Looking at Women Who Read Men’s Magazines

Looking at Women Who Read Men’s Magazines

Patricia Gaile Cotaoco

Discourses of Cultural Production class

For Him Magazine or FHM is one of the most popular men’s magazines in the country. It is a smorgasbord of pictures and articles about sports, the latest gadgets in the market, reviews, men’s fashion, and, of course, women and sex. Published monthly, the magazine features different women every month—celebrity or otherwise. It easily grabs the public’s attention because the front cover is always a picture of a scantily-clad, or sometimes even naked, woman posed in a very provocative way.

Obviously, the main target of the magazine is men. According to its Philippine website, the main target of FHM is 21 to 30 year-old males, usually in the AB and upper C class. However, FHM is not only enjoyed my men. There is a good percentage of women who read FHM too.

In an interview with Florabel Ibañez, a 32-year old chemist, she reads FHM “not only for entertainment, but also [to] learn some things.” She describes the magazine as “very informative.” The other interviewees have given the same answer as well. Some of these women, like April Castillo, 26, and Kelly Gelvezon, 27, even say that they get to have a “peer into the man’s world” by reading FHM and other men’s magazines.

Why do women read FHM?

Based on the interviews conducted, there are three reasons women read FHM: (a) for entertainment purposes, (b) to get information, and (c) out of curiosity. For entertainment, these women read the Ladies’ Confessions, Bar Room Jokes, and the True Stories sections. All of these sections are composed of short articles or stories sent by the readers of the magazine. Female readers send short stories about their sexual escapades, and these appear on the Ladies’ Confessions. The True Stories are short embarrassing or plain hilarious stories sent by men and women. As for the Bar Room Jokes, it is a compilation of the usual dirty jokes that men usually exchange with each other.

From the answers of the respondents, it seems that they read these sections to escape boredom. Although not all of them buy the magazine regularly, they read it whenever they have the chance or whenever they feel like reading.

According to Jackie Stacey, women used the act of going to the movie theater and watching a movie to escape from their dreary lives during the war (118). The same thing can be said for the female readers of FHM. At some point, they feel burned out and tired. This can account for things like work or just the plain simplicity of their lives. And so, the idea of being able to escape, even for a brief moment, excites these women. As Elaine Malsi, a 24-year old Research Assistant who does not buy the magazine but reads them whenever a copy is available, “It helps get boredom out of your way.” By reading the magazine, they can somehow get a break from the routine that they have to go through everyday. By reading the jokes and the other articles, they do not only have a good laugh, but they can also let their minds wander and not think of what comes in next in their “things-to-do-for-today” list.

The second reason women read FHM is that they want to get informed. The magazine has sections like Sex Confidential, an advice column about sex, and several review articles on the latest gadgets, movies, music, and books. It also features well-written articles about the latest fashion trend for men, sports, cars, and celebrities. These sections are what some of the women read for information. Ibañez said, “[The magazine] is very informative. I learn about man, manhood, cars, technology and girls.” For AJ Noel, a 24-year old freelance web designer and graphic artist, reading FHM also helps her with her job. “I get a lot of tips about the latest trends and design concepts,” she says. There are also some women, like Nikka Molina, 22, and Lilie Lazaro, 26, who take the information they get from the magazine as things that they can use for the future. Aside from the articles included in the magazine, Molina and Lazaro also consider the Ladies’ Confessions section to be informative and helpful for them. Molina claims that she gets to “learn from other people’s experiences.” The same thing goes for Lazaro who said she can use the information from the Ladies’ Confessions for future use. “When I’m married na. You know, the things a man and a woman do when they’re married na,” she said.

This what Stacey refers to as Consumption. It is a “site of negotiated meanings, of resistance and of appropriation as well as of subjection and exploitation” (118). Despite the numerous commodities that a movie advertises, Stacey argues that the audience is still an agent. The audience cannot be told what to do and how to use the meanings they get from the movies they watch. This is also what Stuart Hall meant when he came up with the concept of negotiated meanings. According to Hall, the audience does not take the meaning of the text completely. “Decoding within the negotiated version, contains a mixture of adaptive and oppositional elements. It accords the privileged position to the dominant definitions of events while reserving the right to make a more negotiated application to ‘local conditions’” (516). In this case, instead of consuming commodities, the readers of the magazine (i.e. Molina and Lazaro) consume information. Although they already claim that they can use the information for future purposes, they still decide on what to do with them. They choose which particular information to absorb, and eventually, they decide on what to do and how to use them.

