BFI - Cultural Test For Film - Criteria

A: Cultural Content

A1 Film set in the UK or EEA - /4

A2 Lead characters British or EEA citizens or residents - /4

A3 Film based on British or EEA subject matter or underlying material - /4

A4 Original dialogue recorded mainly in English or UK indigenous language or EEA language - /6

TOTAL SECTION A - /18

B: Cultural Contribution

The film demonstrates British creativity, British heritage and/or diversity - /4

TOTAL SECTION B - /4

C: Cultural Hubs

C1 (a) At least 50% of the principal photography or SFX takes place in the UK - /2

(b) At least 50% of the VFX takes place in the UK - /2

C2 Music Recording/Audio Post Production/Picture Post Production - /1

TOTAL SECTION B - /5

D: Cultural Practitioners (UK or EEA Citizens or Residents)

D1 Director - /1

D2 Scriptwriter - /1

D3 Producer - /1

D4 Composer - /1

D5 Lead Actors - /1

D6 Majority of Cast - /1

D7 Key Staff (lead cinematographer, lead production designer, lead costume designer, lead editor, lead sound designer, lead visual effects supervisor, lead hair and makeup supervisor) - /1

D8 Majority of Crew - /1

TOTAL SECTION D - /8

TOTAL /35

Mad Max: Fury Road - 100 Facts

1. The Iraq war meant that filming had to be delayed in Namibia.
2. The film was supposed to be an animated 3D film, but developed into a 3D live action movie.
3. Filming was delayed twice.
4. The filming first concluded in 2001.
5. In 2013, they had to go back and film additional scenes.
6. In 2003, Warner Bros panicked and insisted that someone write a script for the film.
7. In 2010, stars signed up to be in the film.
8. The film was originally going to be filmed at Broken Hill, but moved to Namibia after consistent heavy rainfall occurred. 
9. $7.5 million was spent on 957 national airings across 42 networks led by MTV and Comedy Central.
10. Crew spent 10 months in Namibia to film.
11. Over 80% of the effects seen in the film are real practical effects, stunts, make-up and sets.
12. CGI was used sparingly mainly to enhance the Namibian landscape, remove stunt rigging and for Charlize Theron's left hand which in the film is a prosthetic arm. 
13. The flame-shooting guitarist in the film is Australian artist/musician Sean Hape, better known as Iota.
14. The guitar that Iota used in the film weighed 132 pounds, and shot real gas-powered flames, which was controlled using the whammy bar.
15. The film editor, Margaret Sixel, is director George Miller's wife.
16. The jacket worn by Tom Hardy is a replica of the one that was worn by Mel Gibson in the second two movies of the original Mad Max trilogy.
17. The film's storyboard was made even before the screenplay.
18. This is the second Mad Max film to have featured Hugh Keays-Byrne. He played the villain Toecutter in Mad Max (1979).
19. Charlize Theron reportedly shaved her head for the role of Furiosa and as a result had to wear a wig for her role in A Million Ways To Die In The West (2014.)
20. Tom Hardy suffered a broken nose during filming when Charlize Theron accidentally elbowed him.
21. Tom Hardy had lunch with Mel Gibson to discuss him taking over the iconic role of Max Rockatansky. Gibson told Hardy that he was fine with the role and gave him his blessing. 
22. Margaret Sixel had 480 hours of footage to edit; watching it took three months.
23. Mel Gibson was originally intended to star again as Max back in 2003, but because George Miller ran into problems with shooting locations, and Gibson's interest in The Passion Of The Christ (2004), it never happened.
24. The music box that was given to the Feral Kid in Mad Max 2: The Road Warrior, was resembled by the music box that was given to one of the wives in Fury Road. 
25. John Seale came out of retirement to head the film's cinematography.
26. A comic book series showing how Immortan Joe came to power is being published by Vertigo.
27. The gesture made by the war boys when they mesh their fingers together is the sign of the V8; they literally revere and worship the power of the engine. It may also be viewed as a reference to Valhalla.
28. Many characters' names are never said in full or at all onscreen and are only provided in the credits at the end of the film. 
29. Max and the main antagonist, Immortan Joe, never directly interact with each other, apart from when Max hijacks the People Eater's Limousine. They exchange gunshots during the takeover.
30. George Miller told cinematographer John Seale to keep the main actor centered in the screen so that the viewer's eye did not have to search the screen due to the film's fast editing style.
31. There is a fan theory that Mad Max in this film is actually the Feral Kid from the second film, Mad Max 2: The Road Warrior (1981). However, a Vertigo comic miniseries cowritten by George Miller establishes that Hardy's Max is the same character as Gibson's Max.
32. The film used three identical War Rigs, the large main truck in the film. They were based on a Czechoslovakian all-wheel drive military vehicle. 
33. The script contains almost no profanities. 
34. In the German-dubbed version seen in Germany, as in the original English version, the Buzzards speak Russian. In the Russian-dubbed version seen in Russia, they speak German. This way, they sound foreign and evil to everyone. 
