This academic report summarizes the results of a research project on the 2002 Taiwanese film Blue Gate Crossing. The research examined the film's formal qualities and visual style rather than just providing a thematic interpretation. It found that the film was influenced by Taiwan New Cinema in its long takes and static camerawork. Scenes were often composed using techniques like planimetric framing and multiple frames that created symbolic meanings related to queer desire and closeting. Many shots appeared to be from the point-of-view of the female protagonist Meng Ke-rou looking at Zhang Shihao, suggesting her shifting feelings though she claimed to love another woman. The analysis of the film's form provided insights beyond just discussing its portrayal of queer
470 CHAPTER Film Theory and Criticism.1LAMBS (ORIONP.docxblondellchancy
470 CHAPTER Film Theory and Criticism
.1
LAMBS (ORION
PICTURES, 1991)
The cross-dressing
villain in The Silence
of the Lombs breaks .1
cultural rules regarding
proper gender behavior.
The filmmakers count
on this violation of
a viewer's culturally
influenced schemas to
generate strong disgust
and condemnation of
the character. Frame
enlargement.
walking into a saloon will order whiskey, but seated around a campfire will
prefer cof-
fee. The more audience knowledge a filmmaker can assume, the more efficient
is story
presentation. Less needs to be explained.
Filmmakers often count on the existence of specific interpretational schemas
in
their target audience and design their films to exploit these schemas. The gender-
bending villain in The Silence of the Lambs, who cross-dresses and makes himself up
to look like a woman, triggers an audience's cultural schemas regarding the accept-
able range of gender displays and sexual behavior. The villain's flagrant violation of
conventional schemas regarding proper gender display provokes, as the filmmakers
intended, anxiety and disapproval from most audience members.
WHY FILM Is COMPREHENSIBLE In addition to studying the ways that audiences apply
schemas to process visual and narrative information, cognitive film theory investigates
the more general question of what makes film so comprehensible, accessible, and enjoy-
able to audiences worldwide. The answers provided by cognitive theory emphasize the
correspondences that exist between film and a viewer's real-world perceptual and social
experience. For the cognitive theorist, film is comprehensible, accessible, and enjoy-
able because it builds many similarities between the means used to represent a world
on-screen and the spectator's familiar habits of perception and social understanding.
Cognitive theory takes the viewer as a rational agent, whereas the psychoanalytic ap-
proach emphasizes irrational elements in the viewer's responses. The two approaches
differ considerably from one another in this respect.
Perceptual Correspondences The viewer sees a three-dimensional world on the flat
surface of the screen because the photographic images reproduce important real-
world sources of information about spatial depth, about the location and distribution
of objects in space, about volume, texture, and movement. Just as this information
tells viewers where objects are located in the real, three-dimensional world, it pro-
vides the same information in the represented reality of a screen world. Today, many
film images are created not with a camera but in the computer. Software programs
routinely create this information to make the computer-created image look convinc-
ingly three-dimensional. Second, the codes of continuity editing used to build scenes
Cognitive Models 471
create a consistent projective geometry within the represented three-dimensional
world on screen that is analogous to the viewer's own visual and physical exp ...
470 CHAPTER Film Theory and Criticism.1LAMBS (ORIONP.docxblondellchancy
470 CHAPTER Film Theory and Criticism
.1
LAMBS (ORION
PICTURES, 1991)
The cross-dressing
villain in The Silence
of the Lombs breaks .1
cultural rules regarding
proper gender behavior.
The filmmakers count
on this violation of
a viewer's culturally
influenced schemas to
generate strong disgust
and condemnation of
the character. Frame
enlargement.
walking into a saloon will order whiskey, but seated around a campfire will
prefer cof-
fee. The more audience knowledge a filmmaker can assume, the more efficient
is story
presentation. Less needs to be explained.
Filmmakers often count on the existence of specific interpretational schemas
in
their target audience and design their films to exploit these schemas. The gender-
bending villain in The Silence of the Lambs, who cross-dresses and makes himself up
to look like a woman, triggers an audience's cultural schemas regarding the accept-
able range of gender displays and sexual behavior. The villain's flagrant violation of
conventional schemas regarding proper gender display provokes, as the filmmakers
intended, anxiety and disapproval from most audience members.
WHY FILM Is COMPREHENSIBLE In addition to studying the ways that audiences apply
schemas to process visual and narrative information, cognitive film theory investigates
the more general question of what makes film so comprehensible, accessible, and enjoy-
able to audiences worldwide. The answers provided by cognitive theory emphasize the
correspondences that exist between film and a viewer's real-world perceptual and social
experience. For the cognitive theorist, film is comprehensible, accessible, and enjoy-
able because it builds many similarities between the means used to represent a world
on-screen and the spectator's familiar habits of perception and social understanding.
Cognitive theory takes the viewer as a rational agent, whereas the psychoanalytic ap-
proach emphasizes irrational elements in the viewer's responses. The two approaches
differ considerably from one another in this respect.
