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Presentation and Representation of Women on the Screen
- 1. Could you name a filmmaker, screenwriter, cinematographer, editor, director you really like?
- 3. By Vivien Hegedus The Presentation and Representation of Women on the Screen
- 5. “Society only knows itself through the reflections that flow from the camera’s eye” Baudrillard
- 6. “Women have served all these centuries as looking – glasses possessing the magic and delicious power of reflecting the figure of a man at twice his natural size.” Virginia Wolf
- 8. “Whoever defines the code or the context, has control (…) and all answers which accept that context abdicate the possibility of defining it.” Theresa de Lauretis
- 9. “Gender is a kind of imitation for which there is no original.” Judith Butler
- 11. “Feet what do I need them for If I have wings to fly.” Frida Khalo
- 13. “To gaze implies more than to look at – it signifies a psychological relationship of power, in which the gazer is superior to the object of the gaze.” Jonathan
- 15. "To photograph people is to violate them, by seeing them as they never see themselves, by having knowledge of them they can never have; it turns people into objects that can be symbolically possessed. Just as the camera is a sublimation of the gun, to photograph someone is a sublimated murder—a soft murder, appropriate to a sad, frightened time.” (Susan Sontag)
- 17. ‘All of the stories would have to be told differently, the future would be incalculable, the historical forces would, will change hands, bodies; another thinking as yet not thinkable will transform the functioning of all society.’
- 19. CREDITS Film Cinema Paradiso (1988) Giuseppe Tornate Alice Through the Looking Glass (2016) James Bobin, written by Linda Woolverton Paris, Texas (1985) Wim Wenders The Pillow Book (1996) Peter Greenaway Volver (2006) Pedro Almodovar Melancholia (2011) Lars Von Trier Bridget Jones’s Dairy (2001) Sharon Maguire Photography Sycorax unkown photographer Mari Mahr Richard Avedon Francesca Woodman Robert Frank Anne Leibovitz Sally Mann Dina Goldstein
- 20. Films made by females I haven’t had time to show or talk about (in no particular order): Tomboy (2011) by Celine Sciamma In Darkness (2011) by Agnieszka Holland Lost in Translation (2003) by Sophia Coppola Frida (2002) by Julie Taymor The Weight of Water (2000) by Kathryn Bigelow The Piano (1993) Jane Campion The Black Balloon (2008) by Elissa Down Selma (2014) by Ava DuVernay Twilight (2008) by Catherine Hardwicke Fish Tank (2009) by Andrea Arnold Vanity Fair (2004) by Mira Noir Orlando (1992) by Sally Potter Frozen (2013) by Jennifer Lee Shrek (2001) by Vicky Jenson The Wolfpack (2015) by Crystal Moselle My 20th Century (1998) by Ildiko Enyedi The Prince of Tides (1991) by Barbara Streisand
- 21. Theorists Baudrillard Joy Brooke Fairfield Virginia Wolf Theresa de Lauretis Laura Mulvey Jacques Lacan Jonathan Schroeder McLuhan Barbara Dell Abate-Çelebi Norman K. Denzin Mary Boufis Filou Anneke Smelik Hélène Cixous Frida Khalo Susan Sontag
Editor's Notes
- Who is telling the stories? Who’s stories are being told? How are the stories told? And for whom?
