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The presentation of gender in David Finchers Fight Club.

Sahil Lulla
Chatsworth International School
Supervisor: Nigel Reid
Candidate number: 002114 -0023
Word Count: 3,981

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Abstract
This essay examines the gender constructs in the cult classic Fight Club by means of
the research question: How is gender presented in David Finchers Fight Club?.
The film depicts the tale of an everyman figure under neo-liberal capitalism and the
creation of a symbolic club known as Fight Club which on surface level is essentially
a support group for men through homosocial desire to have raw fist fights in order to
rid themselves from the extreme emasculation caused by commodity culture.
However on a deeper level, it symbolizes an assault on capitalist economies by
individuals, in order to enable men to regain their lost masculinity.
The scope of the essay explores the symbolic characterizations of Jack, Tyler Durden
and Marla Singer and argues that gender is a product of the modern consumerist
culture. It moves away from the conventional patriarchal approach and thus causes the
production of effeminate men and the evolution of a new gender type, which has been
called metrosexuality. This brand of sexuality is a culmination of homosexual and
heterosexual forms of gender, and this notion leads to the large scaled feminization of
men as they are being sold their identities, mirroring the philosophy of materialism.
It is argued that through the introduction of complex characters filled with contrasts
and similarities, a contradictory and convoluted story-line with metaphorical
symbolisms, the film thereby functions as a Marxist critique of neo-capitalist
economies and ultimately inscribes gender as a product of consumerism due to its
mass communication and ubiquitous reach.
Word Count: 251

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Contents:

Introduction ...4
Commodity Culture ...5
Homosocial Desire ....7
Jack ....9
Tyler Durden....12
Marla Singer.14
Robert Paulsen/Testicular Cancer....16
Cinematography...17
Conclusion...20
Bibliography....22
Appendices..24

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Introduction

David Finchers neo-gothic Fight Club, based on Chuck Palahniuks novel of the
same name, enacts the tale of an everyman figure under neo-liberal capitalism. The
film essentially revolves around the narrator- named Jack in the screenplay- and
his anarchic, masochistic relationship with Tyler Durden, who later is revealed to be
his alter ego. Tyler is Jacks antithesis and Together they create Fight Club which
on surface level is essentially raw fist fights between men in order to rid themselves
from the extreme emasculation caused by commodity culture.

This essay argues that the film explores the way in which gender behavior has been
affected by capitalism through the various and distinct characterizations in the film.
Tyler and Jacks contrasting nature presents itself as the ideal example of man and his
inner-self battle with his animalistic instinct. Contrary to this, Marla is depicted as the
stand-alone female character that heavily contrasts to conventional ideal of a female
through her rather masculine traits heavily juxtaposing to Jacks feminized character
at the inception of the film. Fight Club depicts that the concept of capitalism, the
transformation of everyday ideals in commodities, leads to a change in class structure
hence altering conventional constructs of gender, which is exemplified through the
characterizations of Jack & Marla. This essay will explore the research question of
How is gender presented in David Finchers Fight Club? in which gender
behavior results as a product of commodity culture and how this relationship is
presented.

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Commodity Culture

Commodity culture or rather commodification, which arrives from Marxism, refers to


the desire to own or acquire specific goods and/or services based on trends and
prevailing ideals (Polanyi 40). The film illustrates a society in which capitalism has
dominated and changed the average way of life by giving everything a financial
value. Fight Club commences by introducing the effeminate character of Jack who is
alienated in society. Jack is presented as an everyman figure, an anonymous
character whose name is never revealed hence symbolizing the average male of such
an era. The alienation of men is then further depicted through Jacks addiction to
materialism and obsession of being near-perfect.

The film mediates the role of gender politics by illustrating the struggle between class
and gender within the context of commodity culture (Rehling 187). This discourse is
particularly evident through the only female character, Marla Singer. She juxtaposes
to Jacks character by adopting a virile disposition, similar to the female archetype
colloquially known as tomboy', thus providing audiences with a redolent sense of
disorientation.