35. When Max is tied to the front of Nux's car, there is a skull with a pilot's cap and goggles on a spike above him. This is a reference to the Gyro Captain, who appeared in Mad Max 2: The Road Warrior. 
36. Riley Keough, the actress who plays the red-haired bride, Capable, is daughter of Lisa Marie Presley and grand-daughter of Elvis Presley.
37. Writer and feminist Eve Ensler (The Vagina Monologues) was consulted to enhance the portrayal of female characters.
38. The "crows" on stilts are the boys abandoned by the Vuvalini when the green place turned sour.
39. George Miller directed the entire Mad Max action franchise, noted for its violence. Ironically, he is also director of three family friendly movies: the second of the Babe movies, and both Happy Feet movies.
40. Night scenes were filmed in bright daylight, deliberately overexposed, and colour-manipulated. In many shots, the sky was digitally replaced with more detailed or interesting skies.
41. Rosie Huntington-Whiteley remarked that the cast and crew fraternized a lot after work during the shoot since they were all residing in a small Namibia town (the nearest to the desert) without any tourist attractions or fine dining.
42. Near the end of the credits, there is a memorial dedication that reads "Lance Allen Moore II, May 24, 1987 - March 10, 2015". Moore was a Mad Max fan killed in a motorcycle accident near Silverton, New South Wales, Australia, where Mad Max 2: The Road Warrior was filmed.
43. Several vehicles in the film, including the War Rig, were left-hand drive.
44. Charlize Theron and Tom Hardy reportedly did not get along during filming, with Hardy's method acting reportedly bothering Theron.
45. At the final vehicle battle, one of the Immortan Joe's henchmen scares Furiosa, before attacking her, with the exact same hiss as the Toecutter in Mad Max 1.
46. This is George Miller's first R-rated movie since The Witches of Eastwick (1987).
47. This is the first Mad Max film to have been made since Beyond Thunderdome, a gap of thirty years in between the two films. 
48. The paracord bracelet that Max wears belongs to Tom Hardy himself. 
49. Nicholas Hoult learnt how to knit from a makeup artist during the seven-month shoot in Namibia.
50. With a runtime of two hours, this is the longest film in the Mad Max series. 
51. The character Toast the Knowing is named after visual effects crew member Shyam V. Yadav, who is known for serving free French toast to thousands of people all over the world.
52. Toast the Knowing was played by Zoe Kravitz, the daughter of famous musician Lennie Kravitz.
53. Actors were digitally duplicated in post production to expand the crowd scenes so in reality only a few actors were actually needed on set during filming. 
54. During the flashback sequence after going through the crows, you can see eyes popping out briefly. This is an homage to Mad Max, when a rider crashes into the front of a semi.
55. An R-rated version and a PG-13 version were both made of the film. Warner Bros had decided to make the film R-rated after test screenings. 
56. Tom Hardy had a dog named Max that was given to him when he was a teenager, he passed away in 2011. The dog's name was an honor to Mad Max.
57. Second unit director and supervising stunt coordinator Guy Norris was in charge of over 150 stunt performers, which included Cirque du Soleil performers and Olympic athletes. 
58. Megan Gale, who plays The Valkyrie, was previously cast as Wonder Woman in George Miller's film Justice League: Mortal before it was cancelled. This is her first Hollywood film.
59. When Max awakes abruptly from his dream right after the blue sequence, the last image of his dream is a close view of eyes popping out of a face. This footage is from Mad Max 1, when Toecutter is killed.
60. Certain screenings have shown the film in black and white. The crossed belts that the Valkyrie, played by Megan Gale, wears are the same belts Max wore in Mad Max: Beyond Thunderdome. The brass belt buckle has been covered or replaced.
61. The girl who Max sees in his visions, commonly believed to be his daughter, is in fact Glory the Child, who can be seen in the comic series. 
62. George Miller described the film as "a very simple allegory, almost a western on wheels."
63. Teresa Palmer was originally cast but due to delays of the production, she dropped out and was replaced by Abbey Lee.
64. Australian crows or ravens are used in the Mad Max films, including Fury Road, as symbols of death and destruction.
65. Despite having custom logos starting the film, Warner Bros. Pictures and Village Roadshow Pictures (and RatPac-Dune Entertainment) aren't credited until the very end of the movie, after all other credits have rolled.
66. Amid claims of the film going over-budget and behind schedule, Warner Bros. then sent a produce to oversee production in Namibia.
67. George Miller is the first creator of a film franchise to reboot his own franchise.
68. Although Max never gives his exact nickname to the audience, he refers to himself with similar words like "insane" or "crazy".
69. The film contains about 2,700 cuts of its entire running length, which is equivalent to 22.5 cuts per minute compared to Mad Max 2: The Road Warrior's 1,200 cuts of its 90 minute running time equivalent to 13.33 cuts per minute.