Perceptual Correspondences The viewer sees a three-dimensional world on the flat
surface of the screen because the photographic images reproduce important real-
world sources of information about spatial depth, about the location and distribution
of objects in space, about volume, texture, and movement. Just as this information
tells viewers where objects are located in the real, three-dimensional world, it pro-
vides the same information in the represented reality of a screen world. Today, many
film images are created not with a camera but in the computer. Software programs
routinely create this information to make the computer-created image look convinc-
ingly three-dimensional. Second, the codes of continuity editing used to build scenes
Cognitive Models 471
create a consistent projective geometry within the represented three-dimensional
world on screen that is analogous to the viewer's own visual and physical exp ...
Under the Skin booklet - a guide, workbook and text book for A-Level film stu...Ian Moreno-Melgar
Thanks for taking a look at my resource. This resource is a 61 page, 16,000+ word guide to the A-Level Film studies film Under The Skin.
This guide is designed so that it can be printed out and students simply work straight onto it and therefore works brilliantly as a workbook for individual lessons, a whole half-term, for homework, revision, distance learning or for taking the material and turning into other formats such as creating your own PowerPoints.
There is so much in this guide that it’s almost impossible to list, but some key aspects include context, a detailed analysis of the film, examinations of the Production History of the film, including the adaptation process, a detailed exploration of narrative and narrative theory, a thorough exploration of ideology related to gender studies including oak on Clover, Mulvey & Creed, details on the aesthetics of the sci-fi film, plus analytical work and tasks , work on exam questions and much, much more.
This will save you not hours of work, but WEEKS worth of work and preparation and I guarantee will be worth the download. Your download includes both an editable Word version AND a high quality PDF, ready for printing or sharing immediately.
The “cinematographic method of thought” in Bergson: Continuity by discretenes...Vasil Penchev
The success of cinematograph hides an ontological basis still in its fundamental principle for representation of motion by a linear (and thus well-ordered) series of static frames
That representation of motion by static frames is absolute for it rests on the ontological equivalence of discreteness and smoothness
The equivalence of discrete and smooth (continuous) motion underlies quantum mechanics as the principle of wave-particle duality offered by Louis de Broglie (1924)
Henry Bergson (1907) suggested the “cinematographic method of thought” for distinguishing “durée” (time by itself) from the transcendental limitation for it to be represented in human knowledge and cognition
Best Film Analysis Essay Examples PNG - scholarship. Reflection essay: Critical analysis of a movie example. film essay year 10 - Missy-P. 020 Year9shortfilmcharacterisationessay Phpapp02 Thumbnail Film Essay .... Film essay. Essay my favourite film | High school persuasive essay topics .... The Help Movie Essay - The Help Essay Questions. 008 Film Evaluation Essay Example On Movie How To Write Review Analysis .... SOLUTION: Movie Review Essay - Studypool. 006 Essay Movies English Paper Help How To Write For High School .... My favourite film essay - Persuasive Reviews with Expert Writing Help. Essay examples for film.
Under the Skin booklet - a guide, workbook and text book for A-Level film stu...Ian Moreno-Melgar
Thanks for taking a look at my resource. This resource is a 61 page, 16,000+ word guide to the A-Level Film studies film Under The Skin.
This guide is designed so that it can be printed out and students simply work straight onto it and therefore works brilliantly as a workbook for individual lessons, a whole half-term, for homework, revision, distance learning or for taking the material and turning into other formats such as creating your own PowerPoints.
There is so much in this guide that it’s almost impossible to list, but some key aspects include context, a detailed analysis of the film, examinations of the Production History of the film, including the adaptation process, a detailed exploration of narrative and narrative theory, a thorough exploration of ideology related to gender studies including oak on Clover, Mulvey & Creed, details on the aesthetics of the sci-fi film, plus analytical work and tasks , work on exam questions and much, much more.
This will save you not hours of work, but WEEKS worth of work and preparation and I guarantee will be worth the download. Your download includes both an editable Word version AND a high quality PDF, ready for printing or sharing immediately.
The “cinematographic method of thought” in Bergson: Continuity by discretenes...Vasil Penchev
The success of cinematograph hides an ontological basis still in its fundamental principle for representation of motion by a linear (and thus well-ordered) series of static frames
That representation of motion by static frames is absolute for it rests on the ontological equivalence of discreteness and smoothness
The equivalence of discrete and smooth (continuous) motion underlies quantum mechanics as the principle of wave-particle duality offered by Louis de Broglie (1924)
Henry Bergson (1907) suggested the “cinematographic method of thought” for distinguishing “durée” (time by itself) from the transcendental limitation for it to be represented in human knowledge and cognition
Best Film Analysis Essay Examples PNG - scholarship. Reflection essay: Critical analysis of a movie example. film essay year 10 - Missy-P. 020 Year9shortfilmcharacterisationessay Phpapp02 Thumbnail Film Essay .... Film essay. Essay my favourite film | High school persuasive essay topics .... The Help Movie Essay - The Help Essay Questions. 008 Film Evaluation Essay Example On Movie How To Write Review Analysis .... SOLUTION: Movie Review Essay - Studypool. 006 Essay Movies English Paper Help How To Write For High School .... My favourite film essay - Persuasive Reviews with Expert Writing Help. Essay examples for film.
