashes and exogenous ochronosis, the discoloration of the skin resulting in black and blue discoloration.


title: Body image

text: In spite of these effects, industries like the fashion industry have not significantly featured women of color (and when they have, the women may have either been significantly "whitewashed" – with digitally lightened skin and hair – or may already have features that are considered "white").


title: Body image

text: There is no scientific consensus on how a person's sexuality affects their body image. For example, a 2013 study found that lesbian-identifying women reported less body dissatisfaction than did heterosexual women. In contrast, a 2015 study found no differences in weight satisfaction between heterosexual and lesbian and bisexual women, and no differences in the amount of pressure to be thin they experienced from the media, sexual partners, friends or family. This research did find that heterosexual women were more likely to have internalised the thin ideal (accepted the Western concept that thinness equals attractiveness) than lesbian and bisexual women. Lesbian and bisexual women have said that while they are often critical of mainstream body size/shape ideals these are still the ideals that they feel social pressure to conform to. In a study conducted in 2017, Henrichs-Beck and Szymanski claimed that lesbian gender definition within the lesbian culture may dictate whether or not they are dissatisfied with their bodies. They suggested that lesbians who identified as more stereotypically 'feminine' were at greater risk of body dissatisfaction, while those who identified as more 'butch', were traditionally more satisfied with their bodies. Qualitative research with non-heterosexual women found that female sexual/romantic partners were a source of both body confidence and concerns. These women reported that while they compared their body size and shape to that of their partner, and could feel more self-conscious if their partner was slimmer than them, their attractions to women who did not conform to the narrow Western definition of ‘beauty’ gave them confidence in their own appearance.


title: Body image

text: A 2005 study found that gay men were more likely than straight men to have body image dissatisfaction, diet more, and were more fearful of becoming fat. There is some evidence to link the sexual objectification of gay males and heterosexual females by men in general as a reason for increased numbers in these groups for eating disorders and stimulants addictions. Bisexual people have historically been overlooked within body image research, either subsumed under gay/lesbian labels or ignored completely.


title: Body image

text: Fashion industry insiders argue that clothes hang better on tall, thin catwalk models, but critics respond that an overemphasis on that body type communicates an unhealthy and unrealistic body image to the public.


title: Body image

text: Fashion magazines directed at females subtly promote thinness and diet practices, and teenagers heavily rely on them for beauty and fashion advice. "Seventeen" in particular recorded one of the highest number of articles devoted to appearances; 69% of girls reported that it had influenced their ideal body shapes. 50% of advertisements featured also used beauty appeal to sell products. The U.S. Department of Health and Human Services reported that 90% of teenage girls felt a need to change their appearances, and that 81% of 10-year-olds were already afraid of being fat. According to a survey by the Manchester Metropolitan University, "self-esteem and views of body image suffered after the participants were shown magazine pictures of models, [suggests] that media portrayal of images can prolong anorexia and bulimia in women and may even be a cause of it". A 2014 survey of 13- to 17-year-old Americans found that 90% "felt pressured by fashion and media industries to be skinny", and that 65% believed that the bodies portrayed were too thin. More than 60% habitually compared themselves to models, and 46% strove to resemble models' bodies.


title: Body image

text: According to "Dove's Global Beauty And Confidence" report, "a total of 71% of women and 67% of girls want to call on the media to do a better job portraying women of diverse physical appearance, age, race, shape and size." In addition, 67% of men now strongly believe that it is unacceptable for brands to use photo manipulation techniques to alter the body image of a model.


title: Body image

text: In response, the fashion magazine industry has made efforts to include 'real' women, and to reduce or ban the use of airbrushing tools. Likewise, fashion brands and retailers adopt vanity sizing in their assortments to intentionally raise a customer's self-esteem while shopping in stores. This involves labeling clothes with smaller sizes than the actual cut of the items, to trick and attract the consumer.


title: Body image

text: Fashion models themselves have experienced negative body image due to industry pressures: 69% were told to tone up, while 62% reported that their agencies had required them to lose weight or change their body shapes. 54% of models revealed that they would be dropped by their agencies if they failed to comply. Models frequently have underweight body mass index (BMI): a study published in the International Journal of Eating Disorders discovered that a majority of models had a BMI of 17.41, which qualifies as anorexia. In the past twenty years, runway models have also transformed from a typical size 6–8 to 0–2. The average weight of an American model was recorded to be twenty-three percent less than an average American woman. In 2006, the fashion industry came under fire due to the untimely deaths of two models, Luisel Ramos and Ana Carolina Reston, both of whom had suffered from eating disorders and been severely underweight. Other models endure intensive exercise regimes, diets, fasts, and detoxes; in order to maintain or lose weight. In addition, 17% have admitted to stimulant abuse, while another 8% frequently engaged in self-induced vomiting to induce weight loss.


title: Body image

text: Various jurisdictions have taken steps to protect models and promulgate healthier body image. The UK and US have pursued social education campaigns. Spain, Italy, Brazil, and Israel prohibit models from working with a BMI below 18.5. France similarly forbids the employment of extremely skinny models, and requires medical certificates to verify their health.


title: Body image

text: France is also working on ensuring retailers specify when an image is airbrushed in magazines, websites, and advertisements, although it is unclear whether consumers are already aware of digital retouching techniques.


title: Body image

text: Some brands voluntarily promote better body images. Fashion conglomerates Kering and LVMH recently "announced that they will no longer hire models smaller than a U.S. size 2". in hopes of improving the working conditions of models and inspiring others to follow suit. Critics have objected that to ban size-zero models from working constitutes discrimination or thin-shaming. Moreover, the announcement of a small minimum dress size, which does not fit the average body type of most countries, continues to "send the message that super slim body types is the 'ideal'".


title: Body image

text: Plus-size models are slowly emerging in mainstream media, which may improve body image. Prominent plus-size models include Ashley Graham, the face of popular plus-size retailer Lane Bryant, and Iskra Lawrence, a classified role model for lingerie and swimwear retailer aerie. Christian Siriano cast five plus-size models for his New York Fashion Week shows. Siriano also made global headlines after he designed a gown for plus-sized actress Leslie Jones when other designers would not.


title: Body image

text: Models have notably used Instagram as a tool to "encourage self-acceptance, fight back against body-shamers, and post plenty of selfies celebrating their figure". In the U.S., a group of plus-size models launched the #DearNYFW campaign, which targeted the fashion industry's harmful approach towards their bodies. This movement was broadcast across different social media platforms, with other models using the hashtag to share their experiences, in hopes of persuading the American fashion industry to start "prioritizing health and celebrate diversity on the runway".


title: Body image

text: Fashion photographer Tarik Carroll released a photo series titled the "EveryMAN Project" to showcase large-framed queer and transgender men of color, with the purpose of "challenging hyper-masculinity and gender norms, while bringing body-positivity to the forefront".


title: Body image

text: The lack of fashion-forward plus-size clothing in the fashion industry has given rise to the #PlusIsEqual movement. High-street brands such as Forever 21 and ASOS have increased plus-size product offerings. Other brands include Victoria Beckham's, who plans to release a range of high-street clothing with sizes up to XXXL, and Nike, which expanded its plus-size collection sizes 1X to 3X. In response to the criticism that the term plus-size caused unnecessary labeling, Kmart replaced its numerical sizing with positive tags such as, "lovely" and "fabulous" instead.


title: Body image

text: Another tactic to promote body positivity has been to protest against photo retouching. In 2014, the Aarie Real campaign promised to display "campaign spreads and brand imagery with stomach rolls, gapless thighs and other perceived flaws that would normally have been edited out of the ads". Neon Moon, a feminist lingerie brand from London, advocates the beauty of flaws, instead of the need to retouch its models for aesthetic purposes. Campaigns often feature a range of "diverse models and lack of airbrushing as a marketing tool". U.S. e-tailer ModCloth explored other methods, such as employing its own staff as models for its swimwear collection.


title: Body image

text: Beauty standards are being enforced and shaped by social media. Users are constantly bombarded by notifications, posts, and photos about the lives of others, "sending messages about what we could, should, or would be if we only purchased certain products, made certain choices, or engaged in certain behaviors". Despite the ability to create and control content on social media, the online environment still enforces the same beauty standards that traditional media promoted. Over-engagement with social networking platforms and images will lead to unattainable ideas of beauty standards which ultimately results in low self-esteem and body image issues.


title: Body image

text: A study by the Florida Health Experience found that "87% of women and 65% of men compare their bodies to images they consume on social and traditional media." They also found that users felt like they got more positive attention towards their body if they altered it in some way. A study by the University of South Australia discovered that individuals who frequently uploaded or viewed appearance-related items were more likely to internalize the thin ideal.