Five of the women who have been interviewed said they started reading the magazine—or the reason they still read the magazine—is that they were curious. Twenty-eight-year old Jade Angeles-Padero, a housewife, said “I just get curious of its content…why men are so fond of it.” It was the same for Vanessa Javier, a 26-year old Site Support Officer. “I was intrigued by it. [My friends] said it was fun reading ladies’ confession, so I bought a copy.”

This curiosity is what pushed women to read men’s magazines like FHM. Having the urge of wanting to find out what it is that engages men into reading FHM means that they want to identify with men. They want to be informed of what is going on in the men’s world. As Castillo put it, “It helps me understand the workings of the male mind.” She even adds that “the magazine talks to women in a way that screams ‘Read me so you’ll understand that big gorilla you’re with better.’” Based on these answers, it can be said that women, although they might not be aware of it, still concede to the domineering ways of men. Stacey’s second category of focus, which is Identification, may be applied here. “Film texts are said to position female spectators in the interests of patriarchy” (118). However, Stacey argued that “by shifting the focus, [the audience] can generate fantasies of power, control and self-confidence” (118). On one hand, the idea of women as agents is still a possibility. Having the chance to “peer into the man’s world” may be a good way for women to learn how to resist male domination and know how to be in control of their own lives. On the other hand, wanting to be able to “understand the workings of the male mind” only puts women in a position wherein she wants to learn how to serve him better. As Angeles-Padero said, “Women can understand their men better, about their thoughts and needs by reading men’s magazines once in a while.”

It is evident that when Castillo said, “Maybe the girls would learn a thing or two on how we can make them [men] melt in our hands more,” she was pertaining to a desire of wanting to be a man, or at least be in a man’s position. Initially, one may think of this response as a woman’s desire to be in control. However, that kind of attitude is only known to man. Stacey argued that “the version of female desire that emerges is a very pessimistic one: woman’s desire only appears on the screen to be punished and controlled by assimilation to the desire of the male character” (24-25). What this means is that, woman is still oppressed and that her desire is only superficial because it is still the man’s desire that is taking over her.

Looking at other women

The idea of Identification can also be applied to the female readers of FHM seeing or looking at other women (the models) featured in the magazine. The women featured in the magazines are not wearing anything, or if they do, only a skimpy bikini. Their pictures, wherein they are posed in the most seductive way possible, are posted on almost all the pages of the magazine for men to look at. These pictures are what really make the magazine sell. When men see them, of course, the most natural thing to do is to buy the magazine, and then ogle and drool at the sight of these commodified women. According to Mulvey, “women are simultaneously looked at and displayed, with their appearance coded for strong visual and erotic impact. [A] woman displayed as sexual object is the leit-motif of erotic spectacle” (348).

But what if these models are looked at by female readers?

The reactions of the respondents regarding the models featured in FHM vary. It is interesting to note the respondents who feel indifferent or talk as if they are blaming the models for choosing to pose for a men’s magazine. Ivy Anabo, 26, works as a Customer Solutions Officer. Anabo has been reading FHM for six years now, but she does not see anything wrong with the way the magazine portrays women. “They’re okay. I don’t think they’re exploited or anything,” she said. She even added that “I see women who think and feel that they are sexy, and are not afraid to show the world.” Another respondent, Lazaro, said she only feels the model is being exploited when she experiences pre-menstrual syndrome. “It’s their choice din naman e. So parang kahit minsan degrading na on the part of the girls, parang iniisip ko na lang, whatever, ginusto din nya yan. She chose to use her body instead of her brain to earn money,” Lazaro said.

While most of them maintain the “It’s okay” or “It’s their decision” response, there are also some who discriminate the models. According to Malsi, she is “disgusted if the model looks cheap.” As for Grace Chan, she even “criticizes and picks on them.” While for Gelvezon, she is actually amazed at some of the women. “Many women really want to be ‘that’ famous!” she said. Javier thinks of the same way. “Maybe it’s their fastest way to go into show business,” she said.

