The Connection of Food and Mood
Is Britney Spear's 'Toxic' Diet Causing Her Erratic Behavior?
From Britney Spears to Lindsay Lohan, young Hollywood stars are imploding. Spears and others are routinely photographed carrying sugar and fat-laden coffee drink and eating fast food. No doubt a host of issues may be at work, but one thing is clear --- the toxic diet of many celebrities can cause big problems.
Bestselling author, Dr. Timothy Brantley has taught his methods of naturally restoring physical and emotional health to thousands of people, including well-known celebrities. According to Dr. Brantley, the brain communicates by chemical neurotransmitters; which are created in the brain from the food we consume. You may be able to better balance your mood by knowing which "mood foods" to avoid and which to incorporate into your diet.
BAD MOOD FOODS
Greasy Fast Food
Burgers can linger in your stomach for a long time and can zap your energy for hours to come.
Caffeine
Caffeine can be addictive, altering brain chemistry in a way similar to amphetamines, often triggering irritability and agitation.
Alcohol
According to press reports Britney Spears indulged in Margaritas prior to her infamous MTV VMA thumbs-down performance. Connect the dots - alcohol is a sedative that can cause dehydration, muscle weakness, and inability to focus.
Sugar
Sugar causes mood swings and fatigue, hyperactivity, anxiety and can lead to emotional instability, as well as obesity.
Soda
Commercial sodas often contain high levels of sodium that can cause dehydration. The caffeine content in many sodas, particularly so-called "energy drinks," can cause weight gain, bloating, memory loss, inattention and anxiety.
GOOD MOOD FOODS
Omega 3
Omega 3 fatty acids have mood lifting benefits and help alleviate depression. Foods rich in Omega 3 include salmon, flaxseed, and walnuts.
Folic acid and B12
Low blood levels of folate and vitamin B12 may be related to depression. Folic acid rich foods include: lentils, oatmeal and broccoli. Foods loaded with mood enhancing B12 include: salmon and organic beef.
Vitamin D
Stave off the winter blues with a bit of sunshine and foods rich in Vitamin D like fish and egg yolks.
Tryptophan
Serotonin production is facilitated by tryptophan. Foods that are tryptophan-rich includes: raw milk, yogurt, eggs, meat, nuts, beans, fish and almonds.
Dr. Timothy Brantley has been an independent researcher utilizing naturopathic principles for many years. He is a frequent guest on The Rachael Ray Show, Montel Williams Show and Dr. Pat radio program. Dr. Brantley's very popular blog is currently featured in The Huffington Post. His best-selling new book, "The Cure: Heal Your Body, Save Your Life" (Wiley) prescribes a plan for empowering people to cure disease and restore vibrant health.
For more information, visit his website at www.brantleycure.com
Dr. Brantley will lecture in person at the Learning Annex in New York on November 6, 2007 and in Los Angeles on October 30, 2007.
Even with our most trusted friends we feel reluctant to talk about complex meanings or complex kinds of responses because we feel our language is not adequate ..(concept, terminology..etc) Perhaps education gives us a language to articulate what we know and experience but we cannot adequately communicate. If we are determined though we will acquire this language...A "film language", drawback though, film language "any" language in fact, does "our thinking for us".
Sunday, October 28, 2007
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- Food and Mood
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The discourse of "Film Culture" requires us to conceive of cinema in its own terms.
The discourse of film research will lead us to particular descriptions, " limited" kinds of analysis determined by the categories cinema provides.
Discourse is a complex concept. It refers to the way in which something is told not just in terms of its specific language (whether verbal or visual) but also in terms of what it prioritizes. Discourses are both general and specific. Narrative "realist" cinema is a discursive form, a particular kind of human expression which represents the world in a certain way, employs a particular kind of a time-visual "language". Within narrative "realist" cinema as a whole, particular genres have their own more specific discourses. i.e. The Sci-Fi film is preoccupied with themata (idea-themes) of science and control. the romance is preoccupied with themata of sexuality, gender and often property relations. These ideas are either implicit -taken for granted within the way the story is conceived or explicit - in that the film actively promoted certain values, attitudes and beliefs.
The concept of Discourse is closely connected with another key concept HEGEMONY "taken-for-granted" a "common sense" outlook on some aspect of human reality shared by the vast majority of people within the society. Hegemony helps us to understand the illusion that commonly shared attitudes and values, ways of making sense of our world, appear to come from nowhere. Narrative "realist" cinema has this characteristic, it disguises its discursiveness by pretending to be simply "there". Discourses about law and order and sexuality, for example - are themselves seen as non-discursive, as natural, as taken for granted. These core values of society appear to come from nowhere- they simply are ! This leads to a compounding of a criticism leveled against popular cinema (and other popular media) that not only does it disguise its own discursive form, but it also "naturalizes" these profoundly significant social and political discourses. THINK CRITICALLY ABOUT THEIR "CONSTRUCTED" REALITY AND THE VALUE SYSTEMS THAT FUNDAMENTALLY INFLUENCE OUR LIVES. “being indoctrinated with a political spin.” From a commercial perspective, however, the very opposite may appear to be the case. People do not want to think critically about their "constructed" reality. They pay for their entertainment, so they can be released from the concerns of their lives. They may well want the security of hegemonic values within familiar discourses. The point is that it has less to do with questions of an active/passive audience. It has to do either with the choices we make or the level of (a)Competence - (b)Education and (c) CineNoesis we bring to cinema and the screening events we attend
The discourse of film research will lead us to particular descriptions, " limited" kinds of analysis determined by the categories cinema provides.
Discourse is a complex concept. It refers to the way in which something is told not just in terms of its specific language (whether verbal or visual) but also in terms of what it prioritizes. Discourses are both general and specific. Narrative "realist" cinema is a discursive form, a particular kind of human expression which represents the world in a certain way, employs a particular kind of a time-visual "language". Within narrative "realist" cinema as a whole, particular genres have their own more specific discourses. i.e. The Sci-Fi film is preoccupied with themata (idea-themes) of science and control. the romance is preoccupied with themata of sexuality, gender and often property relations. These ideas are either implicit -taken for granted within the way the story is conceived or explicit - in that the film actively promoted certain values, attitudes and beliefs.
The concept of Discourse is closely connected with another key concept HEGEMONY "taken-for-granted" a "common sense" outlook on some aspect of human reality shared by the vast majority of people within the society. Hegemony helps us to understand the illusion that commonly shared attitudes and values, ways of making sense of our world, appear to come from nowhere. Narrative "realist" cinema has this characteristic, it disguises its discursiveness by pretending to be simply "there". Discourses about law and order and sexuality, for example - are themselves seen as non-discursive, as natural, as taken for granted. These core values of society appear to come from nowhere- they simply are ! This leads to a compounding of a criticism leveled against popular cinema (and other popular media) that not only does it disguise its own discursive form, but it also "naturalizes" these profoundly significant social and political discourses. THINK CRITICALLY ABOUT THEIR "CONSTRUCTED" REALITY AND THE VALUE SYSTEMS THAT FUNDAMENTALLY INFLUENCE OUR LIVES. “being indoctrinated with a political spin.” From a commercial perspective, however, the very opposite may appear to be the case. People do not want to think critically about their "constructed" reality. They pay for their entertainment, so they can be released from the concerns of their lives. They may well want the security of hegemonic values within familiar discourses. The point is that it has less to do with questions of an active/passive audience. It has to do either with the choices we make or the level of (a)Competence - (b)Education and (c) CineNoesis we bring to cinema and the screening events we attend
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