Scandal! Teasers June 2024 on etv Forum.co.zaIsaac More
Monday, 3 June 2024
Episode 47
A friend is compelled to expose a manipulative scheme to prevent another from making a grave mistake. In a frantic bid to save Jojo, Phakamile agrees to a meeting that unbeknownst to her, will seal her fate.
Tuesday, 4 June 2024
Episode 48
A mother, with her son's best interests at heart, finds him unready to heed her advice. Motshabi finds herself in an unmanageable situation, sinking fast like in quicksand.
Wednesday, 5 June 2024
Episode 49
A woman fabricates a diabolical lie to cover up an indiscretion. Overwhelmed by guilt, she makes a spontaneous confession that could be devastating to another heart.
Thursday, 6 June 2024
Episode 50
Linda unwittingly discloses damning information. Nhlamulo and Vuvu try to guide their friend towards the right decision.
Friday, 7 June 2024
Episode 51
Jojo's life continues to spiral out of control. Dintle weaves a web of lies to conceal that she is not as successful as everyone believes.
Monday, 10 June 2024
Episode 52
A heated confrontation between lovers leads to a devastating admission of guilt. Dintle's desperation takes a new turn, leaving her with dwindling options.
Tuesday, 11 June 2024
Episode 53
Unable to resort to violence, Taps issues a verbal threat, leaving Mdala unsettled. A sister must explain her life choices to regain her brother's trust.
Wednesday, 12 June 2024
Episode 54
Winnie makes a very troubling discovery. Taps follows through on his threat, leaving a woman reeling. Layla, oblivious to the truth, offers an incentive.
Thursday, 13 June 2024
Episode 55
A nosy relative arrives just in time to thwart a man's fatal decision. Dintle manipulates Khanyi to tug at Mo's heartstrings and get what she wants.
Friday, 14 June 2024
Episode 56
Tlhogi is shocked by Mdala's reaction following the revelation of their indiscretion. Jojo is in disbelief when the punishment for his crime is revealed.
Monday, 17 June 2024
Episode 57
A woman reprimands another to stay in her lane, leading to a damning revelation. A man decides to leave his broken life behind.
Tuesday, 18 June 2024
Episode 58
Nhlamulo learns that due to his actions, his worst fears have come true. Caiphus' extravagant promises to suppliers get him into trouble with Ndu.
Wednesday, 19 June 2024
Episode 59
A woman manages to kill two birds with one stone. Business doom looms over Chillax. A sobering incident makes a woman realize how far she's fallen.
Thursday, 20 June 2024
Episode 60
Taps' offer to help Nhlamulo comes with hidden motives. Caiphus' new ideas for Chillax have MaHilda excited. A blast from the past recognizes Dintle, not for her newfound fame.
Friday, 21 June 2024
Episode 61
Taps is hungry for revenge and finds a rope to hang Mdala with. Chillax's new job opportunity elicits mixed reactions from the public. Roommates' initial meeting starts off on the wrong foot.
Monday, 24 June 2024
Episode 62
Taps seizes new information and recruits someone on the inside. Mary's new job
Matt Rife Cancels Shows Due to Health Concerns, Reschedules Tour Dates.pdfAzura Everhart
Matt Rife's comedy tour took an unexpected turn. He had to cancel his Bloomington show due to a last-minute medical emergency. Fans in Chicago will also have to wait a bit longer for their laughs, as his shows there are postponed. Rife apologized and assured fans he'd be back on stage soon.
https://www.theurbancrews.com/celeb/matt-rife-cancels-bloomington-show/
_7 OTT App Builders to Support the Development of Your Video Applications_.pdfMega P
Due to their ability to produce engaging content more quickly, over-the-top (OTT) app builders have made the process of creating video applications more accessible. The invitation to explore these platforms emphasizes how over-the-top (OTT) applications hold the potential to transform digital entertainment.
Modern Radio Frequency Access Control Systems: The Key to Efficiency and SafetyAITIX LLC
Today's fast-paced environment worries companies of all sizes about efficiency and security. Businesses are constantly looking for new and better solutions to solve their problems, whether it's data security or facility access. RFID for access control technologies have revolutionized this.
Skeem Saam in June 2024 available on ForumIsaac More
Monday, June 3, 2024 - Episode 241: Sergeant Rathebe nabs a top scammer in Turfloop. Meikie is furious at her uncle's reaction to the truth about Ntswaki.
