Gender as a Moving Image
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Presentation by Oliver Bendorf, December 12, 2014 A.W. Mellon Workshop on Art + Scholarship Collaboratory #4: Queering Digitality University of Wisconsin-Madison
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Gender as a Moving Image
- 1. GENDER AS A MOVING IMAGE OLIVER BENDORF QUEERING DIGITALITY: AN ART + SCHOLARSHIP A.W MELLON WORKSHOP UNIVERSITY OF WISCONSIN-MADISON DECEMBER 12, 2014
- 2. HOW DO YOU REPRESENT SOMETHING THAT MOVES?
- 3. HOW DO YOU REPRESENT SOMETHING THAT MOVES? Trans: “across, through, over, to or on the other side of, beyond, outside of, from one place, person, thing, or state to another”
- 4. HOW DO YOU REPRESENT SOMETHING THAT MOVES? Trans: “across, through, over, to or on the other side of, beyond, outside of, from one place, person, thing, or state to another”
- 5. “STOP MOTION” “The object is moved in small increments between individually photographed frames, creating the illusion of movement when the series of frames is played as a continuous sequence.” –Wikipedia
- 6. MOVING, ADJ. That moves or passes from one place, position, or posture to another; capable of moving, able to be moved; not fixed or stationary, in motion.
- 7. MOVING, ADJ. That moves or passes from one place, position, or posture to another; capable of moving, able to be moved; not fixed or stationary, in motion. Causing or producing motion.
- 8. MOVING, ADJ. That moves or passes from one place, position, or posture to another; capable of moving, able to be moved; not fixed or stationary, in motion. Causing or producing motion. Unstable, changeable, fickle.
- 9. MOVING, ADJ. That moves or passes from one place, position, or posture to another; capable of moving, able to be moved; not fixed or stationary, in motion. Causing or producing motion. Unstable, changeable, fickle. Producing strong emotion, esp. sadness or sympathy; touching, affecting.
- 12. THE ANIMATED GIF
- 13. THE HOUSE OF GENDER “To understand the space of the moving image, we must therefore once more turn to architecture and return to the house (of gender).” –Giulina Bruno, Atlas of Emotion: Journeys in Art, Architecture, and Film (92)
- 14. CLOSETS IN THE HOUSE OF GENDER
- 15. “STOP MOTION” “Stop-motion might bring out the queer and radical potential of a genre populated by wild animals....” –J. Halberstam
- 16. QUEER ANIMATION “To create the illusion of natural movement, the cartoonist paradoxically must make unnatural-looking drawings… The conscious manipulation of boundaries between natural and unnatural… can be a rich field of exploration for queer animation.” -Alice A. Kuzniar, “Dyke Noir Animation” from The German Queer Cinema
- 19. WIKIPEDIA ON “FLIP BOOK” Like motion pictures, they rely on persistence of vision to create the illusion that continuous motion is being seen rather than a series of discontinuous images being exchanged in succession. Rather than "reading" left to right, a viewer simply stares at the same location of the pictures in the flip book as the pages turn. The book must also be flipped with enough speed for the illusion to work, so the standard way to "read" a flip book is to hold the book with one hand and flip through its pages with the thumb of the other hand. The German word for flip book—Daumenkino, literally "thumb cinema"—reflects this process.
- 22. DRAWING TIPS FOR BEGINNERS/RETURNERS We are going to round up the critical voices in our head and ask them to leave the room. We’ll send them on an errand.
- 23. DRAWING TIPS FOR BEGINNERS/RETURNERS We are going to round up the critical voices in our head and ask them to leave the room. We’ll send them on an errand. Phew. They’re gone.
- 24. DRAWING TIPS FOR BEGINNERS/RETURNERS We are going to round up the critical voices in our head and ask them to leave the room. We’ll send them on an errand. Phew. They’re gone. Now we can draw in peace. Like we’re children again!