title: Body image

text: Applications such as Instagram have become a "body-image battleground", while the "selfie" is now the universal lens which individuals use to criticize their bodies and others. Facebook and Snapchat also allow users to receive appearance approvals and community acceptance through the ratio of views, comments, and likes. Since individuals who use social media platforms often only display the high points of their lives, a survey by Common Sense Media reported that 22% felt bad if their posts were ignored, or if they did not receive the amount of attention they had hoped for. Instagram is ranked at the most detrimental to mental health according to a study done by the Royal Society for Mental Health. The increased use of body and facial reshaping applications such as Snapchat and Facetune has been identified as a potential cause of body dysmorphia. Social media apps that have body altering filters contribute to body image issues which most often result in eating disorders and body dysmorphia. Recently, a phenomenon referred to as 'Snapchat dysmorphia' has been used to describe people who request surgery to look like the edited versions of themselves as they appear through Snapchat Filters.


title: Body image

text: Many users digitally manipulate the self-portraits they post to social media. According to research by the Renfrew Center Foundation, 50% of men and 70% of 18 to 35-year-old women edited their images before uploading. 35% of respondents were also actively concerned about being tagged in unattractive photos, while 27% fretted about their appearances online.


title: Body image

text: Reports have also shown that the messages delivered by "fitspiration" websites are sometimes identical to the "thinspiration" or pro-anorexia types. This is evident through "language inducing guilt about weight or the body, and promoted dieting". The marketing of restrictive diets to young women as a form of self care can cause "increasingly disordered eating", and orthorexia, an obsession with the right and wrong types of food.


title: Body image

text: In an international study of social media apps, photo-based social media apps, predominately Facebook, Instagram and Snapchat, are found to have a negative impact on the body image of men more than non photo-based social media apps.


title: Body image

text: On the other hand, social media has created unrealistic beauty standards. Many individuals are mentally and physically struggling to keep a healthy mind and body. Men and women often harm themselves by trying all sorts of diets or taking all sorts of pills to look like their favorite influencers and celebrities, unfortunately often times the look of the people they idealized is the result of medical procedures. In fact, more and more influencers and celebrities change the way they look, with the help of medical procedures. For example, the “plump lip” trend appeared years ago advertised by celebrities which resulted in an increase of 759% in botox procedures since the 2000s. We can also notice that the images that are posted every day on social media are idealized and unrealistic resulting from society's unreasonably high expectations.


title: Body image

text: In an attempt to tackle such issues, the UK launched a national campaign called Be Real, after findings showed 76% of secondary school students who learnt about body confidence in class felt more positive about themselves. The goal of this movement was thus to improve body confidence through educational resources provided to schools, and persuading the media, businesses, and the diet industry to endorse different body shapes and sizes instead.


title: Body image

text: Social media platforms such as Instagram have banned the use of "thinspiration and "thinspo" related hashtags. Other solutions include the promotion of hashtags such as #SelfLove and #BodyPositivity, and the promotion of "transformation photos", side-by-side images displaying an individual's fitness or weight-loss progress, which users have utilized to showcase the deceptiveness of social media. In an effort to alleviate eating disorders, Eating Disorder Hope launched the Pro-Recovery Movement, a live Twitter chat encouraging sufferers to celebrate self-love and a positive body image, through recovery subject matters.


title: Body image

text: Project HEAL introduced a campaign called #WhatMakesMeBeautiful, with the aim of celebrating admirable attributes other than appearance.


title: Body image

text: There have been recent demands for social media sites to highlight photos that have been edited and prevent universal publication.


title: Body image

text: Companies in France who want to avoid a fine must label their post if the image has been altered for enhancement.


title: Body image

text: Body image can be measured by asking a subject to rate their current and ideal body shape using a series of depictions. The difference between these two values is the measure of body dissatisfaction.


title: Body image

text: There are currently more than 40 "instruments" used to measure body image. All of these instruments can be put into three categories: figure preferences, video projection techniques, and questionnaires. Because there are so many ways to measure body image, it is difficult to draw meaningful research generalizations. Many factors have to be taken into account when measuring body image, including gender, ethnicity, culture, and age.


title: Body image

text: One of the most prominent measures of body image is Figure Rating Scales, which present a series of body images graded from thin to muscular or from thin to obese. The subject is asked to indicate which figure best represents their current perceived body, and which represents their ideal or desired body. Bodies depicted in figure rating scales are either hand-drawn silhouettes, computer rendered images, or photographic images.


title: Body image

text: One study showed each participant a series of images of himself or herself with either increased weight or decreased weight. Each participant was asked to respond to the pictures, and their startle and eyeblink response were measured. "Objective, psychophysiological measures, like the affect modulated startle eyeblink response, are less subject to reporting bias."


title: Body image

text: BASS is a 9-item subscale of the Multidimensional Body-Self Relations Questionnaire. It uses a rating scale from −2 to +2 and assesses eight body areas and attributes and overall appearance (face, hair, lower torso, mid-torso, upper torso, muscle tone, height, and weight).


title: Body image

text: Questionnaires can have confounding variable responses. For instance, "Acquiescent response style (ARS), or the tendency to agree with items on a survey, is more common among individuals from Asian and African cultures."


title: Body image

text: As well as being dissatisfied with their body sizes, exposure to idealized images of thin bodies is associated with overestimation of one's own body size. Recent research suggests that this exposure to images of thin bodies may cause a recalibration of the visual perceptual mechanisms that represent body size in the brain, such that the observer sees subsequently-viewed bodies, including their own bodies, as heavier than they really are, a process known as "visual adaptation". There is evidence that individuals who are less satisfied with their bodies may spend a disproportionate amount of time directing their visual attention towards unusually thin bodies, resulting in an even greater overestimation of the size of subsequently-viewed bodies. Further evidence suggests that a similar mechanism may be at play in people (particularly young men) who underestimate their muscularity, such as those suffering from muscle dysmorphia. The nature of the interaction between body size and shape misperception and body dissatisfaction is not yet fully understood, however.


title: The Wife of Bath's Tale

text: "The Wife of Bath's Tale" () is among the best-known of Geoffrey Chaucer's "Canterbury Tales". It provides insight into the role of women in the Late Middle Ages and was probably of interest to Chaucer himself, for the character is one of his most developed ones, with her Prologue twice as long as her Tale. He also goes so far as to describe two sets of clothing for her in his General Prologue. She holds her own among the bickering pilgrims, and evidence in the manuscripts suggests that although she was first assigned a different, plainer tale—perhaps the one told by the Shipman—she received her present tale as her significance increased. She calls herself both Alyson and Alys in the prologue, but to confuse matters these are also the names of her 'gossib' (a close friend or gossip), whom she mentions several times, as well as many female characters throughout "The Canterbury Tales".


title: The Wife of Bath's Tale

text: Geoffrey Chaucer wrote the "Prologue of the Wife of Bath's Tale" during the fourteenth century at a time when the social structure was rapidly evolving during the reign of Richard II; it was not until the late 1380s to mid-1390s when Richard's subjects started to take notice of the way in which he was leaning toward bad counsel, causing criticism throughout his court. It was evident that changes needed to be made within the traditional hierarchy at the court of Richard II; feminist reading of the tale argues that Chaucer chose to address through "The Prologue of the Wife of Bath's Tale" the change in mores that he had noticed, in order to highlight the imbalance of power within a male-dominated society. Women were identified not by their social status and occupations, but solely by their relations with men: a woman was defined as either a maiden, a spouse or a widow – capable only of child-bearing, cooking and other "women's work".


title: The Wife of Bath's Tale

text: The tale is often regarded as the first of the so-called "marriage group" of tales, which includes the Clerk's, the Merchant's and the Franklin's tales. But some scholars contest this grouping, first proposed by Chaucer scholar Eleanor Prescott Hammond and subsequently elaborated by George Lyman Kittredge, not least because the later tales of Melibee and the Nun's Priest also discuss this theme. A separation between tales that deal with moral issues and ones that deal with magical issues, as the Wife of Bath's does, is favoured by some scholars.


title: The Wife of Bath's Tale

text: The tale is an example of the "loathly lady" motif, the oldest examples of which are the medieval Irish sovereignty myths such as that of Niall of the Nine Hostages. In the medieval poem "The Wedding of Sir Gawain and Dame Ragnelle", Arthur's nephew Gawain goes on a nearly identical quest to discover what women truly want after he errs in a land dispute, although, in contrast, he never stooped to despoliation or plunder, unlike the unnamed knight who raped the woman. By tradition, any knight or noble found guilty of such a transgression (abuse of power) might be stripped of his name, heraldic title and rights, and possibly even executed.


title: The Wife of Bath's Tale

text: Dr. Jodi-Anne George suggests that the Wife's tale may have been written to ease Chaucer's guilty conscience. It is recorded that in 1380 associates of Chaucer stood surety for an amount equal to half his yearly salary for a charge brought by Cecily Champaign for "de rapto", rape or abduction; the same view has been taken of his "Legend of Good Women", which Chaucer himself describes as a penance.