Tuesday, June 4, 2024 - Episode 242: Babeile uncovers the truth behind Rathebe’s latest actions. Leeto's announcement shocks his employees, and Ntswaki’s ordeal haunts her family.
Wednesday, June 5, 2024 - Episode 243: Rathebe blocks Babeile from investigating further. Melita warns Eunice to stay clear of Mr. Kgomo.
Thursday, June 6, 2024 - Episode 244: Tbose surrenders to the police while an intruder meddles in his affairs. Rathebe's secret mission faces a setback.
Friday, June 7, 2024 - Episode 245: Rathebe’s antics reach Kganyago. Tbose dodges a bullet, but a nightmare looms. Mr. Kgomo accuses Melita of witchcraft.
Monday, June 10, 2024 - Episode 246: Ntswaki struggles on her first day back at school. Babeile is stunned by Rathebe’s romance with Bullet Mabuza.
Tuesday, June 11, 2024 - Episode 247: An unexpected turn halts Rathebe’s investigation. The press discovers Mr. Kgomo’s affair with a young employee.
Wednesday, June 12, 2024 - Episode 248: Rathebe chases a criminal, resorting to gunfire. Turf High is rife with tension and transfer threats.
Thursday, June 13, 2024 - Episode 249: Rathebe traps Kganyago. John warns Toby to stop harassing Ntswaki.
Friday, June 14, 2024 - Episode 250: Babeile is cleared to investigate Rathebe. Melita gains Mr. Kgomo’s trust, and Jacobeth devises a financial solution.
Monday, June 17, 2024 - Episode 251: Rathebe feels the pressure as Babeile closes in. Mr. Kgomo and Eunice clash. Jacobeth risks her safety in pursuit of Kganyago.
Tuesday, June 18, 2024 - Episode 252: Bullet Mabuza retaliates against Jacobeth. Pitsi inadvertently reveals his parents’ plans. Nkosi is shocked by Khwezi’s decision on LJ’s future.
Wednesday, June 19, 2024 - Episode 253: Jacobeth is ensnared in deceit. Evelyn is stressed over Toby’s case, and Letetswe reveals shocking academic results.
Thursday, June 20, 2024 - Episode 254: Elizabeth learns Jacobeth is in Mpumalanga. Kganyago's past is exposed, and Lehasa discovers his son is in KZN.
Friday, June 21, 2024 - Episode 255: Elizabeth confirms Jacobeth’s dubious activities in Mpumalanga. Rathebe lies about her relationship with Bullet, and Jacobeth faces theft accusations.
Monday, June 24, 2024 - Episode 256: Rathebe spies on Kganyago. Lehasa plans to retrieve his son from KZN, fearing what awaits.
Tuesday, June 25, 2024 - Episode 257: MaNtuli fears for Kwaito’s safety in Mpumalanga. Mr. Kgomo and Melita reconcile.
Wednesday, June 26, 2024 - Episode 258: Kganyago makes a bold escape. Elizabeth receives a shocking message from Kwaito. Mrs. Khoza defends her husband against scam accusations.
Thursday, June 27, 2024 - Episode 259: Babeile's skillful arrest changes the game. Tbose and Kwaito face a hostage crisis.
Friday, June 28, 2024 - Episode 260: Two women face the reality of being scammed. Turf is rocked by breaking
From the Editor's Desk: 115th Father's day Celebration - When we see Father's day in Hindu context, Nanda Baba is the most vivid figure which comes to the mind. Nanda Baba who was the foster father of Lord Krishna is known to provide love, care and affection to Lord Krishna and Balarama along with his wife Yashoda; Letter’s to the Editor: Mother's Day - Mother is a precious life for their children. Mother is life breath for her children. Mother's lap is the world happiness whose debt can never be paid.
Meet Dinah Mattingly – Larry Bird’s Partner in Life and Loveget joys
Get an intimate look at Dinah Mattingly’s life alongside NBA icon Larry Bird. From their humble beginnings to their life today, discover the love and partnership that have defined their relationship.
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240529_Teleprotection Global Market Report 2024.pdfMadhura TBRC
The teleprotection market size has grown
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to $70.77 billion in 2028 at a compound annual
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Tom Selleck Net Worth: A Comprehensive Analysisgreendigital
Over several decades, Tom Selleck, a name synonymous with charisma. From his iconic role as Thomas Magnum in the television series "Magnum, P.I." to his enduring presence in "Blue Bloods," Selleck has captivated audiences with his versatility and charm. As a result, "Tom Selleck net worth" has become a topic of great interest among fans. and financial enthusiasts alike. This article delves deep into Tom Selleck's wealth, exploring his career, assets, endorsements. and business ventures that contribute to his impressive economic standing.
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Early Life and Career Beginnings
The Foundation of Tom Selleck's Wealth
Born on January 29, 1945, in Detroit, Michigan, Tom Selleck grew up in Sherman Oaks, California. His journey towards building a large net worth began with humble origins. , Selleck pursued a business administration degree at the University of Southern California (USC) on a basketball scholarship. But, his interest shifted towards acting. leading him to study at the Hills Playhouse under Milton Katselas.