70. Filming lasted 120 days, and the film runs at 113 minutes without credits. So, it could be said that each day equals about a minute of the film.
71. Since Immortan Joe wears a full breathing mask in all of his scenes, no part of his face below his eyes is ever seen.
72. The cast and crew had to endure extreme heat while filming in Namibia.
73. This is the first Mad Max film to be released in 3D.
74. Out of Control of Man With a Mission Feat. Zebrahead is used in the Japanese version of the ending song.
75. Weta Digital was originally involved with the film when it was scheduled for a 2012 release.
76. Fans of the popular British tabletop game Warhammer 40,000 noted that Immortan Joe and his army bore a number of uncanny similarities to Ork war band in the game. 
77. Max's sawed-off shotgun misfires when he tries to shoot off Nux's wrist, as it did in Mad Max 2: The Road Warrior. 
78. The movie was originally planned as a sequel to Mad Max and a prequel to Mad Max 2: The Road Warrior. It is believed that Immortan Joe would've been the Toe Cutter, who survived the accident in Mad Max but was badly injured, resulting in his body being battered and broken.
79. When engine #1 of the War Rig breaks down during the final chase to The Citadel, the sound it makes is the same sound the Millennium Falcon makes when it breaks down in Star Wars: Episode V - The Empire Strikes Back.
80. This is the only film in the Mad Max series where the last road battle doesn't end in a head-on collision between two vehicles and a main antagonist is killed in the process.
81. With the exception of Max and Nux, all of the film's male characters are villains. Conversely, all of the female characters are good.
82. After the War Rig is driven off the platform and the platform begins to rise as it is drawn back up into The Citadel, a lone woman can be seen standing in the center. In the previous wide-angle shot of the crowd, The Wretched were shown begging for a place in Immortan Joe's coterie. This woman, played by Debra Ades, was likely brought aboard to be used as a milker or breeder.
83. In the last scene of the movie, Furiosa's eye is swollen shut as a result of injury, the same as Max's is at the end of Mad Max 2: The Road Warrior.
84. In a likely reference, Nux crashes the War Rig in the same way the tanker crashes at the end of Mad Max 2: The Road Warrior.
85. Body count: 114.
86. When Max asks Nux if he's a "blackthumb" and can fix enging #1 while they are on the War Rig may be a reference to the character Blackfinger from Mad Max Beyond Thunderdome, who is the chief mechanic in Bartertown.
87. A deleted scene shows Miss Giddy's fate; she is left with Angharad's body, and attacked by crows (the crows were never added).
88. In one of the scenes the War Rig has a collision with a black Mack tractor unit. The same style of Mack tractor unit was featured in Mad Max 2: The Road Warrior to pull the fuel tanker trailer.
89. The blood-bag information tattoo on Max's back contains a description of his capture: "Lone Road Warrior Rundown on The Powder Lakes V8". Calling him a "Road Warrior" is a reference to the second film, Mad Max 2: The Road Warrior.
90. After Max searches Furiosa's cab for weapons and leaves with all her guns, Furiosa reveals a hidden knife sheathed in her gear shift. In Mad Max Beyond Thunderdome, Max is disarmed before entering Bartertown, but hides a knife sheathed in a fly swatter.
91. Max's first and last lines revolve around him telling somebody what his name is. The first time he tells the audience in a voice over. The second time he tells Furiosa while giving her his blood.
92. Immortan Joe wears a face mask for medical purposes, which is functionally similar to the mask worn by Tom Hardy when he portrayed Bane in The Dark Knight Rises. In both films, each character is defeated by the hero damaging or destroying the mask.
93. Charlize Theron will not return as Imperator Furiosa for Mad Max: The Wasteland. The Mad Max films are influenced by the western genre and like the mysterious gunfighter, Max leaves and moves on to an entirely new adventure.
94. Max's 1973 Ford Falcon XB GT V8 Pursuit Special (aka The Interceptor), seen in the first two films Mad Max and Mad Max 2: The Road Warrior, is seen in this film as well. Its appearance is indentical to its battered state seen in the second film. 
95. The portion of the blood-bag information tattoo being painfully needled into Max's back at The Citadel that was completed before he escapes reads: Day 12045, ht 10 hands, 180 lbs, No Name, No Lumps, No Bumps, Full Life Clear, Two Good Eyes, No Busted Limbs, Piss Ok, Genitals Intact, Multiple Scars, Heals Fast, O-Negative, High-Octane, Universal Donar, Lone Road Warrior Rundown on The Powder Lakes V8, No Guzzoline, No Supplies, Isolate Psychotic, Keep Muzzled.
96. If George Miller's Justice League movie had gone ahead, we'd have seen Megan Gale as a warrior long before she shows up in Fury Road as The Valkyrie. 
97. In later scenes, Max appears to be wearing a South African M-83 load bearing vest.
98. Keeping in line with the previous incarnations, Max barely speaks in the film. This excludes his narration at the beginning.
99. First Mad Max film to not star Mel Gibson as Max. It was originally rumored that he would have a cameo role as a drifter.
100. John Powell was set to compose the soundtrack.