Fight Clubs haunting and evocative vision of gender as product of social class
directly parallels, perhaps symbolizing, the crises of gender that occurred in the late
20th Century. This correlates to Marxist feminist theory, which states how communal
establishments such as private property and capitalism leads to oppression or rather an
inequality in gender (Rehling 187). This is achieved through the decline of the
conventional patriarchal approach to society and rise in the concept of capitalism. The

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male 'alienation' in Fight Club can be epitomized by the elevation of feminine stands
and the role of a woman in society, thus leading to the fall in male dominance,
females are no longer subservient to males and they become equivalent. This idea of
alienation of the male figures suggests their conforming nature and repressed primal
instincts. Fight Club quite translucently adopts this philosophy of the crises of
gender through Jacks effeminate and Marlas masculine characterization.

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Homosocial Desire
Fincher foregrounds the role of homosocial desire (or homosocialism) as a
predominant trope within the film. This term originates from the work of Eve
Kosofsky Sedgwick, and essentially refers to social bonds between same sexes.
Sedgwick states that homosocial desire is an emerging pattern of male friendship,
mentorship, entitlement, rivalry (Sedgwick 1). This emerging pattern is highly
evident in the relationship between Jack & Tyler, the term is colloquially known as
bromance. She continues to argue that the notion of male homosocial desire has
been evident in all capitalist economies (Sedgwick 2). This idea embodies Heidi
Hartmanns definition of patriarchy, hierarchical, establish or create interdependence
and solidarity among men that enable them to dominate women (Hartmann 142).

Although, Simone de Beauvoir in her novel, The Second Sex defines patriarchy as
Men profit form the myth of their superiority which arises from the otherness, the
alterity of woman. It is little wonder, then, that so many men in all the various
disciplines have striven to show that the subordinate position of women is willed in
heaven and advantageous on earth (De Beauvoir 72). She continues to argue that the
political and ethical indictment of patriarchy alienates women through a feminists
point of view. This concept juxtaposes to the Marxist theory and the philosophy of
Fight Club as it depicts alienated men in a society where patriarchy is extinct. She
believes that it is not a side effect of the economic culture. Nonetheless, De Beauvoir
offers a definition which states that men profit from the myth of superiority and it is
this profit that capitalism does not offer which leads men to feel alienated through
commodity culture and hence alterations gender norms occur. The notion heavily
embodies the significance of the characters of Jack & Marla.

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Hartmann argues that this belief is the root of womens oppression whereas this essay
will demonstrate that in the presentation of gender in Fight Club (Hartmann 231). The
idea is played on itself and depicts the oppression of males from neo-liberal
capitalism. This social struggle between sexes is highly depicted due to Marlas
masculinity and Jacks feminity, her gothic and rather dominating nature directly
juxtapose to Jacks Ikea nesting instinct and feminity. It can therefore logically be
argued that the creation of Tyler occurred due to Jacks oppressed masculinity in
order for him to sleep with Marla.

As a result of these factors, then, the presentation of gender in Fight Club is important
in symbolizing the modern society in which males have been alienated through large
scaled feminization under neo-liberal capitalism. It depicts the emasculation of men
and Fight Club or Project Mayhem act as an outright assault on capitalist
economies, in order for men to re-masculate themselves.

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Jack
The character of Jack is a crucial vehicle for the presentation of gender in Fight Club.
He is the protagonist of the film and by extension the narrator. The true identity of
this persona remains a mystery throughout the film, although in the screenplay he is
referred to as Jack. The common nature of this name could embody the concept of
the everyman. He is presented as a passive consumer rather than an active consumer
hence acting has a threat to conventional masculine traditions through his effeminate
character at the beginning, further asserting the notion of the crises of gender. He is
presented as a delusional character, however, at the start of the film he states that he is
'near complete', possibly an implication to the numerous products at his domicile.
This alludes to a society predominated by capitalist ideals, provoking men to being
alienated and their primal instructs being repressed. He attends multiple support
groups to let out his emotions through a rather feminine act of deploration to feel
secure. This allows him to sleep again; he feels resurrected hence suggesting his
attempt to re-establish his manhood.