Minor roles in television and films marked Selleck's early career. He appeared in commercials and took on small parts in T.V. series such as "The Dating Game" and "Lancer." These initial steps, although modest. laid the groundwork for his future success and the growth of Tom Selleck net worth. Breakthrough with "Magnum, P.I."
The Role that Defined Tom Selleck's Career
Tom Selleck's breakthrough came with the role of Thomas Magnum in the CBS television series "Magnum, P.I." (1980-1988). This role made him a household name and boosted his net worth. The series' popularity resulted in Selleck earning large salaries. leading to financial stability and increased recognition in Hollywood.
"Magnum P.I." garnered high ratings and critical acclaim during its run. Selleck's portrayal of the charming and resourceful private investigator resonated with audiences. making him one of the most beloved television actors of the 1980s. The success of "Magnum P.I." played a pivotal role in shaping Tom Selleck net worth, establishing him as a major star.
Film Career and Diversification
Expanding Tom Selleck's Financial Portfolio
While "Magnum, P.I." was a cornerstone of Selleck's career, he did not limit himself to television. He ventured into films, further enhancing Tom Selleck net worth. His filmography includes notable movies such as "Three Men and a Baby" (1987). which became the highest-grossing film of the year, and its sequel, "Three Men and a Little Lady" (1990). These box office successes contributed to his wealth.
Selleck's versatility allowed him to transition between genres. from comedies like "Mr. Baseball" (1992) to westerns such as "Quigley Down Under" (1990). This diversification showcased his acting range. and provided many income streams, reinforcing Tom Selleck net worth.
Television Resurgence with "Blue Bloods"
Sustaining Wealth through Consistent Success
In 2010, Tom Selleck began starring as Frank Reagan i
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Young Tom Selleck: A Journey Through His Early Years and Rise to Stardomgreendigital
Introduction
When one thinks of Hollywood legends, Tom Selleck is a name that comes to mind. Known for his charming smile, rugged good looks. and the iconic mustache that has become synonymous with his persona. Tom Selleck has had a prolific career spanning decades. But, the journey of young Tom Selleck, from his early years to becoming a household name. is a story filled with determination, talent, and a touch of luck. This article delves into young Tom Selleck's life, background, early struggles. and pivotal moments that led to his rise in Hollywood.
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Early Life and Background
Family Roots and Childhood
Thomas William Selleck was born in Detroit, Michigan, on January 29, 1945. He was the second of four children in a close-knit family. His father, Robert Dean Selleck, was a real estate investor and executive. while his mother, Martha Selleck, was a homemaker. The Selleck family relocated to Sherman Oaks, California. when Tom was a child, setting the stage for his future in the entertainment industry.
Education and Early Interests
Growing up, young Tom Selleck was an active and athletic child. He attended Grant High School in Van Nuys, California. where he excelled in sports, particularly basketball. His tall and athletic build made him a standout player, and he earned a basketball scholarship to the University of Southern California (U.S.C.). While at U.S.C., Selleck studied business administration. but his interests shifted toward acting.
Discovery of Acting Passion
Tom Selleck's journey into acting was serendipitous. During his time at U.S.C., a drama coach encouraged him to try acting. This nudge led him to join the Hills Playhouse, where he began honing his craft. Transitioning from an aspiring athlete to an actor took time. but young Tom Selleck became drawn to the performance world.
Early Career Struggles
Breaking Into the Industry
The path to stardom was a challenging one for young Tom Selleck. Like many aspiring actors, he faced many rejections and struggled to find steady work. A series of minor roles and guest appearances on television shows marked his early career. In 1965, he debuted on the syndicated show "The Dating Game." which gave him some exposure but did not lead to immediate success.
The Commercial Breakthrough
During the late 1960s and early 1970s, Selleck began appearing in television commercials. His rugged good looks and charismatic presence made him a popular brand choice. He starred in advertisements for Pepsi-Cola, Revlon, and Close-Up toothpaste. These commercials provided financial stability and helped him gain visibility in the industry.
Struggling Actor in Hollywood
Despite his success in commercials. breaking into large acting roles remained a challenge for young Tom Selleck. He auditioned and took on small parts in T.V. shows and movies. Some of his early television appearances included roles in popular series like Lancer, The F.B.I., and Bracken's World. But, it would take a
2. Academic Report/結案報告(NSC96-2411-H-003-047)
What’s so Queer (or Straight) about Blue Gate Crossing: Stylistic Analysis
Foreword/前言
This report presents some results of my first-year and preliminary research on
“emerging Taiwan cinema,” an on-going project that began in 2006, has been funded
by NSC for 2 academic years, and hopefully will be funded for the next two years and
developed into a 4-year project.