title: The Wife of Bath's Tale

text: However, new scholarly work was reported in October 2022 stating that the court documents from 1380 have been misinterpreted and that mention of "raptus” were related to a labor dispute in which Chaucer hired a Cecily Chaumpaigne before she was release from her previous employer.


title: The Wife of Bath's Tale

text: The Wife of Bath's Prologue is by far the longest in "The Canterbury Tales" and is twice as long as the actual story, showing the importance of the prologue to the significance of the overall tale. In the beginning the wife expresses her views in which she believes the morals of women are not merely that they all solely desire "sovereignty", but that each individual woman should have the opportunity to make the decision. The Wife of Bath speaks against many of the typical customs of the time, and provides her assessment of the roles of women in society.


title: The Wife of Bath's Tale

text: The Wife of Bath particularly speaks out in defence of those who, like her, have married multiple times. As a counterargument, she mentions many holy men who have had multiple wives:


title: The Wife of Bath's Tale

text: Through this quote, she addresses why society should not look down on her or any other woman who has wed to multiple men throughout their life. The tale confronts the double standard and the social belief in the inherent inferiority of women, and attempts to establish a defence of secular women's sovereignty that opposes the conventions available to her.


title: The Wife of Bath's Tale

text: 5 times, argues that women are morally identical to men who have also had more than one spouse. Double standards for men and women were common and deeply rooted in culture.


title: The Wife of Bath's Tale

text: There was a knight in King Arthur's time who raped a fair young maiden. King Arthur issues a decree that the knight must be brought to justice. When the knight is captured, he is condemned to death, but Queen Guinevere intercedes on his behalf and asks the King to allow her to pass judgment upon him. The Queen tells the knight that he will be spared his life if he can discover for her what it is that women most desire, and allots him a year and a day in which to roam wherever he pleases and return with an answer.


title: The Wife of Bath's Tale

text: Everywhere the knight goes he explains his predicament to the women he meets and asks their opinion, but "No two of those he questioned answered the same." The answers range from fame and riches to play, or clothes, or sexual pleasure, or flattery, or freedom. When at last the time comes for him to return to the Court, he still lacks the answer he so desperately needs.


title: The Wife of Bath's Tale

text: Outside a castle in the woods, he sees twenty-four maidens dancing and singing, but when he approaches they disappear as if by magic, and all that is left is an old woman. The Knight explains the problem to the old woman, who is wise and may know the answer, and she forces him to promise to grant any favour she might ask of him in return. With no other options left, the Knight agrees. Arriving at the court, he gives the answer that women most desire sovereignty over their husbands, which is unanimously agreed to be true by the women of the court who, accordingly, free the Knight.


title: The Wife of Bath's Tale

text: The old woman then explains to the court the deal she has struck with the Knight, and publicly requests his hand in marriage. Although aghast, he realizes he has no other choice and eventually agrees. On their wedding night the old woman is upset that he is repulsed by her in bed. She reminds him that her looks can be an asset—she will be a virtuous wife to him because no other men would desire her. She asks him which one he would prefer—an old and ugly wife who is true and loyal, or a beautiful and young woman, who may not be faithful. The Knight responds by saying that the choice is hers. Happy that she now has the ultimate power, he having taken to heart the lesson of sovereignty and relinquished control, rather than choosing for her, she promises him both beauty and fidelity. The Knight turns to look at the old woman again, but now finds a young and lovely woman. The old woman makes "what women want most" and the answer that she gave true to him, sovereignty.


title: The Wife of Bath's Tale

text: The Wife of Bath ends her tale by praying that Jesus Christ bless women with meek, young, and submissive husbands and the grace to break them.


title: The Wife of Bath's Tale

text: The Wife of Bath's Prologue simultaneously enumerates and critiques the long tradition of misogyny in ancient and medieval literature. As Cooper notes, the Wife of Bath's "materials are part of the vast medieval stock of antifeminism", giving St. Jerome's "Adversus Jovinianum", which was "written to refute the proposition put forward by one Jovinianus that virginity and marriage were of equal worth", as one of many examples.


title: The Wife of Bath's Tale

text: As author Ruth Evans notes in her book, "Feminist Readings in Middle English Literature: the Wife of Bath and All her Sect", the Wife of Bath embodies the ideology of "sexual economics," wherein described as the "psychological effects of economic necessity, specifically on sexual mores." The wife is described as a woman in the trade of textiles, she is neither upper-class or lower, strictly a middle-class woman living independently off of her own profit. The Wife of Bath sees the economics of marriage as a profitable business endeavor, based solely on supply and demand: she sells her body in marriage and in return is given money in the form of titles and inheritance. She is both the broker and commodity in this arrangement.


title: The Wife of Bath's Tale

text: The Wife of Bath's first marriage occurred at the age of twelve which highlights the lack of control that women and girls had over their own bodies in medieval Europe as children were often bartered in marriage to increase family status. By choosing her next husbands and subsequently "selling herself," she is able to regain some semblance of control and ownership over her body and the profit is solely hers to keep.


title: The Wife of Bath's Tale

text: The simple fact that she is a widow who has remarried more than once radically defies medieval conventions. Further evidence of this can be found through her observation: "For hadde God commanded maydenhede, / Thanne hadde he dampned weddyng with the dede." She refutes Jerome's proposition concerning virginity and marriage by noting that God would have condemned marriage and procreation if He had commanded virginity. Her decision to include God as a defence for her lustful appetites is significant, as it shows how well-read she is. By the same token, her interpretations of Scripture, such as Paul on marriage, are tailored to suit her own purposes.


title: The Wife of Bath's Tale

text: While Chaucer's Wife of Bath is clearly familiar with the many ancient and medieval views on proper female behavior, she also boldly questions their validity. Her repeated acts of remarriage, for instance, are an example of how she mocks "clerical teaching concerning the remarriage of widows". Furthermore, she adds, "a rich widow was considered to be a match equal to, or more desirable than, a match with a virgin of property", illustrating this point by elaborating at length concerning her ability to remarry four times, and attract a much younger man.


title: The Wife of Bath's Tale

text: While she gleefully confesses to the many ways in which she falls short of conventional ideals for women, she also points out that it is men who constructed those ideals in the first place.


title: The Wife of Bath's Tale

text: That does not, however, mean they are not correct, and after her critique she accepts their validity.


title: The Wife of Bath's Tale

text: Both Carruthers and Cooper reflect on the way that Chaucer's Wife of Bath does not behave as society dictates in any of her marriages. Through her nonconformity to the expectations of her role as a wife, the audience is shown what proper behaviour in marriage should be like. Carruthers' essay outlines the existence of deportment books, the purpose of which was to teach women how to be model wives. Carruthers notes how the Wife's behaviour in the first of her marriages "is almost everything the deportment-book writers say it should not be." For example, she lies to her old husbands about them getting drunk and saying some regrettable things. Yet, Carruthers does note that the Wife does do a decent job of upholding her husbands' public honour. Moreover, deportment books taught women that "the husband deserves control of the wife because he controls the estate"; it is clear that the Wife is the one who controls certain aspects of her husband's behaviour in her various marriages.


title: The Wife of Bath's Tale

text: Cooper also notes that behaviour in marriage is a theme that emerges in the Wife of Bath's Prologue; neither the Wife nor her husbands conform to any conventional ideals of marriage. Cooper observes that the Wife's fifth husband, in particular, "cannot be taken as any principle of correct Christian marriage". He, too, fails to exhibit behaviour conventionally expected within a marriage. This can perhaps be attributed to his young age and lack of experience in relationships, as he does change at the end, as does the Wife of Bath. Thus, through both the Wife's and her fifth and favorite husband's failure to conform to expected behaviour in marriage, the poem exposes the complexity of the institution of marriage and of relationships more broadly.


title: The Wife of Bath's Tale

text: As Cooper argues, the tension between experience and textual authority is central to the Prologue. The Wife argues for the relevance of her own marital experience. For instance, she notes that:


title: The Wife of Bath's Tale

text: The Wife of Bath's first three husbands are depicted as subservient men who cater to her sexual appetites. Her characterisation as domineering is particularly evident in the following passage:


title: The Wife of Bath's Tale

text: The image of the whip underlines her dominant role as the partnership; she tells everyone that she is the one in charge in her household, especially in the bedroom, where she appears to have an insatiable thirst for sex; the result is a satirical, lascivious depiction of a woman, but also of feudal power arrangements.


title: The Wife of Bath's Tale

text: However it is made evident at the end of both the Prologue and the Tale that it is not dominance that she wishes to gain, in her relation with her husband, but a kind of equality.