Crying is often linked with feminity. In addition, he states, Like so many others, I
had become a slave to the Ikea Nesting Instinct (Fincher, Fight Club). Interior design
and home furnishings are often considered as feminine fads and goes against the
conventional patriarchal male figure. Jack sitting on a commode when ordering from
an Ikea catalogue to fill his home with new condiments further exemplifies this.
Fincher argues in his film that the Ikea catalogue is presented as a suitable substitute
for pornography, once again diverting from conventional masculine traits. Jack states
in the film We used to read pornography, now its the Horchow collection (Fincher,
Fight Club). Although the film suggests that Jacks current mannerisms are a trend

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amongst males and is presented as pop culture. It is evident that Jack is presented as
an ideal example of the everyman under late capitalism. Fincher states, We're
designed to be hunters and we're in a society of shopping. There's nothing to kill
anymore, there's nothing to fight, nothing to overcome, nothing to explore. In that
societal emasculation this everyman [the narrator] is created (Smith 62). His only
leeway is unleashing his emotions, hence allowing fight club to be the embodiment
of the perfect support group in re-masculating men through the expression of the
archetype male dominance, rage and fighting.

Moreover, Jacks incapability to defend his feminity caused him to create a defense
mechanism, Tyler Durden. His anarchic, and rather masochistic nature adopts the
exchange value aspect of capitalism; this provides an adequate juxtaposition to Jack
character, as he embodies the use value of capitalist economies (Henderson 146).
This is highly evident through the Ikea Nesting Instinct shown on screen (Fincher,
Fight Club). He is fixated on those needs from his own subjective standpoint within
capitalism. His needs are not generically met, in other words, they are specifically
satisfied hence asserting the notion of being near complete.
Although Jack may not be the archetypical male figure, he is not effeminate by any
means either. Despite his materialist nature, his clothing and dressing gestures largely
contradict feminine standards. In appendix 1, it is evident that through his oversized
office shirt that he is not well kept. It could be argued that his could be due to the fact
that he is suffering insomnia, but as the film progresses, his fashion sense keeps
diminishing. This is exemplified and demonstrated in appendix 2. The ironic sense
that this creates is though Jack has no metrosexual traits (Henderson 151), his condo

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is still filled with matters that cause him to be a slave to capitalist economies and a
successful passive consumer.

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Tyler Durden
The character of Tyler Durden is presented as the archetypical male figure, the
authority of masculinity in the film. He highly contradicts Jack in every possible way
as a self-indulgent, narcissistic personality, which directly juxtaposes to Jacks
identity. In his words, he is free in all the ways, you are not. You refers to Jack in
this context or arguable everyman. Cultural critics Ginoux & Szeman classify Tyler
Durden as a holdover of early-twentieth century fascism (Giroux and Szeman 97):
While Jack embodies the crisis of masculinity; Tyler then symbolizes redemption of
masculinity repackaged as the promise of violence in the interests of social and
political anarchy (Giroux and Szeman 97).

Tyler argues that another reason for the cause of emasculation is the abandonment of
the father figure. He says, We are a generation of men raised by women, I say is
another woman actually what we need (Fincher, Fight Club). Tyler then could be
translated to be primal father figure who embodies the hunter-gatherer instinct, and
bonds the members of fight club through their common sentimentalities of
emasculation and feminization, hence depicting another form of male homosocialism.