Responses such as these imply that these women consider the models in the magazine as the “Other,” which further adds the oppression of these women models. Again, this is a culture of male dominance. Hélène Cixous argued that “the feminine is always the ‘Other’ or the negative in the hierarchies which society constructs” (195). And so, since the female readers take on the male dominant character by discriminating or feeling that “some women [models] should not be in the magazine because they look cheap,” the models discriminated upon constitute the “Other” Cixous is talking about.

Another way of reinforcing the male domination culture and oppression of women is the perspective that the female readers employ when they are reading FHM, and thus, seeing the models in the magazine. According to Jacques Lacan’s mirror stage theory, “the child, when looking at itself in the mirror—or simply at another child—only perceives another human being with whom it merges and identifies” (98). However, the child imagines her reflection in the mirror to be “more complete, perfect and powerful” (van Zoonen, 89). It is during this phase also when the child first recognizes herself as a subject and as an object.

And so, in this case, when a female reader sees a picture of another woman, posed very seductively, does she identify with the woman in the magazine (as an object)? Or does she identify with the male character who does the looking (or the subject)?

Some of the interviewees, like Castillo and Ibañez, identify with the women when they said that sometimes they wanted to be like or look like them. “I would want to look at least half as good looking as them,” Castillo said. As for Ibañez, she said, “they inspired me to work out, to have a body like an FHM model.” This is what exactly the makers of the magazine prefer to happen: that their female readers want to look like their models. This is the preferred reading, as Hall calls it. These women are commodified, and placed on the pages of a magazine, alongside several advertisements about sex (e.g. ads about condoms). In doing so, the female readers of FHM would feel compelled or would desire to look like them—beautiful, white, skinny, and sexy. The models and the look that they project signify “willingness and readiness to subsume to the male consumer. [Their] body postures construct an image of women as powerless and submissive” (van Zoonen, 19). Simply put, what FHM does is that it defines what beautiful and what sexy should be for women. Wanting to look like the models featured in FHM means that female readers condone the commodification that is being done to the models. They further oppress these women by making them as their inspiration to work out and beautify themselves, in the hopes that, soon, they would have the same kind of body: a body worthy to be in the pages of FHM.

However, it is also possible that the female readers of the magazine identify with a male character. According to Mulvey, “she may find herself secretly, unconsciously almost, enjoying the freedom of action and control over the diegetic world that identification with a hero provides” (123). Since reading FHM is a form of escape for women, it is then possible that female readers may also take on the male role, and actually enjoy it. This can be exemplified in two of the respondents, Noel and Lazaro. Noel described the magazine as “visually stimulating,” especially if it features “a hot chick” that she likes. As for Lazaro, she claimed that she is sometimes “a bit turned on” when she looks at the pictures of the models in the magazine.

According to John Berger, “even if the women do the looking they do not seem to do it through their own eyes” (in van Zoonen, 87). Critical thinkers, like Mary Ann Doane, and Mulvey maintain the same position as Berger. According to Doane, “a reversal of the gaze is impossible” (91). Mulvey added that a masculination of spectatorship is needed if the female spectator is to identify with the active desire. This means that the female spectator should learn how to adopt a masculine view of things. Cixous’ idea that “in a certain way, ‘woman is bisexual’” (201), means that women can take on the masculine and feminine position. However, according to Stacey, it does not necessarily mean that she desires both sexes. She just has the capacity to shift from one position to another.

If Cixous’ position is that a woman is bisexual, Mulvey claims that she is more of a transvestite. “The transvestite wears clothes which signify a different sexuality, a sexuality which, for the woman, allows a mastery over the image and the very possibility of attaching the gaze to desire” (138).

From these arguments, it can be said then that there is no such thing as a female gaze, that a woman does not really have anything she can call her own because even a mere gaze belongs to men. The viewer, in this case, the female reader of FHM, looks at the object (another woman), but still looks at her through the eyes of a male. And so, regardless of who is looking at the women in men’s magazines, and regardless of who the viewer identifies with when she is looking, it only leads to one thing: more oppression for the women in the magazine.

Bibliography

Cixous, Hélène. “The Laugh of the Medusa.” Ed. Maggie Humm. Feminisms. New York: Harvester Wheatsheaf, 1992.

Doane, Mary Ann. “Film and the Masquerade: Theorising the Female Spectator.” Ed. Sue Thornham. Feminist Film Theory: A Reader. New York: New York University Press, 1999.