title: The Wife of Bath's Tale

text: In the Prologue she says: "God help me so, I was to him as kinde/ As any wyf from Denmark unto Inde,/ And also trewe, and so was he to me." In her Tale, the old woman tells her husband: "I prey to God that I mot sterven wood,/ But I to yow be also good and trewe/ As evere was wyf, sin that the world was newe."


title: The Wife of Bath's Tale

text: In both cases, the Wife says so to the husband after she has been given "sovereyntee". She is handed over the control of all the property along with the control of her husband's tongue. The old woman in the Wife of Bath's Tale is also given the freedom to choose which role he wishes her to play in the marriage.


title: The Wife of Bath's Tale

text: In her essay "The Wife of Bath and the Painting of Lions," Carruthers describes the relationship that existed between love and economics for both medieval men and women. Carruthers notes that it is the independence that the Wife's wealth provides for her that allows her to love freely (Carruthers 1979:216). This implies that autonomy is an important component in genuine love, and since autonomy can only be achieved through wealth, wealth then becomes the greatest component for true love. Love can, in essence, be bought: Chaucer makes reference to this notion when he has the Wife tell one of her husbands:


title: The Wife of Bath's Tale

text: The Wife appears to make reference to prostitution, whereby "love" in the form of sex is a "deal" bought and sold. The character's use of words such as "dette (debt)" and "paiement (payment)" also portray love in economic terms, as did the medieval Church: sex was the debt women owed to the men that they married. Hence, while the point that Carruthers makes is that money is necessary for women to achieve sovereignty in marriage, a look at the text reveals that love is, among other things, an economic concept. This is perhaps best demonstrated by the fact that her fifth husband gives up wealth in return for love, honour, and respect.


title: The Wife of Bath's Tale

text: One may be forgiven for thinking that the Wife of Bath does not take men seriously and that she only wants them for sexual pleasure and money. When the Wife of Bath states, "but well I know, surely, God expressly instructed us to increase and multiply. I can well understand that noble text" to bear fruit, not in children, but financially through marriage, land, and from inheritance when her husbands pass; Chaucer's Wife chose to interpret the meaning of the statement by clarifying that she has no interest in childbearing as a means of showing fruitfulness, but the progression of her financial stability is her ideal way of proving success.


title: The Wife of Bath's Tale

text: While sexuality is a dominant theme in The Wife of Bath's Prologue, it is less obvious that her sexual behaviour can be associated with Lollardy. Critics such as Helen Cooper and Carolyn Dinshaw point to the link between sex and Lollardy. Both describe the Wife's knowledge and use of Scripture in her justification of her sexual behaviour. When she states that "God bad us for to wexe and multiplye", she appears to suggest that there is nothing wrong with sexual lust, because God wants humans to procreate. The Wife's "emphatic determination to recuperate sexual activity within a Christian context and on the authority of the Bible [on a number of occasions throughout the text] echoes one of the points made in the Lollard "Twelve Conclusions" of 1395". The very fact that she remarries after the death of her first husband could be viewed as Chaucer's characterisation of the Wife as a supporter of Lollardy, if not necessarily a Lollard herself, since Lollards advocated the remarriage of widows.


title: The Wife of Bath's Tale

text: Author Alistair Minnis makes the assertion that the Wife of Bath is not a Lollard at all, in fact she was educated by her late husband Jankyn, an Oxford-educated clerk, who translated and read aloud anti-feminist texts. Jankyn gave her knowledge far beyond what was available to women of her status which explains how she is able to hold her own when justifying her sexual behavior to the Canterbury group. Further, Minnis explains that "being caught in possession of a woman's body, so to speak, was an offense in itself, carrying the penalty of a life-sentence" so it is easy to see that in medieval Europe, women could not hold priestly duties on the basis of their sex and no matter how flawless her moral status was, her body would always bar her from the ability to preach the word of God. Minnis goes on to say that "it might well be concluded that it was better to be a secret sinner than a woman" as a sinful man could always change his behavior and repent, but a woman could not change her sex.


title: The Wife of Bath's Tale

text: In an effort to assert women's equality with men, the Wife of Bath states that an equal balance of power is necessary in a functional society. Wilks proposes that through the sovereignty theme, a reflection of women's integral role in governance compelled Chaucer's audience to associate the Wife's tale with the reign of Anne of Bohemia. By questioning universal assumptions of male dominance, making demands in her own right, conducting negotiations within her marriages and disregarding conventional feminine ideals, Chaucer's Wife of Bath was ahead of her time.


title: The Wife of Bath's Tale

text: The Wife of Bath's Tale reverses the medieval roles of men and women (especially regarding legal power), and it also suggests a theme of feminist coalition-building. Appointed as sovereign and judge over the convicted knight, the Queen holds a type of power given to men in the world outside the tale. She has power as judge over the knight's life. Author Emma Lipton writes that the Queen uses this power to move from a liberal court to an educational court. In this sense the court is moving beyond punishment for the offense, and it now puts a meaning behind the offense, tying it to consequences. In the tale, the Queen is a figurehead for a feminist movement within a society that looks much like the misogynistic world in which the Canterbury Tales are told. From this tale's feminist notion that the Queen leads, women are empowered rather than objectified. The effect of feminist coalition-building can be seen through the knight. As a consequence for the knight's sexual assault against the maiden, when the old woman asks the Queen to allow the knight to marry her, the Queen grants it. This shows support for the broader female community's commitment to education in female values. In response to this fate, the knight begs the court and the Queen to undo his sentence, offering all his wealth and power: "Take all my goods and let my body go," which the Queen does not allow. The knight's lack of agency in this scene demonstrates a role reversal, according to Carissa Harris, in juxtaposition to women's lack of agency in situations of rape.


title: The Wife of Bath's Tale

text: Pasolini adapted the prologue of this tale in his film "The Canterbury Tales". Laura Betti plays the wife of Bath and Tom Baker plays her fifth husband.


title: The Wife of Bath's Tale

text: Zadie Smith adapted and updated the prologue and story for the Kiln Theatre in Kilburn in 2019 as "The Wife of Willesden", with a run of performances at the Theatre from November 2021 to January 2022.


title: M. Butterfly

text: M. Butterfly is a play by David Henry Hwang. The story, while entwined with that of the opera "Madama Butterfly", is based most directly on the relationship between French diplomat Bernard Boursicot and Shi Pei Pu, a Peking opera singer. The play premiered on Broadway in 1988 and won the 1988 Tony Award for Best Play. In addition to this, it was a Pulitzer Prize for Drama finalist in 1989.


title: M. Butterfly

text: The play opened on Broadway at the Eugene O'Neill Theatre on March 20, 1988, and closed after 777 performances on January 27, 1990. It was produced by Stuart Ostrow and directed by John Dexter; it starred John Lithgow as Gallimard and BD Wong as Song Liling. David Dukes, Anthony Hopkins, Tony Randall, and John Rubinstein played Gallimard at various times during the original run.


title: M. Butterfly

text: A highly unusual abstract staging, featuring Puccini's opera "Madame Butterfly" intermixed with French pop music, had Kazakh countertenor Erik Kurmangaliev star as Song; he also sang two of Butterfly's arias live during the show. This production was directed by Roman Viktyuk in Moscow, Russia and ran from 1990 to 1992.


title: M. Butterfly

text: It is published by Plume and in an acting edition by Dramatists Play Service. An audio recording of the play was produced by L.A. Theatre Works, with Lithgow and Wong reprising their Broadway roles along with Margaret Cho.


title: M. Butterfly

text: A Broadway revival opened on October 26, 2017, at the Cort Theatre, with previews beginning on October 7. Starring Clive Owen and Jin Ha, the production was directed by Julie Taymor. David Henry Hwang made changes to the original text for the revival, mostly centering on the issue of intersectional identities, but also for clarifications.


title: M. Butterfly

text: The first act introduces the main character, René Gallimard, a civil servant attached to the French embassy in China. In a prison, Gallimard is serving a sentence for treason. Through a series of flashbacks and imagined conversations, Gallimard tells an audience his story about a woman that he loved and lost. He falls in love with a beautiful Chinese opera singer, Song Liling. Gallimard is unaware that all female roles in traditional Beijing opera were actually played by men, as women were banned from the stage. The first act ends with Gallimard returning to France in shame and living alone after his wife, Helga, finds out about his affair with Song and divorces him.


title: M. Butterfly

text: In act two it is revealed that Song had been acting as a spy for the Chinese government, and she is actually a man who has disguised himself as a woman to seduce Gallimard and extract information from him. They stay together for 20 years and married until the truth is revealed, and Gallimard is convicted of treason and imprisoned. Unable to face the fact that his "perfect woman" is a man, he retreats deep within himself and his memories. The action of the play is depicted as his disordered, distorted recollection of the events surrounding their affair.