- Large and complex subject No time to go into details, but we will touch on feminism, postmodern, semiotics. I have been absolutely subjective about my choices for a reason. I want to provoke you, make you question what is and make you think about what could be. “Sycorax is described as inhumanly powerful, with control over the moon and tides. Her fecundity and connection to lunar cycles link her with archetypal female sources of power. But her version of femininity is far from the dainty European femininity embodied in the young Miranda. Described as a hag "bent into a hoop," her gender identity is illegible and monstrous. This illegibility is present in her race as well. A Northern African with “blue eyes,” she is an exile and a mixed subject who ascends to ruler of her own small realm. The prefix “syco” is related to the Greek word for “fig,” which was slang for vagina. “Ax” relates to the term “axis” or “axial,” invoking a center around which something turns. Before the arrival of Prospero and his daughter, the island of Sycorax and her son did, in fact, revolve around the axis of female power. Prospero, an embodiment of masculine European rationality whose magical powers derive from his books and spells alone, was only able to "prosper" on the isle in the vacuum of her absence.” (http://joybrookefairfield.blogspot.com.au/2011/01/dreams-of-invisible-sycorax.html)
- “Postmodernism is defined by the following terms: a nostalgic, conservative longing for the past, coupled with an erasure of boundaries between the past and the present; an intense preoccupation with the real and its representations; a pornography of the visible; the commodification of sexuality and desire; a consumer culture which objectifies a set of masculine cultural ideals; intense emotional experiences shaped by anxiety, alienation, resentment, and a detachment from others.” Baudrillard
- It’s like chess… Game theory, whos’ rules are we playing by? Are there any rules? Or are the rules constantly challenged and broken? It is 2016, but the argument is still the same: Are men defining the rules and woman have to obey and bend them? Is there a constant MANSPLAINING, where men interrupt, question, silence women? When it comes to the screen, do women have their voice? https://books.google.com.au/books?hl=en&lr=&id=OTz_fUNh0awC&oi=fnd&pg=PR7&dq=feminist+representation+in+cinema&ots=2uU1ekL6wc&sig=S7CwP4BT7J9DqQkd8pEz-jnYBlc#v=onepage&q=feminist%20representation%20in%20cinema&f=false
- Feminism and the postmodern stem from the same root, they both grew out from the same frustration of the society and although we can argue that we passed those movements, they are still here, having a huge effect on the visual language and the way we make films. Feminism: equality Post-feminism: recognizing the differences between the genders and integrating them into the society as a norm.
- Lacan The Mirror Image Theory - fragmented reality http://www.lacanonline.com/index/2010/09/what-does-lacan-say-about-the-mirror-stage-part-i/ “The child sees its image as a whole, but this contrasts with the lack of coordination of the body, leading the child to perceive a fragmented body. This contrast, Lacan hypothesized, is first felt by the infant as a rivalry with its own image, because the wholeness of the image threatens it with fragmentation; thus the mirror stage gives rise to an aggressive tension between the subject and the image. To resolve this aggressive tension, the subject identifies with the image: this primary identification with the counterpart is what forms the Ego.” “The Ego is the product of misunderstanding – a false recognition” Lancan argues that the image represented is fragmented and that the viewer identifies with this fragmented image. Based on that, how much responsibility do we bare as filmmakers?
- Laura Mulvey Male Gaze
- Sexual objects – Male gaze Laura Mulvey The man controls the film phantasy and also emerges as the representative of power in a further sense: as the bearer of the look of the spectator, transferring it behind the screen to neutralize the extra-diegetic tenden- cies represented by woman as spectacle. This is made possible through the processes set in motion by structuring the film around a main controlling figure with whom the spectator can identify. As the spectator identifies with the main male protagonist, he projects his look on to that of his like, his screen surrogate, so that the power of the male protagonist as he controls events coincides with the active power of the erotic look, both giving a satisfying sense of omnipotence. “There are three different looks associated with cinema: that of the camera as it records the profilmic event, that of the audience as it watches the final product, and that of the characters at each other within the screen illusion.” Mulvey The main idea that seems to bring these actions together is that "looking" is generally seen as an active male role while the passive role of being looked at is immediately adopted as a female characteristic. It is under the construction of patriarchy that Mulvey argues that women in film are tied to desire and that female characters hold an "appearance coded for strong visual and erotic impact". The female actor is never meant to represent a character that directly effects the outcome of a plot or keep the story line going, but is inserted into the film as a way of supporting the male role and "bearing the burden of sexual objectification" that he cannot I would like to bring this further. I believe that to have a MALE GAZE, one doesn't’ need to be a man. The major issue in my opinion is, that the audience is being conditioned (despite their sex), to look at the screen with the male gaze. The question is, if we can change that and how. https://we.riseup.net/assets/102142/appadurai.pdf#page=381
- Volver – to return, to come back or to become I am using this analogue, because I think that the way women have been presented in the last 100 years on screen has to die in a way. It needs to be transformed by men and women changing the paradigm together. As Feminism is not a women thing. As the post-feminists say, we have to acknowledge the differences and embrace them. The point is, that no one should be discriminated, silenced, left out or abused based on gender.
- “The present task of woman’s cinema may be not the destruction of narrative and visual pleasure, but rather the construction of another frame reference, one in which the measure of desire is no longer just the male subject. For what is finally at stake is not so much how “to make visible the invisible” as how to produce the conditions of visibility for a different social subject” Teresa de Lauretis
- I had to narrow down a long list of films I wanted to show. I had an equally long list of films made by man and women. Yet I mainly showed those made by man. The reason? I hardly could find the films by females on Youtube. 2. I wanted to point out that they are many films and filmmakers, who abounded the male gaze and found a way, a voice that levels the field.