Representation of Disability: Stereotypes and Examples

As a sinister or evil: Jaws - James Bond



Non-Sexual: Artie Abrams - Glee



Laughable: Suzanne Warren AKA "Crazy Eyes" - Orange Is The New Black



Being unable to participate in daily life: Rae - My Mad Fat Diary

Stereotypes of Disability

The stereotypes:

In his 1991 study, Paul Hunt found that there are 10 stereotypes of disabled people, used in the media:

1. The disabled person as pitiable or pathetic
2. An object of curiosity or violence
3. Sinister or evil
4. The super cripple
5. As atmosphere
6. Laughable
7. His/her own worst enemy
8. As a burden
9. As Non-sexual
10. Being unable to participate in daily life

Film Research - Seven Key Areas - The Hunger Games: Catching Fire

The Hunger Games Catching Fire - Seven Key Areas

Ex Machina - Research

A young programmer is selected to participate in a ground-breaking experiment in artificial intelligence by evaluating the human qualities of a breath-taking female A.I.

Age Rating:

• UK - 15
• US - R (UK equivalent to an 18)

Review Scores:

• IMDB - 7.7/10
• Metacritic - 78/100
• Rotten Tomatoes - 92%

Content:

• Sex & Nudity - 10/10

The woman lifts her leg and wraps it around the man. The scene ends and sex is implied.

A woman begins to undress for a man.

Discussion of attraction, flirtation, sexuality and penetrative sex with a robot.

A man jokes that oral sex was performed by a ghost in a film.

Conversation between two males about sexual intercourse. One asks the other if he wants to have intercourse with the main female lead & leads to about how it would be performed if such a case arises.

Mention of pornography.

Several uncovered humanoid robots shown, with breasts and genitals of actual actresses visible.

A female styled humanoid robot lies fully uncovered on a bed (very brief, non sexual with visible pubic hair).

A female styled robot examines it's uncovered flesh looking body in a mirror; nipples are seen.

A humanoid is seen on the ground in a very short that nearly reveals her flesh-looking buttocks.

There are long scenes where full frontal nudity of feminine humanoid robots in human looking flesh are shown. The appearance of flesh includes details of nipples and full frontal and backside nudity. Some of these humanoids are kept naked in closets. Graphic footage of them in partial human form and naked are also seen.