title: M. Butterfly

text: In act three, Song reveals himself to the audience as a man, without makeup and dressed in men's clothing. Gallimard claims he only loved the idea of Butterfly, never Song himself. Gallimard throws Song and his clothing off the stage, but holds onto Butterfly's kimono. In scene three, the setting returns to Gallimard's prison cell, as he puts on makeup and Butterfly's wig and kimono. Then he stabs himself, committing suicide just as Butterfly does in the opera.


title: M. Butterfly

text: Hwang revisited the text for the Julie Taymor-directed 2017 revival, largely to incorporate further information that had emerged about the Boursicot case, and address intersectional identities. Changes include:


title: M. Butterfly

text: Hwang adapted the play for a 1993 film directed by David Cronenberg with Jeremy Irons and John Lone in the leading roles.


title: M. Butterfly

text: Chinese-American composer and colleague Huang Ruo used the play as the libretto for his opera which premiered in July 2022 at Santa Fe Opera.


title: M. Butterfly

text: In an interview with David Henry Hwang, the playwright states: “The lines between gay and straight become very blurred in this play, but I think he knows he's having an affair with a man. Therefore, on some level he is gay.”


title: M. Butterfly

text: In a 2014 review for the Windy City Times, Jonathan Abarbanel states that Song Liling “may be gay but it's a secondary point raised only as a way by which Chinese government agents can control him. As an exploration of sexuality, it's about the Divine Androgyne who Song Liling may recognize and exploit, and which Gallimard certainly recognizes and embraces in the play's closing moments.”


title: M. Butterfly

text: The Washington Blade refers to Gallimard as “a gay man who couldn’t be himself. He had to mask behind male bravado, cultural and religious dicta, and diplomatic constraints. But he was willing to overlook and deny everything in pursuit of love.”


title: M. Butterfly

text: Hwang talked to several people with nonconforming gender identities to get better insight into the character of Song, but he ultimately stressed that the character is not transgender. “He recognized how Song might be differently received by a modern audience more savvy about the wide spectrum of gender identity.”


title: M. Butterfly

text: Ilka Saal writes: “The playwright uses the figure of the transvestite to lay bare the construction and performativity of gender and culture. Yet he stops short of questioning compulsory heterosexuality at its base, and thereby fails to use queer desire in order to open up interstices, categories of 'thirdness,' in this tight homophobic structure.”


title: M. Butterfly

text: In an article for Pride Source, Pruett and Beer state: “Gallimard is a man who thinks he is heterosexual, but is in fact a practicing homosexual for 20 years. Song takes on the role of a woman, but always self-identifies as a gay man, not a transgendered person.”


title: M. Butterfly

text: Christian Lewis, when writing about the 2017 revival, wrote in the Huffington post that “this production does not explore any foray into non-binary or transgender identities, which is perhaps its one major flaw.”


title: The Adventures of Pluto Nash

text: The Adventures of Pluto Nash is a 2002 American science fiction action comedy film directed by Ron Underwood and starring Eddie Murphy (in a dual role), Randy Quaid, Rosario Dawson, Joe Pantoliano, Jay Mohr, Luis Guzmán, James Rebhorn, Peter Boyle, Pam Grier, and John Cleese. The film was released in the United States on August 16, 2002.


title: The Adventures of Pluto Nash

text: A major critical and box office failure, the film was universally panned by critics and moviegoers alike and is notable for being one of the biggest box office bombs in cinematic history.


title: The Adventures of Pluto Nash

text: In 2080, there is a colony on the Moon called Little America. Businessman, entrepreneur, retired smuggler and ex-convict, Pluto Nash buys a nightclub in an attempt to fulfill his long-time wish and also to prevent the murder of the club's previous owner, and old friend, Anthony Frankowski by mobsters Gino and his nephew, Larry. With the help of his friend Miguel and an android named Bruno, Pluto rebuilds, and cleans it up into a very popular nightclub.


title: The Adventures of Pluto Nash

text: Seven years later in 2087, a young woman named Dina Lake, the daughter of a friend of Pluto's, Nicky Sticks, is stranded on the Moon and tries to earn money for transport back to Earth. Pluto gives her a job as a server. Pluto is accosted by Mogan and Kelp, henchmen of mysterious entrepreneur and businessman Rex Crater, who wants to buy the club. When Pluto refuses, the henchmen use bombs to destroy the club. Pluto, Dina, and Bruno manage to escape.


title: The Adventures of Pluto Nash

text: Pluto's friend Rowland, a retired police detective who is a friend of his mother's, learns that Rex Crater has associates linked to human cloning. While Pluto and Dina investigate further, Crater's assassins strike, but Pluto and Dina escape by hijacking a limo driven by a holographic chauffeur, named James.


title: The Adventures of Pluto Nash

text: Their investigation further links Zoroaster Marucci to Crater. They are again attacked and chased by Crater's henchmen, but they escape and are then rescued by Felix Laranga, a local smuggler who idolizes Pluto Nash. They infiltrate Crater's casino/hotel at Moon Beach.


title: The Adventures of Pluto Nash

text: Pluto finally confronts Crater, who reveals himself to be a clone of Pluto. Crater has shot both Marucci and Dr. Runa Pendankin into orbit and established his own criminal enterprise. When Mogan and Kelp arrive, Crater kills them for their incompetence. He and Pluto then fight, with Crater ultimately being thrown through a window to his death.


title: The Adventures of Pluto Nash

text: Sometime later, a celebration is held at the rebuilt, renovated Club Pluto with Nash as the owner once again.


title: The Adventures of Pluto Nash

text: Neil Cuthbert's script had been in development with producer Martin Bregman since at least 1983 under the shorter title "Pluto Nash". Directors Rick Rosenthal and Peter Faiman were attached to the project at different times. Various stars including Harrison Ford were rumored to have considered doing the film. Eddie Murphy became attached to the film while it was in development at Castle Rock Entertainment. The company, which had previously worked with director Ron Underwood on "City Slickers", sent Underwood the script. Underwood signed on to the film after the release of his movie "Mighty Joe Young". Different writers were hired to revise the script over a period of several months, but Eddie Murphy "kept rejecting the scripts," according to Underwood. Murphy asked for a "straight" script, like one that would be written for Sylvester Stallone or Harrison Ford, and said that he would "bring the comedy." Underwood delivered this to Murphy but believed that the script still had "problems" and hired another writer to continue to work on it during production.


title: The Adventures of Pluto Nash

text: Underwood was dissatisfied with the results of the film as he was shooting it. "I knew we didn’t have the kind of wit and the fun that I would want...I felt that it was not really working fully...But it wasn't very obvious how to correct it." He praised the talents of the cast and crew and said that he enjoyed working with Murphy, but said that Murphy "wasn't feeling that funny, I don't think." The result was that Underwood was on the production for four years. A review of a version of the film (with no special effects) that was published on AintItCoolNews.com in January 2001 did not help matters, as Castle Rock became spooked and commissioned two weeks of reshoots in Los Angeles that pushed the film's budget to $100 million and miss a release date intended to be in April of 2001.


title: The Adventures of Pluto Nash

text: "The Adventures of Pluto Nash" was critically panned. Rotten Tomatoes ranked the film 79th in the 100 worst 2000s decade movies list, with a rating of 5% based on 91 reviews. The critical consensus states, ""The Adventures of Pluto Nash" is neither adventurous nor funny, and Eddie Murphy is on autopilot in this notorious box office bomb." On Metacritic, it holds a 12 out of 100 based on 12 reviews, meaning “overwhelming dislike”. Joe Leydon was one of the few critics to give it a positive review calling it "a prodigious popcorn flick that may be the most undeserving victim of critical overkill since "Town and Country"". Audiences polled by CinemaScore gave the film an average grade of "C-" on an A+ to F scale.


title: The Adventures of Pluto Nash

text: "Pluto Nash" was nominated for five Golden Raspberry Awards in 2003 including Worst Picture, Worst Actor (Eddie Murphy), Worst Director, Worst Screenplay, and Worst Screen Couple (Murphy and himself cloned), but failed to win any. It was later nominated for Worst Comedy of Our First 25 Years at the 25th Golden Raspberry Awards in 2005, but lost to "Gigli".


title: The Adventures of Pluto Nash

text: Eddie Murphy poked fun at himself in an interview with Barbara Walters, saying, "I know the two or three people that liked this movie."


title: The Adventures of Pluto Nash

text: About the movie's reception, Joe Pantoliano said: "You usually can’t tell when a movie is going to be shit, but on that one you could. And I think Ron Underwood, the director, got victimized by that, because that guy is good. But because of the material and the style in which some players came to work, we were off the mark, you know? A lot of hanky-panky going on there. So, I wasn’t surprised. I was surprised it turned out to be better than I thought it was going to be."