Hall, Stuart. “Coding, Recoding.” Ed. Simon During. Cultural Studies Reader. London: Routledge, 1999.

Lacan, Jacques. “From Simone de Beauvoir to Jacques Lacan.” Ed. Toril Moi. Sexual/Textual Politics. London: Routledge, 2002.

Mulvey, Laura. “Afterthoughts on ‘Visual Pleasure and Narrative Cinema’ Inspired by King Vidor’s Duel in the Sun (1946).” Ed. Sue Thornham. Feminist Film Theory: A Reader. New York: New York University Press, 1999.

Mulvey, Laura. “Visual Pleasure and Narrative Cinema.” Ed. Maggie Humm. Feminisms. New York: Harvester Wheatsheaf, 1992.

Stacey, Jackie. Star Gazing: Hollywood Cinema and Female Spectatorship. London: Routledge, 1994.

Stacey, Jackie. “Gender and Sexuality.” Ed. John Storey. Cultural Theory and Popular Culture. Essex: Pearson Education Limited, 2001.

van Zoonen, Liesbet. Feminist Media Studies. London: Sage Publications, 1994.

About FHM. FHM Philippines. 1 August 2008. .

Javier, Vanessa. Interview with researcher. 26 June 2008

Molina, Nikka. E-mail interview with researcher. 1 July 2008

Noel, AJ. Interview with researcher. 2 July 2008

Anabo, Ivy. Interview with researcher. 8 July 2008

Lazaro, Lilie. Interview with researcher. 11 July 2008

Malsi, Elaine. E-mail interview with researcher. 13 July 2008

Gelvezon, Kelly. E-mail interview with researcher. 14 July 2008

Chan, Grace. E-mail interview with researcher. 16 July 2008

Angeles-Padero, Jade. E-mail interview with researcher. 16 July 2008

Castillo, April. E-mail interview with researcher. 17 July 2008.

Ibañez, Florabel. E-mail interview with researcher. 26 July 2008.

Feminist Animated Feature Films

Feminist Animated Feature Films
Patricia Gaile Cotaoco
Discourses of Cultural Production class

Many people are familiar with the popular Disney feature films, like Cinderella (1950), Sleeping Beauty (1959), and Little Mermaid (1989). In all of these films, the princess is a passive character who simply waits for her prince to rescue her from whatever ordeal she was going through then. These characters are domesticated, forbidden to speak whatever and whenever they want, and are made to follow orders.

While these feature films may be considered old and already a classic, they continue to invade the market through the Disney princesses merchandise. Aside from the movie videos, there is also a wide array of Disney princesses products, including clothes, costumes, books, dolls, etc. Evidently, the era of Disney princesses is not yet over as these princesses have already become icons that little girls idolize and love. It is funny and interesting to note, however, that the idea of Disney princesses continue to be a success despite the oppressive message it sends across.

Nevertheless, animation companies tried to break free from the formulaic genre of animation films and the traditional type of characters in the story. Female characters such as Mulan, Princess Fiona of Shrek (2001), and Lady Marina of Sinbad: Legend of the Seven Seas (2003) prove that women can be strong-willed, capable to think for themselves, and at times, even stubborn and rebellious. These movies prove that women can be their own person.


Mulan
Mulan is a Disney film about a young woman who pretended to be a man so that she can take the place of her father in the war. The patriarchal culture is strictly being observed, as well as women oppression, can be seen throughout the whole movie. In the first scene, Mulan is shown memorizing the qualities a woman should have so she can become bride-worthy. This oppression is also exhibited in the lyrics of the songs (“here’s my recipe for instant bride…/ boys will gladly go to war for you…/ you’ll bring honor to us all//”). It is also shown in the dialogues. An example of this is Chi Fu, the emperor’s chief council. He has lines like “She must know how to hold her tongue in front of a man’s presence,” “I knew there’s something wrong with you—a woman!” and “She’s a woman. She doesn’t mean anything.” Another example is Shan Yu, who does not even recognize Mulan during their fight at the temple. Instead, he refers to her as “the soldier from the mountains.”