Because the robots are meant to be provocative of female sexuality in such a way that is fundamental and integral to the story line, their presence through out the entire movie is therefore a form of sexualization.

A female caresses her body in either a sexual manner or self realisation manner

A woman stands in front of a bunch of naked woman humanoid robots and she starts stripping artificial skin off of other naked women robots and placing on her own body.

• Violence & Gore - 8/10

Body Count- 2 Humans and 1 Robot

A man cuts his arm with a razor blade and it bleeds extensively.

A man punches another in the face.

A man is stabbed to death by two different robots. Blood pools in his shirt.

Two robots are hit by another character, one is shown losing their limb and another is shown with a missing jaw after injury.

There is also emotional and psychologic violence towards the robots and it could be questioned whether these interactions depicted in the film therefore constitute a form sexual abuse, slavery and involuntary confinement; particularly in form of both sexual and domestic violence against women.

• Profanity - 7/10

The f-word is said approximately 20 times, in both a sexual and non-sexual context.

• Alcohol/Drugs/Smoking - 7/10

Characters are seen drinking alcohol.

A character gets extremely drunk several times.

There are conversations about drinking and hangovers.

A character encourages another character to get drunk.

• Frightening/Intense Scenes - 5/10

A man cuts his arm, the scene is quite graphic.

A female robot peels back her skin to reveal machine parts.

Robots are beaten and have limbs damaged.

A man is stabbed twice by two different robots. Blood is seen.A man is left to die in a locked room.

A humanoid is screaming and emotionally enraged at her physical and sexual confinement.

Producers

• Eli Bush - Executive Producer
• Caroline Levy - Line Producer
• Andrew Macdonald - Producer
• Allon Reich - Producer
• Tessa Ross - Executive Producer
• Scott Rudin - Executive Producer
• Jason Sack - Associate Producer
• Joanne Smith - Associate Producer
• Jarle Tangen - Line Producer

Production Companies

• DNA Films
• Film4
• Scott Rudin Productions

Director/Screen Writer

• Alex Garland

Actors

• Domhnall Gleeson - Caleb
• Corey Johnson - Jay
• Oscar Isaac - Nathan
• Alicia Vikander - Ava
• Sonoya Mizuno - Kyoko
• Claire Selby - Lily
• Symara A. Templeman - Jasmine
• Gana Bayarsaikhan - Jade
• Tiffany Pisani - Katya
• Elina Alminas - Amber

Budget

• $15,000,000 (estimated)

Screens Shown On

Weekend Gross

$3,690 (USA) (30 August 2015) (5 Screens)
$3,324 (USA) (23 August 2015) (4 Screens)
$9,571 (USA) (2 August 2015) (17 Screens)
$30,721 (USA) (19 July 2015) (31 Screens)
$144,881 (USA) (21 June 2015) (124 Screens)
$389,000 (USA) (7 June 2015) (302 Screens)
$768,000 (USA) (31 May 2015) (506 Screens)
$1,423,000 (USA) (24 May 2015) (896 Screens)
$2,103,000 (USA) (17 May 2015) (1,718 Screens)
$3,510,000 (USA) (10 May 2015) (2,004 Screens)
$2,286,000 (USA) (3 May 2015) (1,279 Screens)
$5,349,500 (USA) (26 April 2015) (1,255 Screens)
$250,000 (USA) (12 April 2015) (4 Screens)
€38,500 (Netherlands) (3 May 2015) (8 Screens)


Box Office Figures

Opening Weekend

$5,349,500 (USA) (24 April 2015) (1,255 Screens)
$250,000 (USA) (12 April 2015) (4 Screens)
€38,500 (Netherlands) (3 May 2015) (8 Screens)

Gross

$25,440,971 (USA) (30 August 2015)
$25,434,333 (USA) (23 August 2015)
$25,405,058 (USA) (2 August 2015)
$25,361,484 (USA) (19 July 2015)
$25,233,155 (USA) (9 July 2015)
$24,954,673 (USA) (21 June 2015)
$24,330,000 (USA) (7 June 2015)
$23,587,000 (USA) (31 May 2015)
$21,947,000 (USA) (24 May 2015)
$19,566,000 (USA) (17 May 2015)
$16,705,000 (USA) (15 May 2015)
$15,762,000 (USA) (10 May 2015)
$10,924,000 (USA) (3 May 2015)
$6,827,930 (USA) (26 April 2015)
$250,000 (USA) (12 April 2015)
$36,659,611 (Worldwide) (9 July 2015)
$26,187,268 (Worldwide) (15 May 2015)
€89,727 (Netherlands) (6 May 2015)
$29,501 (Portugal) (15 May 2015)


Music (Composer of Score/Soundtrack)

• The musical score for Ex Machina was composed by Ben Salisbury and Geoff Barrow.
• A soundtrack album was released digitally on 20 January 2015, with an LP and Compact Disc UK release in February 2015 by Invada Records.