The film then continues to address that the whole consensus of the hunter-gatherer
instinct has been degraded by the consumerism due to liberal capitalism or
commodity culture, and a new form of gender is generated from this outcome,
Metrosexuality (Metrosexuality). A neologism derived in the post-industrial or
rather capitalist culture, which arrived from Mark Simpson. It depicts ones rather
histrionic nature, one that is especially scrupulous about their appearance (Simpson
32). Tyler exemplifies this type of persona, which is evident from his lavish clothing

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style, and perfect washboard stomachs. Although the irony presented here is that
Tyler teaches members of fight club that these artifacts of life do not define who you.
You are not your job, you are now how much money you make, you are not the
contents of your wallet, you are not you fucking khakis (Fincher, Fight Club). This
motif is highly translucent in the film, Tyler indeed says himself The things you
own, end up owning you (Fincher, Fight Club).

Appendix 3 illustrates the contrasting nature of Jacks character to Tylers. The most
ostensible factor that is depicted in the frame above is the clothing. Though Tylers
character is rather carefree and far from complete his dressing mannerisms highly
contradict the characters disposition. His leather jacket and Malibu-beach type shirt
create a distinct juxtaposition with Jacks attire, oversized jacket, and scruffy shirt. In
addition, the significance of the posture highly portrays the masculinity in the
character. Tyler is smoking a cigarette and his arms are by his side to his waist, hence
illustrating a rather dominating nature whereas Jack on the other hand, has a slouched
back. The cigarette is highly influential as smoking is linked as a masculine trait
rather than a feminine one, Jack overtly states that he does not smoke but as the film
progresses and fight club arrives, he too begins smoking, and his dressing
mannerisms become scruffier hence serving a form of self-redemption from being
feminized by society. Appendix 2 accurately illustrates this.

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Marla Singer
Marla Singer exists as the only female lead in Fight Club. From the films inception,
when Jack has a gun pointing to his mouth, he states And suddenly, I realize that all
of this, the guns, the bombs, the revolution has got something to do with a girl named
Marla Singer. Fincher produced this character through opalescent makeup in order to
portray her romantic and nihilistic character with a "smack-fiend patina." Her gothic
approach and borderline poverty allowed the character to go against the conventional
lady (See appendix 12 and 13). Her habit of smoking arguably emphasizes her
masculinity and rather dominating nature. This becomes evident as she is portrayed to
be more powerful than Jack at the beginning of the film. She is initially entered as a
faker in the support groups, while Jack is crying in order to cure his insomnia but
he is unable to express his emotions during the presence of another faker. It is clear
that Jack has an interest in Marla and it is argued that Tyler was a psychic
representation of masculinity in order for him to sleep with Marla. Her dark make up
and nature seems to symbolize everything wrong with society as she herself says she
is waiting for death. Marlas philosophy was that she would die any moment, the
tragedy was that she didnt (Fincher, Fight Club). Her nilhistic approach, and
contrasting nature to any other extras that were females seem to exhibit the
misogynistic themes of the film.

Although, despite Marlas masculine attempts and dominating nature, her womanly
deeds are still presented, which is evident when she offers Jack food thus displaying
and act of compassion and care. Likewise, she has constant attention requirements,
which is another stereotype for women in the current generation. The convoluted
nature of her gender in Fight Club seems to contradict each other, much like the

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characters and other aspects of the film. Her similarities with Jack are unparalleled,
both seem lost and both are outdated and disorientated in fashion. However Jack has
fallen into a world of condiments and has become an avid materialist and is presented
with a tinge of feminity while Marla is presented with a dominating nature, which
becomes distinct through her constant smoking and the fact that Jacks power animal
is a female, Marla, when in traditional and contemporary society, men are the power
ones or rather the strong man. (See appendixes 13 & 14).