On the surface, the dominant message that the movie wants to get across is that women can have strong characters too. However, looking at it closer, this strong characteristic is only superficial. The movie actually patronizes the power that men have over women. Even in the last few scenes, when Mulan’s grandmother joked around to “sign her up for the next war,” it still implies that women need men. It is only through Mulan’s character that resistance can be seen. Her character immediately strikes the viewer as rebellious and stubborn. She is not what an ordinary Chinese woman would be like—intelligent, meddles in conversations, and is always late. In fact, she is more of a tomboy in some ways. Again, this is the movie’s way of upholding male dominance. Although she has proven that women can work outside of their homes, can be stronger and more strategic than men, and can even save a country, she had to act like a man in order to accomplish those things. This just means that only men are capable of doing such tasks. In the movie, Mulan cut her hair short, dressed in armor, tried to change her voice, and acted like a man. She had to undergo through these transformations simply because of her desire to get in the army, and ultimately, to be able to belong in a man’s world. As Craig Owens said, “In order to speak, to represent herself, a woman assumes a masculine position; perhaps this is why femininity is frequently associated with masquerade, with false representation, with stimulation and seduction” (59). Laura Mulvey refers to this as a “transvestite position” or “masculinization.” This means that no matter how women try, they will never have a position or voice in a society ruled by men. It is either they accept their oppressed state, or they attempt to speak up, but assume a man’s voice.


Princess Fiona
Princess Fiona is a female character in Shrek (2001), a Dreamworks animation movie. In the movie, Fiona is locked up in a tower because of a curse: she turns into an ogre every night. She believes, or at least, she was made to believe, that the only way she can be “beautiful” or to break the curse is when a prince rescues her from the tower and kisses her.

The movie also hints on the issue of having a society that observes patriarchal culture. In the movie, Lord Farquaad is desperate to become a king; however, he must have a wife to be one. And so, princesses are auctioned before him as if they are commodities. In one scene, one can even see and hear how Lord Farquaad’s bodyguards shout and cheer for their bets. This scene is very oppressive to women.

It is therefore interesting to note Fiona’s character as she is not like the other Disney princesses. Although she, too, waits for her Prince Charming, her actions are not what a princess is supposed to be like: demanding, speaks rudely sometimes, and can keep up with men. She burps, passes gas, can make animal balloons, and can eat rats—things that are uncommon for a woman, much more for a princess. Aside from her wish to break the curse bestowed on her, Fiona resists every stereotype that society has of a woman.

Unlike Mulan, Fiona does not have to assume a man’s role. However, her character is actually that of a mysterious, manipulative, and vain woman. She has secrets (she hides in caves and dark huts during the night). In one scene, she manipulates and convinces Donkey into thinking that he has to look for a medicine to heal Shrek’s wound. In another scene, she even pretends to be sleeping and in dire need of romance just so that Shrek would kiss her. Her sweet words and pretty face can pass off as the innocent and naïve type: qualities a princess should have.

“The image of women is twofold: (1) she is the object of male desire, and (2) she is the signifier of the threat of castration” (Mulvey, 114). When men give in to women’s desires, it is not because they like them or they treat her as equal. They are just threatened by the idea of being overpowered. When Hélène Cixous wrote The Laugh of Medusa, she said, “Smug-faced readers, managing editors, and big bosses don’t like the true texts of women—female-sexed texts. That kind scares them” (198). And so, when Fiona’s manipulative character is exhibited, the male characters around her (whether it is Shrek or Donkey) feel scared. Man does not learn to respect a woman who poses as a threat to him. Instead, he treats her as the other, as someone who should be overpowered. Thus, the state of the woman becomes even more oppressed.


Lady Marina
Lady Marina is the female protagonist in the 2003 animated film by Dreamworks, Sinbad: Legend of the Seven Seas. An ambassador of goodwill from Thrace, Lady Marina is arranged to marry Proteus, prince of Syracuse. In the movie, Marina is forced to forget her dream of exploring the world through sailing because of the duties and responsibilities that she has to do.

There is also a hint of patriarchal culture in the movie, particularly in the dialogues of Sinbad. In the movie, Marina sneaks into Sinbad’s boat, claiming that she wants to make sure he does what he has promised: to get the Book of Peace from the Goddess of Chaos, and then bring it back to Syracuse and have Proteus free from jail. While they are sailing, Sinbad continuously tells her that a woman does not belong in the boat. What he means is that, a woman cannot do what a man does, and that the only place she belongs to is inside the house.

