论文代写：人类身份探索
辛迪谢尔曼的照片反映了一种探索人类身份的能力和性质的神秘感，以便阅读真实的人格，撷取形象，发明人类生活的平行维度。为了构建适合多个身份的主题，需要具有同一性（Chatterji，2012）。在反思与主体之间的辩证法中出现了自我定义。当婴儿最终误解了镜像阶段的反射，自身，物体和主体之间的关系时，有一种想象的境界。个体倾向于将自己识别为客体，而将他们误认为是他人所感知的客体。因此，在整个社会中，这种过程的发展与其他人如何看待个人，同时注意到他们对他人的反应和定义（巴特勒，2011）一样。
论文代写：人类身份探索
在对自我的感知中，在虚构理想化的范围内想象一个对象。在当前时代，在女性和男性之间寻找乐趣之间存在分歧。在正常的叙事电影的情况下，女性被认定为性对象，作为不可或缺的元素和色情场面。重要的荣誉归功于女演员所挑衅或代表的内容。由于她是特定艺术形式中的观众和其他人物的色情对象，所以女性并不被视为轻微重要。角色的凝视与观众的凝视之间有一个重要的组合。然而，电影中的男性角色并不是以性别对象的形式呈现，而是拒绝任何形式的露骨。这个人对电影的幻想有着重大的控制，完成了所有的事情，并代表着他的力量。电影的结构贯穿了一位重要人物，观众可以通过这个重要人物辨认主要男性。
论文代写：人类身份探索
The photographs of Cindy Sherman reflect a feeling of mystery exploring the capacity and nature of human identity for reading true personalities, picking up an image, and inventing the parallel dimensions of human life. For constructing the subject with appropriateness of several identities, there is a need for allegory of identity (Chatterji, 2012). There is occurrence of self-definition in the dialectic between reflection and subject. There is a realm of imagination when infants end up misunderstanding the relationship among its reflection, itself, and object and subject by the Mirror Stage. Individuals tend to be identifying themselves as object, while misidentifying them with the object being perceived by others. Therefore, there is development of this process throughout the society as per how others perceive individuals while noting down their reactions and definitions towards others (Butler, 2011).
论文代写：人类身份探索
On perceiving oneself, an object is imagined under the scope of fictional idealisation. In the current era, there has been a split between pleasure in looking among females and males. Women are identified as a sexual object acting as an indispensable element and erotic spectacle in case of normal narrative film. The key credit goes to what is being provoked or represented by the actress. Women are not deemed even slightly important as she is an erotic object for audience and other characters within the specific art form. There is a vital combination between the gaze of characters and the gaze of spectator. However, male characters in the film are not presented as a sexual object while rejecting exhibitionism of any kind. The man has significant control over the fantasy of film, completing all the things and emerging to represent his power. There is structuring of the film across an important figure with whom the main male can be identified by the spectator.
