His legs also depict the refusal. His left leg (to our right) is cramped in tension, using his muscles and the floor to avoid falling over, while his other leg already seems on its way out. These details make the still image moving –– in more than one sense of the word: narratively, in his body, and emotively, in his fearful eyes –– and this multiply-moving quality compels us, viewers, to come up with our own imagination.
Thus we are compelled to participating in the ambiguity that undermines the ideological cliché.