This dominant culture is what Marina’s character tries to resist. This resistance is best reflected in the scene wherein Marina sneaks into Sinbad’s boat. This is not something a woman would do, much more if she is engaged to another person already. Marina’s character is similar to Fiona, in the sense that she can also be the manipulative type of woman. When Sinbad has found out that she is in his boat, he tells her to leave. Instead of following his orders, Marina bribes Sinbad with a bag-full of gems and jewels and then says, “I’ll talk with you using your language.” This manipulative character is also shown when Sinbad and she are arguing. Marina shows Sinbad that his crew likes having her in the boat by asking his crew for a knife. With her sweet voice, large, puffy eyes, and pretty face, all of his crew immediately gave all of the swords and knives that they can get.

Despite this manipulative character, again, like Fiona, Marina rebels against the stereotyping and oppression of women. In one scene, she saves Sinbad and the rest of his crew from getting further hypnotized by mermaids. Similar to Mulan, Marina also performs stunts, which are usual only for men.


Preferred Meanings Versus Own Readings
According to Stuart Hall, “preferred meanings have the whole social order embedded in them as a set of meanings, practices and beliefs” (513). These are the meanings that dominant, oppressive groups continuously and persistently relay to the rest of the society. These messages are covered up by something superficial and attractive so that hegemony takes over.

For the three movies, the preferred meanings or the embedded meanings all speak of the same thing: women do not have a place in the world of men. If they want to become a part of it, they have to adopt or assume a male position (as in the case of Mulan) or have a manipulative character (as in the case of Fiona and Marina). Either way, women are still oppressed. For the first case, they are only assuming another position; whereas for the second, they get to be treated as the other.

James Carey’s Ritual or Expressive Model of Communication also deals with these embedded messages. According to Carey, this model “depends on shared understandings and emotions. [In this model] communication is linked to such terms as sharing, participation, association” (70). In these movies, the shared beliefs are that women need men, that women do not have to think for themselves because they have men to do the thinking for them, and that women are meant to be housewives only. Mulan, Fiona, and Lady Marina are examples of characters who go against what the shared beliefs say about women. These characters make their own decisions and they do not adhere to what society says they should do. Through these characters, viewers are given the idea to be more critical of the messages that they receive. They can actually decode the hidden messages using a negotiated or even oppositional reading or view. Hall has defined negotiated reading as “a mixture of adaptive and oppositional elements” (516). The viewers can take some of the messages which they think will suit, and then, reject the others. Employing a negotiated view, the viewer becomes an agent and decides for herself what to do and how to use the embedded messages.

Hall’s concept of negotiated reading is similar to the Reception Model of Communication. This model says “media messages are always open and polysemic and are interpreted according to the context and the culture of receivers” (McQuail, 73). Again, this model stresses the viewer’s capability to be an agent and make decisions on her own, just like Mulan, Fiona, and Marina.


Bibliography

Carey, James. “A Ritual or Expressive Model.” Ed. Denis McQuail. Mass Communication Theory. London: Sage Publications, 2005.

Cixous, Hélène. “The Laugh of the Medusa.” Ed. Maggie Humm. Feminisms. New York: Harvester Wheatsheaf, 1992.

Hall, Stuart. “Coding, Recoding.” Ed. Simon During. Cultural Studies Reader. London: Routledge, 1999.

McQuail, Denis. Mass Communication Theory. London: Sage Publications, 2005.

Mulvey, Laura. “Gender and Sexuality.” Ed. John Storey. Cultural Theory and Popular Culture. Essex: Pearson Education Limited, 2001.

Owens, Craig. “Feminists and Postmodernism.” Ed. Hal Foster. The Anti-Aesthetic: Essays on Postmodern Culture. Washington: Bay Press, 1983.

How Disney Princess Works. How Stuff Works. 25 August 2008. .

Mulan. Dir. Tony Bancroft and Barry Cook. Perf. Na-Wen, Ming, Eddie Murphy, and B.D. Wong. Walt Disney Pictures, 1998.

Shrek. Dir. Andrew Adamson and Vicky Jenson. Perf. Myers, Mike, Eddie Murphy, and Cameron Diaz. Dreamworks Animation, 2001.

Sinbad: Legend of the Seven Seas. Dir. Patrick Gilmore and Tim Johnson. Perf. Pitt, Brad, Catherine Zeta-Jones, and Michelle Pfeiffer. Dreamworks SKG, 2003.