目的及研究方法
Because of close affinity b/w film studies and cultural studies, and because of
some commonly shared ground of post-structural and cultural theory, the analysis of
Chinese language queer films, in Taiwan or U.S., is often reduced to thematic
readings and conducted along registers of story interpretation and ideology critique.
Issues raised in a politicized reading of a film based upon its story often concern
sexual politics, identity politics, nationalism and trans-nationalism: What kind
portrayals of queer subjects does a film pose—negative, positive, stigmatized or
sanitized? Does a film take part in a hegemonic construction that ostracizes alternative
sexual practices? Or it takes part in a discourse of culture/citizenship that deploys
such practices as integral to politics inclusion? In other words, how does the depiction
of queer subjects resonate with national imaginary, or perhaps transnational flows of
culture and capital, etc.?
While such a reading of the film’s story might be politically productive and
effective in advancing radical sexual politics, a thematic analysis of a queer film
by-passing formal analysis (and disregarding international queer/film history) might
be reductive and sometimes lead to misreadings. Ang Lee’s The Wedding Banquet or
Brokeback Mountain, for example, got so enthusiastically received and widely
discussed, yet the critical evaluation of which is often isomorphic with the elucidation
of thematic concerns as well as their negotiations with sexual politics. People who
favor the film commend their sculpting of positive or sympathetic gay images,
whereas people who disfavor the film would attack them for universalizing
pretensions, their wreckage of feminist concerns or transplanting of certain
hetero-normative assumptions. But the question my project sets out to ask is: if we
3. take into account the very issue of formal operation (or re-situate the film in the
history of international or queer cinema), would the understanding of sexual politics
of the film be different? Or if it is the same, would such an understanding take on
more subtleties or be more nuanced?
The purpose of this report is to demonstrate how theoretical understandings of
film should be tied to and founded upon accurate formal analysis and a solid
knowledge of international film history. This preliminary part of my project tackles
two recent Taiwanese productions that take on the epithet of “queer” or “gay and
lesbian film”—Blue Gate Crossing (Yee Chih-yan, 2002) and Formula 17 (Dir. Chen
Ying-rong, 2003). Perhaps because of their lack of oppositional aesthetics/textuality
qua art cinema, or confrontational queer politics (traumatized, alienated queer
subjects,), these two films have been relatively marginalized in the thriving field of
queer film criticism. Yet instead of treating them just as “queer-themed films,” this
part of my project unpacks these two films in terms of their formal and textual
operation, to highlight the ways in which they might be experienced aesthetically (as
film per se) before they are understood as “queer”. Here I tentatively remove the
discussion of the two films from thematic interpretation and politically symptomatic
readings (i.e. the interpretation of the story as it bears relevance to portrayal of queer
subjects, queer identity politics, or the dis/articulation of nationality or
trans-nationality), but bring to fore the very process of cinematic narration (shots, or
sequences) that might be difficult to grasp through merely a consideration of diegesis
and sexual politics. I aim at a formal appraisal of Blue Gate Crossing and Formula 17,
foremost those constituting the visuality (and aurality) of the films—visual style,
compositional principles/staging practices, and temporal design (editing) of the films.
The formal assessment of these two films will pave the way, in a follow-up NSC
project (NSC95-2411-H-003-018, 2007-2008), for the reconsideration of “gaze” in
cinema as formulated by feminist film theorists and Lacanian film theory, exploring
the implications revolving around the gay, lesbian, or queer gaze.
This report excerpts parts of my research on and analysis of the formal qualities
of Blue Gate Crossing (BGC), with the analysis of Formula 17 temporarily eclipsed
here for it would entail a whole different set of debate on the issues of technical
ineptitude and questions of highbrow/lowbrow taste. From BGC, I discern the
perceptual negotiations of the image as seen in three categories: 1) staging practices
that could be seen as an inheritance from Taiwan New Cinema; 2) images that not
4. only reminisce the stylistics of New Cinema but also abound with implications about
sexualities; 3) point of view shots hypothetically and tentatively identified as “gaze,”
mainly of the female protagonist, Meng Ke-rou.
部分文獻探討、
部分文獻探討、結果及討論
Influence of Taiwan New Cinema
Blue Gate Crossing totals only 312 shots over the running time of 89 minutes. The
average shot length (ASL) is 15.2 seconds, 67% of shots longer than 6 seconds, 37%
of shots with camera movement (including slightly reframing) and 13% of shots with
only slight reframing.1 Although the ASL of the film does not quite measure up to the
minimalist “long-take” stylistics fashioned by Taiwan New Cinema, Chang Tso-ji, or
Tsai Ming-liang, it is relatively a “slow” and “static” film given that the mainstay of
domestic target audience is Taiwan teenagers and youths, an audience putatively
having short attention span as they have grown up watching rapidly cut Hollywood
blockbusters and Japanese animation which employ tightly-controlled/intensified
continuity editing.2 Taiwan New Cinema (TNC) as an influence is most evident in
Yee Chih-yan’s composing and framing of long shots, lensed at times in the scheme of
planimetric framing, and at times in a frame-within-frame or multiple-plane construct.