Additional songs featured in the film include:

• "Enola Gay" by Orchestral Manoeuvres in the Dark
• "Get Down Saturday Night" by Oliver Cheatham
• "Husbands" by Savages
• "Piano Sonata No 21 D. 960 in B-Flat Major" (first movement) by Franz Schubert

Marketing (teaser trailers, trailers, posters, websites e.t.c.)

Teaser Trailer:

Trailer:

Poster:

TV Spots:



Website:

SFX (special effects - technology used)

   Cameras:

GoPro Hero 3 Black Edition Sony CineAlta F65, Cooke Xtal Express, Kowa Prominar and Angenieux Optimo Lenses Sony CineAlta PMW-F55, Cooke Xtal Express, Kowa Prominar and Angenieux Optimo Lenses Cinematographic Process: Digital Intermediate (2K) (master format) J-D-C Scope (anamorphic) (source format) Kowa Scope (anamorphic) (source format) (some scenes) Much of Ex Machina takes place inside Nathan's house - an isolated building in the mountains filled with glass-lined walls. Production filmed on the Sony F-65 with anamorphic lenses, which would ultimately make for challenging plate tracking. On set, Vikander wore a gray wetsuit material costume covering most of her body. When visual effects replaced a section of the actor, the remaining parts were still the wetsuit material. Each setup involved an IBL take. Design and texturing of an Ava model continued at DNeg during principal photography, after which it was clear the rig had to be ‘astonishingly flexible’. To ensure the CG elements would perfectly match to the live action photography, Vikander was initially photobooth scanned in pre-production so her equivalent CG model could be built. Once the final costume was ready on set, the actress was scanned again and the model refined. The film was shot like ordinary live action. There were no special effects, greenscreen, or tracking markers used during filming. All effects were done in post-production. To create Ava's robotic features they filmed the scenes both with and without actress Alicia Vikander's presence, which allowed them to capture the background behind her. The parts they wanted to keep, especially her hands and face, were then rotoscoped while the rest was digitally painted out and the background behind her restored. Camera- and body-tracking systems transferred Vikander's performance to the CGI robot's movements. In total there were about 800 VFX shots, of which 350 or so were robot shots. Any Issues "The very premise of Ex Machina sets up a battle of the sexes that has quickly proved to be controversial: As Caleb examines Ava, he begins to fall in love with her, and he’s increasingly horrified by the notion that Nathan is keeping this feminine creature as his prisoner and potential sex slave. Certainly, men don’t come off so well in the movie, which links their desire to create with the more primal male desire to procreate: In other words, it posits that the tech-bros who are driven to design humanlike robots may be thinking less with their brains and more with their ... well, you know. It’s Ex Machina’s treatment of women, though, that has already spurred the most think pieces. The male characters in Ex Machina are blinkered and sexist in the way they relate to Ava (who's presented to both Caleb and the audience as a tantalizing mystery), but does their mere portrayal imply that the filmmaker approves of their actions, even unwittingly? It’s a notion that needles Garland, who understands all too well that a story designed to make you feel many things can be read by some as intending only one thing. Ava read as post-gender, her circuits whirring underneath a body she’s been placed into but feels skeptical of. At the same time, she’s still just as hemmed in by male expectations as any real human woman would be: Kept imprisoned by Nathan in his remote hideaway, Ava is born into a literally patriarchal system that measures her worth based on how men respond to her, and it’s up to her to either exploit that system or learn how to circumvent it. When she dons a feminine wig and pours herself into a dress, she’s gauging her physical impact on Caleb; alone in her bedroom, the androgynous android studies images of other women that Nathan has provided, forming her notions of sexuality from the magazine cutouts and advertising images that are literally placed in front of her."