Marla Singer is a complex character but a core component to Fight Club as she
enhances and allows audiences to peek into the characterization of Jack and Tyler.
Without her, the film could possibly be a tale of men fighting. Fight Club targets
woman as evil and is argued to be sexist. The portrayal of female gender types are
constantly attacked on, firstly through testicular cancer, secondly through the dying
character of Sophie who is explicitly obsessed with sex and thirdly through the
constant reference to bitch tits. In addition, Jack states that everything is Marlas
fault hence suggesting or placing the blame on females due to their equal stand in
capitalist society. Initially she is portrayed as an antagonist due to her contradictory
status of an ideal woman, Jack explicitly states Marla you bitch, I need this.
Evidently the blame that Fincher places on the gender crises is cause of females as
even Tyler states, We are a generation of men raised by women (Fincher, Fight
Club). Implying that the emasculation is caused by women but as the film progresses,
Marla is humanized and the blame is then put on commodity culture.

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Robert Paulsen/Testicular Cancer


The character of Bob represents the most extreme case of emasculation caused by
commodity culture. Bob had bitch tits (Fincher, Fight Club). Bob or rather Robert
Paulsen was introduced as character that Jack met at his first support group, which is
known as Remaining Men Together. A support group for those men who are facing
testicular cancer. Bobs case is extreme and provides as the most ideal example for
emasculation by commodity culture, and embodiment of this notion. Bobs character
was a body builder, high on supplements and exercise, attempting to be the ideals
presented by fashion companies. Through this, and due to the multiple intakes of
supplements, he faced testicular cancer. Testicular cancer is the most extreme case of
emasculation as one can directly be compared to the opposite sex. Fincher kept
emphasizing on Bobs bitch tits as Jack found a sense of comfort within them and by
crying to him. This notion can be referenced back to blame that the film puts on
woman for emasculation, that males have softened due to the comfort women
provide.

The crises of gender is highly evident through the character of Bob as well, as
initially he is presented with a rather feminine stand but when he has entered fight
club, his mannerisms begin to change. Fight Club becomes a group for men to find
themselves once again in the mayhem of emasculation and Project Mayhem then is
a full on assault on the capitalist system, in order for men to hit the reset. button.

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Cinematography

Fight Clubs nihilistic approach to an arguable coming of age film creates


contradiction which allows the film to be portrayed in a much more convoluted sense,
hence allowing the multiple interpretations to Fight Club. This is further asserted by
the numerous contrasts that Fincher and Cronenweth have induced in Fight Club.
Arguably, portrayal of violence is mostly rendered with the cinematographic
technique of Shaky Cam, which is widely used to create tension (Thompson and
Bordwell). This practice is when stable-image techniques are purposely manipulated
with. Cronenweth & Fincher infrequently use handheld camera techniques and are
avid users of dolly tracks and steadicam despite the themes of their films. They prefer
symmetry/balanced compositions, strong leading lines, level frames, zero keystone
effects. They favor dolly tracks, and avoid cranes as much as possible, and there are
very few handheld shots in their films (Ducket). This technique goes against the
conventional mannerisms of depicting violence in films as attempted to implement a
sense of calmness in the display violence. The contrasting nature of the depiction of
violence in a tranquil approach seems to exhibit that fight club is indeed a support
group where emasculated men rid themselves from emasculation, in a sense they are
in their comfort-zone. This is further asserted by Jack when he states You werent
alive anywhere like you were there, but fight club only exists between the hours fight
club starts and fight club ends. Even if I could tell someone that they had a good fight,
I wouldnt be talking to the same man (Fincher, Fight Club).

Furthermore Fincher and Cronenweth emphasized the meta aspect of Fight Club
greatly through the vivid induction of a technique known as subjective camera or

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rather a point of view shot. This meta portrayal that Cronenweth adopted is
further exemplified by the name Jack and his everyman figure. In addition the
camera POV acts as a control mechanism paralleling to the subjective nature of
males animalistic instinct. This is evident when Jack disfigures Angels face as the
low angle shot displays Jack pounding on Angels face. As the shot progresses, the
grading becomes hazier hence putting the audience into the shoes of Angel and
allowing a cringe-worthy experience. Displaying the reactions of the other members
present in Fight Club further heightened this.