Examples:
A. Planimetric Framing
Shot 48: pf
1
In the project I made an elaborate document annotating each shot of BGC in terms of their shot
length and camera movement (including slight reframing), configuring the percentage of shots with
camera movement and the percentage of shots lasting longer than certain durations (6 seconds, 17
seconds, and 1 minute). Such a quantitative approach models upon David Bordwell and, when put in
comparison with films the audience are habituated, could give a better idea as to whether a film feels
“slow” or “fast,” “static” or “kinetic”. In the document I also specified whether each shot involves
point-of-view or utilizes the staging practices that call the attention of “style historically conscious”
viewers.
2
According to Bordwell, the ASL of any typical Hollywood film ran between 3 to 6 seconds in 1999
and 2000. Today, most films are cut more rapidly than at any other time in U.S. studio filmmaking. I
have yet to configure the tempo of Japanese animation or vide games of various national origin.
5. Shot 61: pf in telephoto
Shot 254
Shot 94: pf in telephoto, with staggered planes suggesting depth, with actors standing
in silhouette in the foreground
B. Long Shots Combined with Long Takes
Quite often the use of long shot in BGC is in tune with its in TNC. That is, rather than
drawing upon the Brechtian principle by which long distance dictates
alienation/distantiation, the blocking of emotion or the provoking of thoughts, long
shots in BGC or TNC, when held long enough, could be utilized to convey a sense of
quiet realism and capture strong emotions, or in David Bordwell’s words “a particular
6. emotion made possible only by distance” (Bordwell 2005, 206). Example:
Shot 234 Long shot/long take held for 106.5 sec.
Multiple Frames and Queer Desire
While testifying to the heritage of Taiwan New Cinema, the compositional strategies
in BGC also find parallel with the organization of desire and underscore the queer
themes of the film, in ways that compositional principles seem to outline the contours
of queer desire. Quite often we see the frame-within-frame construct that typifies the
works of Hou Hsiao-hsien and Edward Yang, yet it at the same time takes on the
metaphorical association of the closet.
C. Multiple Frames
Shot 104: a compositional strategy that typifies TNC. Although Meng Ke-rou’s
mother carries the visual weight in the shot, the view of her is “sidetracked”
by her placement (off-center, background) and the details of the space (the
bike, the door, and the balustrades). Meanwhile she is defined by (and
confined to) the geometrical lines constituted by the contours of the
architecture. This shot epitomizes the kind of quiet realism typifying TNC.
7. Shot 67: frame-within-frame, actors shot through the doorframe. At the point of the
narrative, Yuezhen “came out” to reveal her obsession with Shihao, an act
premised upon the legitimacy of heterosexuality and indirectly forcing the
“closeting” of Kerou. At the same time, the doorframe seems to screen out
the larger political and social dimensions of the diegesis.
Shot 110
Shot 101 + 113: composed through other frames (also plainimetric framing)—the
window and the flat surface of the pillar. It is not until the end of
the film do we find out what Kerou scribbled repeatedly on the
pillar: “I am a girl, and I love boys,” a statement that bespeaks the
suppression of her homosexuality and her state of being closeted.
Queer or Lesbian: Woman as the Looker
Centering upon Meng Kerou’s constant struggle with her confused/shifting sexualities,
the narrative of BGC gravitates toward her gradual bonding with Zhang Shihao. At
8. the moment, we hypothetically take point of view shots (POV) as visual correlative of
the gaze. The film is curiously replete with shots in which a female (mostly Kerou and
to a much lesser degree Yuezhen) poses as the looker and a male (Shihao) constantly
connotes “to-be-looked-at-ness,” yet it is not always clear whether Shihao is
mobilized as the object of desire or just an object of “affection”. Despite Kerou’s
claim that she is in love with a girl/Yuezhen, at the level of textual operation, shots
featuring Kerou’s point POV at Shihao far outnumbers her pov shots at Yuezhen.
D. Kerou’s POV shots at Shihao abounds throughout the film
Shot 15-17, Kerou’s POV precedes… Shot 18, her looking
Shot 136: Kerou looks at Shihao, followed by her POV in shot 137
Shot 291 and 292: POV and looking patterned upon shots 15-18
9. E. shots that clearly characterize Kerou’s gaze as queer/lesbian, which are rare in the
film despite the diegetic emphasis that she is in love with Yuezhen
Shots 36-37
Shots 252-253
F. Shihao’s POVs at Kerou. They are mostly mobilized as and placed in
shot-reverse-shots as he and Kerou exchange looks.
