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On the other hand, as with most phobias, scopophobia generally arises from a traumatic event in the person's life. With scopophobia, it is likely that the person was subjected to public ridicule as a child. Additionally, a person with scopophobia may often be the subject to public staring, possibly due to a physical disability. [9]
The psychic staring effect (sometimes called scopaesthesia) is the claimed extrasensory ability of a person to detect being stared at. The idea was first explored by psychologist Edward B. Titchener in 1898 after students in his junior classes reported being able to "feel" when somebody was looking at them, even though they could not see this ...
As such, the meaning of a person's staring behavior depends upon the attributions made by the observer. [2] When caught staring, the moment can be a source of embarrassment depending on the reason for staring. For example, in the movie Superbad, the character Fogell is caught staring at a classmate’s exposed thong underwear, or a whale tail ...
People, perhaps without consciously doing so, search other's eyes and faces for positive or negative mood signs. In some contexts, the meeting of eyes arouses strong emotions. Eye contact provides some of the strongest emotions during a social conversation. This primarily is because it provides details on emotions and intentions.
She undoes her top briefly exposing one of her breasts. The scene is regarded as the first female nude scene in a mainstream postwar English-language feature film, and notably the first such scene for a British film. The movie was panned by critics at the time and it reportedly destroyed Powell's directing career in the UK.
Nothing quite puts the cherry on top of a great movie like a hot sex scene—except, of course, a hot, ~romantic~ sex scene. You know what I’m talking about: those sex scenes that are equal ...
The first part of the film is a slideshow of photos before Copeland acquired his film camera. This includes the era with Henry Padovani and the arrival of Andy Summers. The film then follows the band as they try to find success in America, joined by Copeland's childhood friend Kim Turner as their tour manager.
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