title: The Adventures of Pluto Nash

text: Director Ron Underwood expressed regret that the movie didn't have a "core piece of storytelling like the mid-life crisis" and said he thinks "the film was not very good."


title: The Adventures of Pluto Nash

text: "The Adventures of Pluto Nash" was a massive box-office bomb, with its budget estimated at $100 million (with marketing costs of $20 million) and domestic box office $4,420,080 and $2,683,893 overseas. It had a total worldwide gross of $7,103,973. In 2014, the "Los Angeles Times" listed the film as one of the most expensive box office flops of all time.


title: Ice cream float

text: An ice cream float or ice cream soda (also known as a spider in Australia and New Zealand), is a chilled beverage that consists of ice cream in either a soft drink or a mixture of flavored syrup and carbonated water.


title: Ice cream float

text: When root beer and vanilla ice cream are used together to make the beverage, it is typically referred to as a root beer float (United States and Canada). A close variation is the "coke float", using cola instead of root beer.


title: Ice cream float

text: The ice cream float was invented by Robert McCay Green in Philadelphia, Pennsylvania, in 1874 during the Franklin Institute's semicentennial celebration. The traditional story is that, on a particularly hot day, Green ran out of ice for the flavored drinks he was selling and used vanilla ice cream from a neighboring vendor, inventing a new drink.


title: Ice cream float

text: His own account, published in "Soda Fountain" magazine in 1910, states that while operating a soda fountain at the celebration, he wanted to create a new treat to attract customers away from another vendor who had a larger, fancier soda fountain. After some experimentation, he decided to combine ice cream and flavored soda. During the celebration, he sold vanilla ice cream with soda and a choice of 16 flavored syrups. The new treat was a sensation and soon other soda fountains began selling ice cream floats. Green's will instructed that "Originator of the Ice Cream Soda" was to be engraved on his tombstone.


title: Ice cream float

text: There are at least three other claimants for the invention of the root beer float: Fred Sanders, Philip Mohr, and George Guy, one of Robert Green's own employees. Guy is said to have absentmindedly mixed ice cream and soda in 1872, much to his customer's delight.


title: Ice cream float

text: In Australia and New Zealand, an ice cream float is known as a "spider" because once the carbonation hits the ice cream it forms a spider web-like reaction. It is traditionally made using either lime or pink cream soda.


title: Ice cream float

text: In the UK and Ireland, it is usually referred to as an "ice-cream float" or simply a "float", as "coke" is often used generically to refer to any cola in the United Kingdom, and "soda" is usually taken to mean soda water, sweetened carbonated drinks instead being collectively called "soft drinks", "(fizzy) pop" or "fizzy juice".


title: Ice cream float

text: In Mexico, it is known as "helado flotante" ("floating ice cream") or "flotante". In El Salvador, Honduras, Guatemala, Costa Rica and Colombia it is called vaca negra (black cow), while in Puerto Rico it is referred to as a "black out".


title: Ice cream float

text: In the United States, an "ice cream soda" typically refers to the drink containing soda water, syrup, and ice cream, whereas a "float" is generally ice cream in a soft drink (usually root beer).


title: Ice cream float

text: Variations of ice cream floats are as countless as the varieties of drinks and the flavors of ice cream, but some have become more prominent than others. Some of the most popular are described below:


title: Ice cream float

text: This ice cream soda starts with approximately 1 oz of chocolate syrup, then several scoops of chocolate ice cream in a tall glass. Unflavored carbonated water is added until the glass is filled and the resulting foam rises above the top of the glass. The final touch is a topping of whipped cream and usually, a maraschino cherry. This variation of ice cream soda was available at local soda fountains and nationally, at Dairy Queen stores for many years.


title: Ice cream float

text: A similar soda made with chocolate syrup but vanilla ice cream is sometimes called a "black and white" ice cream soda.


title: Ice cream float

text: This drink is prepared similarly to a chocolate ice cream soda, but with strawberry syrup and strawberry (or vanilla) ice cream used instead.


title: Ice cream float

text: Also known as a "black cow" or "brown cow", the root beer float is traditionally made with vanilla ice cream and root beer, but it can also be made with other ice cream flavors. Frank J. Wisner, owner of Colorado's Cripple Creek Brewing, is credited with creating the first root beer float on August 19, 1893. The similarly flavored soft drink birch beer may also be used instead of root beer.


title: Ice cream float

text: In the United States and Canada, the chain A&W Restaurants are well known for their root beer floats. The definition of a black cow varies by region. For instance, in some localities, a "root beer float" has strictly vanilla ice cream; a float made with root beer and chocolate ice cream is a "chocolate cow" or a "brown cow". In some places a "black cow" or a "brown cow" was made with cola instead of root beer. In some areas, for example, Northeastern Wisconsin and Northern Illinois, "black cow" is said to mean a root beer float where a portion of the vanilla ice cream and root beer have been mixed together before filling the glass with scoops of vanilla ice cream and root beer.


title: Ice cream float

text: In 2008, the Dr Pepper Snapple Group introduced its Float beverage line. This includes A&W Root Beer, A&W Cream Soda and Sunkist flavors which attempt to simulate the taste of their respective ice cream float flavors in a creamy, bottled drink.


title: Ice cream float

text: The origin of the term "Boston cooler" lies in Detroit, Michigan, the city in which Fred Sanders is credited with inventing the ice cream soda. “Boston” comes from the street north of the New Center Area, a historic neighborhood known as Boston Edison. The name has no apparent connection to Boston, Massachusetts, where the beverage is virtually unknown. One theory suggests that it was named after Detroit's Boston Boulevard, the main thoroughfare of what was then, according to the theory, an upper-class neighborhood a short distance from James Vernor's drugstore. Boston Boulevard, however, did not exist at the time. The streets and subdivision that became the Boston-Edison neighborhood, approximately five miles from Vernor's drugstore, were not platted nor incorporated into the city until 1891, and its first homes not constructed until 1905, nine years after Vernor closed his drugstore.


title: Ice cream float

text: It is known that by the 1880s the Boston cooler was being served in Detroit, made with the local Vernors. Originally, a drink called a Vernors Cream was served as a shot or two of sweet cream poured into a glass of Vernors. Later, vanilla ice cream was substituted for the cream to make a Vernors float. Unlike a float, however, a Boston cooler is blended like a thick milkshake. Both Sanders soda fountains and Michigan-based Big Boy restaurants (which had Boston coolers as a signature item until the Elias Brothers sold their franchise to new ownership in the 1980s) used their milkshake blenders to prepare the drink.


title: Ice cream float

text: It can be found most often in the Detroit region's many Coney Island-style restaurants, which are plentiful because of Detroit's Greektown district influence. National Coney Island is one of the few restaurant chains to list the Boston cooler in its menu. The Kerby's Koney Island chain lists a Boston cooler on its menus, but that variant is actually a Vernors float, as the ice cream is not blended. The drink is also found at many Detroit-area ice cream parlors (including Dairy Queens) and at Halo Burger, a Flint, Michigan based fast food chain.


title: Ice cream float

text: A Snow White is made with 7 Up or Sprite and vanilla ice cream. The origin of this variation is unknown, but it is found in some Asian eateries.


title: Ice cream float

text: In the context of ice cream soda, a purple cow is vanilla ice cream in purple grape soda. The Purple Cow, a restaurant chain in the southern United States, features this and similar beverages. In a more general context, a purple cow may refer to a non-carbonated grape juice and vanilla ice cream combination. Grapico, a brand of grape soda bottled in Birmingham, Alabama, is ubiquitously linked to ice cream floats in that state.


title: Ice cream float

text: The American Friendly's chain had a variation known as a "sherbet cooler," which was a combination of orange or watermelon sherbet, vanilla syrup and seltzer water. (At present, it is billed as a "slammer.")


title: Ice cream float

text: At least in Brazil and Portugal, a non-alcoholic ice cream soda made by combining vanilla or chocolate ice cream and Coca-Cola is known as "vaca-preta" ("black cow").


title: Ice cream float

text: In Brazil, a "vaca amarela" or yellow cow or "vaca dourada" or golden cow is an ice cream soda combination of vanilla ice cream and orange or guaraná soda.


title: Ice cream float

text: A beer float is made of Guinness stout, chocolate ice cream, and espresso. Although the Shakin' Jesse version is blended into more of a milkshake consistency, most restaurant bars can make the beer float version. When making at home, the beer and espresso should be very cold so as to not melt the ice cream.


title: Ice cream float

text: This variant is popular in New Orleans and parts of Ohio, made with a syrup consisting of equal parts almond and vanilla syrups mixed with sweetened condensed milk and a touch of red food coloring to produce a pink, opalescent syrup base for the soda.