Shot 113-118: exchange of looks between Kerou and Shihao
Concluding Remarks
The purpose of this report is to demonstrate that a purely formal reading could also be
fruitful in enacting a queer interpretation of the film, or in how “shot consciousness”
10. (as advocated and explicated by David Bordwell) could contribute to a “queer”
reading of the film. Unpacking Blue Gate Crossing in formal terms better explains our
visual (and aural) experiencing of the film, and at the same time arrives at a queer
critique of sexual identity as stable and coherent, or as dichotomized between gay and
straight. On one hand the film abounds in a girl’s pov shots at a boy, which might
conjure up a straight, female spectatorial identification (it is said that Taiwan teenage
girls accounts for a large proportion of the domestic audience). Yet Kerou’s pov shots
at Shihao are more or less laden with emotional ambivalence, and could not be easily
pigeonholed as sexual or straight. Meanwhile, the film carefully steers clear of
sexist/scopophilic mechanism (long disputed by feminist film theorists) in which the
male poses as the looker and the female as the object of desire, in the sense that
Shihao’s pov shots at Kerou are usually carefully placed in the exchange of looks
between him and her. In a word, the textual operation of the film to a large extent
evidences a “queerness,” debunks the “polarization of male gaze versus female body,”
and denotes the (post-structuralist) deconstruction of anticipated categories of gender
and sexuality.
The final part of this report “Queer or Lesbian: Woman as the Looker” will
anticipate a major theoretical strand in a subsequent/current research on emerging
Taiwan queer cinema, in which a recent film Spider Lilies (刺青, Zero Chou, 2007)
will pose as another significant text in my theoretical probing of “the lesbian gaze”. In
emphasizing that theoretical understanding or ideology critique of a film shall rest
upon a keen consciousness of its formal qualities, this report tentatively anchors the
gaze in the physical movement of point of view shots in BGC, mostly embodied in
Kerou’s looking. The equation of gaze with pov shots constitutes the ground on which
Laura Mulvey formulated cinematic scopophilia in her seminal and ground-breaking
essay “Visual Pleasure and Narrative Cinema” (Mulvey), this equation, however, will
need to be reviewed and re-negotiated by 1) tracing the development of feminist film
theory, particularly where it intersects with queer theory and Lacanian psychoanalysis
and 2) examining the recent re-reading of Lacan and re-assessment of its application
to film theory (Todd McGowan). Both will be the tasks of my current NSC research
(2007-08) as a follow-up and expansion of this analysis (2006-07).
11. 又、本計畫部分研究成果,用於“Queering Chinese Language Cinemas”,將於 2008 年
初投稿 Quarterly Review of Film and Video。
Selected Bibliography(文獻)
Bordwell, David. “Hou, or Constraints” Figures Traced in Light: On Cinematic
Staging. Berkeley: University California Press, 2005.
____. “Intensified Continuity: Visual Style in Contemporary American Film.” Film
Quarterly 55.3 (2002): 16-28.
____. On the History of Film Style. Cambridge, Mass.: Harvard University Press,
1997.
____. David Bordwell’s Website on Cinema. <http://www.davidbordwell.net/>
Chaudhuri, Shohini. Feminist Film Theorists. London: Routledge, 2006.
Martin, Fran. “Taiwan (Trans)National Cinema, or, The Far-Flung Adventures of a
Taiwanese Tomboy.” In Cinema Taiwan: Politics, Popularity and State of the
Arts. Edited by Darrell W. Davis and Ru-shou Robert Chen. London: Routledge,
2007.
____.〈台灣(跨)國電影,或,一個台灣 T 的勇闖天涯:論《藍色大門》。
〉《電影欣賞》
122(Jan-Mar 2005): 85-90。
____. Situating Sexualities: Queer Representation in Chinese Fiction, Film and
Public Culture. Hong Kong: Hong Kong UP, 2003.
____. “Vive L’Amour. Eloquent Emptiness.” In Chinese Films in Focus: 25 New Takes.
Ed. Chris Berry. London: BFI, 2003. 175-182.
McGowan, Todd. “Looking for the Gaze: Lacanian Film Theory and Its Vicissitudes.”
Cinema Journal 42. no. 3 (Spring 2003): 27-47.
Mulvey, Laura. [1975] “Visual Pleasure and Narrative Cinema.” Visual and Other
Pleasures. Basingstoke: Macmillan, 1989.
Udden, James. “‘This Time He Moves!’ The Significance Hou Hsiao-hsien’s Radical
Break in Good Men, Good Women.” In Cinema Taiwan: Politics, Popularity and
State of the Arts.
____. “Hou Hsiao-hsien and the Question of a Chinese Style.” Asian Cinema
(Fall/Winter 2002): 54-75.
____. “Hou Hsiao-hsien and the Aesthetics of Historical Experience.” Doctoral
dissertation. Univ. of Wisconsin, Madison, 2003.
____. “The Future of a Luminescent Cloud: Recent Developments in a Pan-Asian
Style.” Synoptique 10 (2005).
<http://www.synoptique.ca/core/en/articles/udden_cloud>
Wu, George. “Blue Gate Crossing.” (film review).