The purpose of Fincher & Cronenweth for adopting such techniques was to bring the
audience into the film and view it through the subjectivity of their role in society,
henceforth asserting the notion of the everyman figure and the meta styled
depiction. Moreover, after the fight, Jack utters to Tyler, I felt like destroying
something beautiful. And while the fight, Jacks voice over stated, I felt like putting
a bullet between the eyes of every panda that wouldnt screw to save its species. I
wanted to open the dump valves on oil tankers and smother all those French beaches,
Id never see. I wanted to breathe smoke. Jacks masochistic, ruthful and rather
violent nature here illustrates the tone of masculinity, much different to how he is
presented at the inception. Consequently, it also represents the stride of Project
Mayhem and its assault on the capitalist movement. Angel embodies the capitalist
system while Jack is destroying it. The notion argued here asserts the aforementioned
quotes that are stated by Jack during the voiceover and when he mentions to Tyler
that he wanted to destroy something beautiful. This something can be argued to be
capitalist nations.

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Lastly, Cronenweth cleverly induced multiple moments in the film that indicates the
new gender type of Metrosexuality that is caused due to commodity culture in the
film (See appendix 7, 8 and 9). Jack states I felt sorry for guys packed in gyms,
trying to look how Calvin Klein or Tommy Hilfiger said they should. The ironic sense
that is created here, as mentioned previously directly contradicts the theme of the
film, as Tyler endorses this philosophy in his fashion sense by wearing leather jackets
for the most duration of the film and having a washboard stomach (See appendices 10
and 11). The smoking once again confirms masculinity portrayal of Tyler Durden.
Ideally, the quote affirms the nature of the film and the thesis which being gender is a
product of capitalism.

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Conclusion
To conclude, the claim that can be made about Fight Club is that it ultimately
inscribes gender as a product of neo-capitalist economies due to its mass
communication and frequent camera shots of advertising images. As stated earlier, the
film depicts the birth of a new sub-category of gender, which is essentially a product
of social class under the reign of the free market economy, this being Metrosexuality.
It is argued that through this form of gender combines homosexual and heterosexual
forms of gender, and this notion leads to the large scaled feminization of men as they
are being sold their identities, mirroring the philosophy of materialism. This
example represents the extent to which liberal economies have a role in identifying
who the public are. Susan Faludi states that the film ends up as a quasi-feminist tale,
seen through masculine eyes where the man and the woman clasp hands in what could
be a mutual redemption. Depicting the capitalist theme induced into the film, hence
illustrating a contrasting metaphorical reference. Critics Henry Giroux and Imre
Szeman summarize, "Fight Club appears to have no understanding of its own
articulation with the very forces of capitalism it appears to be attacking. This is most
evident in its linking of violence, masculinity, and gender (Giroux and Szeman 98)

The gritty and dark thematic atmosphere that both Fincher and Cronenweth create for
Fight Club symbolizes the dark repressed primal and animalistic nature of man. In
addition, it encapsulated the misogynistic nature of the film, which was achieved
through Cronenweths cinematography of the film. In addition, the induction complex
characters filled with contrasts and similarities, creates a contradictory and convoluted
story-line with metaphorical symbolisms. The statement, which can be derived about
Fight Club is that, it is essentially a Marxist critique of neo-capitalist economies of

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which gender is portrayed as a constructive idea through means of fashion companies


and mass media.

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Rehling, Nicola. "Fight Club Takes a Beating: Masculinity, Masochism and the
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Simpson, Mark. "Here Come the Mirror Men: Why the Future Is Metrosexual."
Marksimpson.com. Wordpress, n.d. Web. 25 Sept. 2013.
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Appendices
Appendix 1

Appendix 2

Appendix 3

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Appendix 4

Appendix 5

Appendix 6

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Appendix 7

Appendix 8

Appendix 9

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Appendix 10

Appendix 11

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Appendix 12

Appendix 13

Appendix 14

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