title: Ice cream float

text: Cream soda with melon flavor () is a common drink in Japan. Melon soda () is served with ice and a scoop of vanilla ice cream on top.


title: Shakib Khan

text: Masud Rana (), better known by the name Shakib Khan () born 28 March 1979) is a Bangladeshi actor, producer, occasional singer, film organiser, and media personality who works in Bengali films, both in Bangladesh and West Bengal. In his career spanning about two decades, Khan has been the propeller of the contemporary film industry Dhallywood. Currently he is the highest paid actor in Bangladesh.


title: Shakib Khan

text: Following his debut in Sohanur Rahman Sohan's 1999 action romantic "" (Eternal Love), Khan did not lead to widespread fame. Subsequently, Khan established himself as one of the most successful actors in Bengali cinema. The Badiul Alam Khokon-directed "Priya Amar Priya" (2008) in which Khan played a college student with careless attitude, was a major commercial success in his career. His "Shikari"s new look garnered him praised from the audience and critics and was declared as a blockbuster at the box office, and become the highest-grossing Bengali film of 2016. His 2017 success is "Swatta" and "Nabab". Where "Swatta" won numerous accolades including five National Film Awards, six Bachsas Awards, two Meril-Prothom Alo Awards and earned him fourth National Film Awards for Best Actor and "Nabab" in which he played an intelligence agent from Bangladesh. His energetic performance and re-emergence in the film was praised by both critics and audiences. In 2019 Khan was paid-up 5 million for the film "Nolok" and become the highest-paid entertainers in the history of Bangladesh.


title: Shakib Khan

text: His other notable films are drama film "Shuva" (2006), where he played a village boy and earned him highly praised from critics, romantic film such "Amar Praner Swami" (2007) and "Bolbo Kotha Bashor Ghore" (2009) earned him highest accolades, romantic-comedy "Adorer Jamai" (2011), action-romantic "Don Number One" (2012), political thriller "Rajneeti" (2017), which is highly considers the politics of Bangladesh and created controversy with Khan used a phone number in the film that eventually turned out to be that of a rickshaw driver. That driver later sued him for $60,000 (£45,000) stating that the use of his number let millions to call to his number searching for Shakib Khan (See "Controversy" section for further details). Romantic action films such "Bhaijaan Elo Re" (2018), "Chalbaaz" (2018) and supernatural-thiller "Naqaab" (2018) earned him worldwide recognition, political thriller "Bir" (2020) and legal drama "Nabab LLB" (2021), where he played an advocate and becoming the first Dhallywood film to released any OTT platform. In 2011, he made his debut as a playback singer in the film of "Moner Jala". In 2014, he made his debut as a producer with the film "" and subsequently produced films like "Password" (2019), "Bir" (2020).


title: Shakib Khan

text: Khan has earned numerous accolades in his long career, including four National Film Awards, eight Meril Prothom Alo Awards, three Bachsas Awards and five CJFB Performance Awards. He won his first National Film Awards for Best Actor in 2010 for the film "Bhalobaslei Ghor Bandha Jay Na", where he played as Surja Khan, an independent young man who studied law. His second National Film Award for his portrayal of a boy who deeply love his mother and got separated from his mother when he was quite young in Shahin-Sumon duo's "Khodar Pore Ma" (2012). He was noted for his performances in SA Haque Alik's romance film "Aro Bhalobashbo Tomay" (2015) and Hashibur Reza Kallol's romance drama film "Swatta" (2017) and also won third and fourth National Film Award respectively.


title: Shakib Khan

text: Shakib Khan was born on 28 March 1979 as Masud Rana in Ragadhi, Muksudpur, Gopalganj, Bangladesh. Khan's original residence is Maksudpur Upazila of Gopalganj district. His father Abdur Rab was a government officer and his mother Nurjahan is a housewife. The other members of his family are a sister and a brother. He grew up as a teenager in Narayanganj district due to his father's job. His father's job required the family to relocate frequently from one city to another during his school years. In many interviews he said that he did not mind travelling and changing schools. During his ninth grade, when he was residing with his family in Narayanganj, he became interested in Martial arts. After that he has done a course in Martial arts. In his childhood he dreamt to become a doctor or engineer. He was a bright student and did brilliant results in Secondary School Certificate (SSC) and Higher Secondary School Certificate (HSC) exams but discontinued his study after getting chance to act in films. Besides education, he also had an interest in dancing. Khan met film choreographer and actor Aziz Reza in 1995, and then completed a dancing course under Aziz Reza. In 1998, one day he went to Bangladesh Film Development Corporation (BFDC), the only major studio of Bangladesh on a random visit with Aziz Reza, where he met a photographer who asked him to take part in a photoshoot. During the photoshoot, film director Abul Khair Bulbul noticed Khan and offered him to play lead role in his film and he accept the offered. Although eventually the production of the film did not began. Later he get an offer for Rafiqul Islam's 1998 romantic project "Sobai to Shukhi Hote Chay" directed by Aftab Khan Tulu. Khan accepted the offer and first time stand on camera. The film was delayed being release, which was later released in the following year. At that time, director Sohanur Rahman Sohan was looking for a new hero due to a dispute with actor Shakil Khan. In two deferent interviews with "Kaler Kantho" and "Chiti" Aziz Reza said that he very much requested Sohanur Rahman Sohan to give a chance Shakib Khan in his film. Sohan agreed to his request and asked to bring Shakib Khan to their office. Sohan then gave him a chance as a lead actor for his upcoming project and later made his debut with "" (1999) directed by . He was paid only 5,000 for those initial films.


title: Shakib Khan

text: Shakib Khan was first contracted sign in the film "Sobaito Sukhi Hote Chay" (Everyone Wants To Be Happy), he was first to stand in front of the camera with this film, which was directed by Aftab Khan Tulu, another newcomer Karisma Sheikh played opposite him. Although Khan's debut film was "" (Eternal Love) directed by Sohanur Rahman Sohan, which was released on 28 May 1999. Erin Zaman, the younger sister of veteran Bangladeshi actress Moushumi, played opposite him in the film, and it has become notable as the debut film of both. Although the film was not very successful but Khan as a hero caught the attention of everyone. In the second year of his acting career, he appeared in the film "Golam" (2000) opposite then the top actress Shabnur directed by Ispahani-Arif Jahan duo. On this year, he starred opposite Purnima in the film "Ajker Dapot" directed by AJ Rana, "Dujon Dujonar" opposite Popy directed by Abu Saeed Khan, and "Bishe Bhora Nagin" opposite Munmun directed by Delwar Jahan Jhantu.


title: Shakib Khan

text: In 2001 several films released by him including "Shikari", "Shopner Bashor", "Mayer Jehad", "Rangga Mastan", "Hingshar Poton" and "Bondhu Jokhon Shatru". "Shopner Bashor" directed by FI Manik, along with Riaz and Shabnur his performance also praised by the critics and audience in the film. In 2002 a number of films released by him including "Ful Nebo Naa Ostro Nebo" and "Strir Morjada" ditected by FI Manik, "O Priya Tumi Kothay" directed by Shahadat Hossain Liton, "Nachnewali" by Zillur Rahman and "Bishwa Batpar" by Badal Khandaker. In the film "Strir Morjada" he first time ever appear opposite Moushumi.


title: Shakib Khan

text: In 2003, he starred in "Sahoshi Manush Chai", "Praner Manush", "Kkhmotar Dapot" and "Sobar Upore Prem". The film "Sahoshi Manush Chai" directed by Muhammad Hannan, which was highly acclaimed by the critics and audience and won the National Film Awards in two categories.


title: Shakib Khan

text: In 2004, he starred in "Noyon Bhora Jol", "Ajker Somaj", "Bostir Rani Suriya" and "Rukhe Darao". On Eid al-Fitr of this year he starred in Monwar Hossain Khokon's biographical crime thriller film "Khuni Shikder". The film is based on the biography of the Bangladeshi notorious murderer Ershad Sikder. In which he played as Shahjahan Shikder, who became a psycho after the death of his mother and then started killing one after another and subsequently he became the country's top terrorist and serial killer. Although the film has been criticised at various times for its obscenity, but also has been widely acclaimed as one of the best performances of his career.


title: Shakib Khan

text: In 2005, he starred in "City Terror" directed by MA Rahim, where he first time performed with veteran actor Manna. He also starred with Riaz and Purnima in the film of "Badha" directed by Shahin–Sumon.


title: Shakib Khan

text: In 2006 thirteen of his films were released and all of the films were commercially success at the box office and as well as become best-selling films of the year. As a result of this success, his salary increased from three lakhs to six-seven lakhs. He played opposite Purnima in "Shuva" directed by Chashi Nazrul Islam, based on the short story Shuva by Biswakabi Rabindranath Tagore. For the film he was nominated in the Lux-Channel I Performance Awards for Best Film Actor in both of people choice and the critics choice category in 2007. In same year a number of films released by him including "Koti Takar Kabin", "Pitar Ason", "Dadima", and "Chachchu" directed by FI Manik and "Mayer Morjada" directed by Dilip Biswas. In the film of "Koti Takar Kabin" he first time starred opposite his former wife and co-artist Apu Biswas. Khan first gained popularity through starring in "Chachchu".


title: Shakib Khan

text: In 2007, 12 films starring Khan were released. All of his film have been commercially successful at the box office and become best-selling of the year as like previous year. He starred in PA Kajal's project "Amar Praner Swami". The film super-hit at the box office and became the highest grossing Bangladeshi film of 2007. For the film Khan earned his first Meril Prothom Alo Awards for Best Actor. After the success of the film at the box office, his salary increased to 12 lakhs. In the same year he also starred in "Kabinnama", "Jomoj", "Swamir Shongshar", "Doctor's House", "Tui Jodi Amar Hoiti Re", "Kotha Dao Saathi Hobe", "Danob Shontan", "Kopal", "Ma Amar Shorgo", "Kothin Prem" and "Ek Buk Jala".


title: Shakib Khan

text: In 2008, he starred in "Tomake Bou Banabo", "Amar Jaan Amar Pran", "Shomadhi", "Ek Takar Bou", "Bhalobashar Dushman", "Priya Amar Priya", "Tip Tip Brishti", "Tumi Swapno Tumi Shadhona", "Amader Choto Saheb", "Shontan Amar Ohongkar", "Jodi Bou Sajo Go" and "Mone Prane Acho Tumi". He starred in Badiul Alam Khokon's romantic action comedy film "Priya Amar Priya" as Hridoy, a college student with careless attitude opposite Sahara. Khan's dialogue and the use of the phrase "সিটিতে অনেক কমিশনার আসবে যাবে কিন্তু হৃদয় এখানেই থাকবে। আমি এখানকার লোকাল... লো..ক্কাল।" (Many commissioners will come and go in the city but Hridoy will stay here. I'm local here... lo..ccal) were popular with audiences. He won numerous awards including Meril Prothom Alo Awards, Lux-Channel I Performance Awards and CJFB Performance Awards for Best Actor. The film all-time blockbuster at the box office with grossed 150 million at the box office, which is the second-highest grossing in the history of Bangladeshi cinema. Shabnur and Rumana Khan played opposite him in "Ek Takar Bou" directed by PA Kajal. The film won the National Film Awards and the Meril Prothom Alo Awards in a category. He also won Bachsas Awards by starring in "Jodi Bou Sajo Go" opposite Apu Biswas directed by FI Manik.


title: Shakib Khan

text: In 2009, he starred in "Amar Praner Priya", "Swami Strir Wada", "Bhalobasha Dibi Kina Bol", "Mon Jekhane Hridoy Sekhane", "Bolona Kobul", "Biyer Prostab", "Jonmo Tomar Jonno", "Prem Koyedi", "Saheb Name Golam", "O Sathii Re" and "Sobar Upore Tumi". "Sobar Upore Tumi" directed by FI Manik, where he performed for the first time in the Indo-Bangladesh joint production. It was for the first time that Indian actress Swastika Mukherjee was seen opposite him. The film was released in West Bengal, India the following year as the title of "Amar Bhai Amar Bon". Almost seven years later, on 6 March 2017, the film was released in Hindi version as "Hello Zindagi" under the banner of Angel Digital. On this year, "Swami Strir Wada" directed by PA Kajal was praised by the audience and the critics and won the National Film Awards in three categories. He starred in "Amar Praner Priya" opposite Bidya Sinha Saha Mim directed by Jakir Hossain Raju and become a box-office success in Bangladesh, primarily noted for its soundtrack & choreography. The film all the song were popular and become hit with audience as well song "Ki Jadu Korecho Bolona" was on the hit song listed for a year. It won a National Film Awards and nominated numerous categories in Meril Prothom Alo Awards including his Best Actor nomination as well as earned him CJFB Performance Awards.


title: Shakib Khan

text: The following year, in 2010 he starred in "Bolona Tumi Amar", "Prem Mane Naa Badha", "Top Hero", "Poran Jai Jolia Re", "Bhalobaslei Ghor Bandha Jay Na", "Takar Cheye Prem Boro", "Jibon Moroner Saathi", "Preme Porechi", "Chehara: Vondo–2", "Premik Purush", "Jibon Moroner Saathi" directed by Shahadat Hossain Liton and "Hay Prem Hay Bhalobasha". He played the role of Surjo, an independent young man in the romantic revenge film "Bhalobaslei Ghor Bandha Jay Na" directed by Zakir Hossain Raju opposite Apu Biswas and Rumana Khan. The film was highly successful, critically and commercially and become the second highest-grossing film of 2010 after "Number One Shakib Khan". It won numerous accolades including seven National Film Awards, five Bachsas Awards and two Meril Prothom Alo Awards as well as a nomination and Khan was awarded Meril Prothom Alo Awards and National Film Awards for the first time. In this year in Eid-al Fitr, he also starred in "Number One Shakib Khan", "Chachchu Amar Chachchu" and "Nissash Amar Tumi". The film "Number One Shakib Khan" directed by Badiul Alam Khokon, gained commercially success at the box office and widespread popularity. He won numerous accolades for the film including Binodon Bichitra Awards 2010, Uro-CJFB Performance Awards 2010, Walton Boishakhi Star Awards 2011 and Babisas Awards 2010. In "Chachchu Amar Chachchu" directed by PA Kajal played as Chachchu (trans. Uncle) opposite Parthana Fardin Dighi as niece and Dighi earned National Award and "Nissash Amar Tumi" directed by Badiul Alam Khokon was a hit at the box-office and was one of the highest grossing of 2010. It won twice National Film Awards. in all three films Apu Biswas starring opposite him. All the three films received National Film Awards in various categories.


title: Shakib Khan

text: In 2011, Khan starred in "Koti Takar Prem" directed by Sohanur Rahman Sohan. In "Moner Jala" directed by Malek Afsari starring Apu Biswas opposite him, he also sung a song in the film for the first time as a playback singer titled "Ami Chok Tule Takalei Surjo Lukay". "King Khan" directed by Mohammad Hussain Jammy starring Apu Biswas and Lamia Mimo opposite him, it is becoming the most successful film in the year and he won Meril Prothom Alo Awards and CJFB Performance Awards for Best Actor. He was nominated for the Best Actor in critics choice category at the Meril Prothom Alo Awards through starring in comedy-drama film "Adorer Jamai" opposite Apu Biswas directed by Shahadat Hossain Liton. In Eid al-fitr of the year, he starred in "Tiger Number One" directed by Shahin-Sumon and has played for the first time as negative role. According to Orchi Othondrila, mainstream Bangladeshi films are "always based on a central hero while female characters are there as objects to complement [the] hero's actions." She wrote that, as with many other Shakib Khan film titles, the title "Tiger Number One" implies "that the stories are solely depended on the hero who is the centre of the actions." "Boss Number One" directed by Mohammad Hossain and "Matir Thikana" directed by Shah Alam Kiran won the National Film Awards and the Meril Prothom Alo Awards in various categories through starring by him. In this year, he also appeared in a guest role in the film of "Ke Apon Ke Por" directed by Shahin–Sumon.


title: Shakib Khan

text: In 2012, he starred in "Se Amar Mon Kereche", "Buk Fatey To Mukh Foteyna", "Ek Takar Denmohor", "My Name Is Sultan", "Don Number One", "Khodar Pore Ma" and "Dhakar King". He won Meril Prothom Alo Awards for Best Actor in critics choice category through starring in "Don Number One" directed by Badiul Alam Khokon opposite Shahara in 2013, which is the remake of Telugu language film "Don" (2007) directed by Raghava Lawrence, starring himself along with Nagarjuna and Anushka Shetty. In "100% Love: Buk Fatey To Mukh Futeyna" he starred opposite Apu Biswas and Rumana Khan, which is a remake of 2010 Telugu film "Brindavanam" directed by Vamsi Paidipally starring NTR Jr., Kajal Agarwal and Samantha Ruth Prabhu. The film opened very well at the box office and was declared a super-hit and become one of the highest-grossing films of 2012. He also starred in "Khodar Pore Ma" opposite Shahara directed by Shahin–Sumon duo, and played as the role of Munna and veteran actress Bobita also played as the role of his mother. The film received positive reviews and declared as a super-hit and become the highest-grossing film of 2012 and received several National Film Awards including his second National Award for Best Actor at the 37th National Film Awards in 2014 for his performance in the film. Besides in this year, Khan, who holds a record number of remuneration, made the latest surprise by being elected president of the Bangladesh Film Artists Association.