- 25. DRAWING TIPS FOR BEGINNERS/RETURNERS We are going to round up the critical voices in our head and ask them to leave the room. We’ll send them on an errand. Phew. They’re gone. Now we can draw in peace. Like we’re children again! If the critical inner voices come back, just kick them out. Adios. We don’t need them right now.
- 26. DRAWING TIPS FROM IVAN BRUNETTI
- 27. FLIPBOOK STILLS Adapted from an Ivan Brunetti exercise 1) The beginning of your gender 3) The end of your gender 5) A self-portrait, including your entire body 7) Your gender at lunchtime 9) An image from a dream you had recently 11) Something that happened in the middle of your gender, i.e. between scenarios 1 and 3 13) What happened right after that? 15) Your gender early this morning 17) Your gender that has yet to happen 19) Your gender in your childhood house. 21) Pick any of the above scenarios and draw something that happened immediately afterward 23) Draw a "riff" on scenario 21; for example, a different perspective, another viewpoint, something that happened off-panel, or a close-up on some detail or aspect 25) Finally, draw something that has absolutely nothing to do with anything else you have written in the other scenarios. What about numbers 2, 4, 6, 8, 10, 12, 14, 16, 18, 20, 22, 24? That depends…
- 28. FLIPBOOK STILLS 1) The beginning of your gender 3) The end of your gender 5) A self-portrait, including your entire body 7) Your gender at lunchtime 9) An image from a dream you had recently 11) Something that happened in the middle of your gender, i.e. between scenarios 1 and 3 13) What happened right after that? 15) Your gender early this morning 17) Your gender that has yet to happen 19) Your gender in your childhood house. 21) Pick any of the above scenarios and draw something that happened immediately afterward 23) Draw a "riff" on scenario 21; for example, a different perspective, another viewpoint, something that happened off-panel, or a close-up on some detail or aspect 25) Finally, draw something that has absolutely nothing to do with anything else you have written in the other scenarios. What about numbers 2, 4, 6, 8, 10, 12, 14, 16, 18, 20, 22, 24? What happens between the still frames? How does it maintain the illusion of a continuous sequence—or does it?
- 29. FLIPBOOK STILLS 1) The beginning of your gender 3) The end of your gender 5) A self-portrait, including your entire body 7) Your gender at lunchtime 9) An image from a dream you had recently 11) Something that happened in the middle of your gender, i.e. between scenarios 1 and 3 13) What happened right after that? 15) Your gender early this morning 17) Your gender that has yet to happen 19) Your gender in your childhood house. 21) Pick any of the above scenarios and draw something that happened immediately afterward 23) Draw a "riff" on scenario 21; for example, a different perspective, another viewpoint, something that happened off-panel, or a close-up on some detail or aspect 25) Finally, draw something that has absolutely nothing to do with anything else you have written in the other scenarios. What about numbers 2, 4, 6, 8, 10, 12, 14, 16, 18, 20, 22, 24? What happens between the still frames? How does it maintain the illusion of a continuous sequence—or does it? HOW DOES YOUR GENDER MOVE?
- 30. ANIMATED GIFS THROUGH VINE
Editor's Notes
- The Impressionists were concerned with how to represent movement. Impressionism developed alongside photography and the example I think of here is how to paint a wave, which is blue and white but also the complex movements of blue and white. The word itself –”wave” points to the centrality of movement to the thing. Same for “trans”. On the left: Renoir, “The Wave”
- The Impressionists were concerned with how to represent movement. Impressionism developed alongside photography and the example I think of here is how to paint a wave, which is blue and white but also the complex movements of blue and white. The word itself –”wave” points to the centrality of movement to the thing. Same for “trans”. On the left: Renoir, “The Wave”
- The Impressionists were concerned with how to represent movement. Impressionism developed alongside photography and the example I think of here is how to paint a wave, which is blue and white but also the complex movements of blue and white. The word itself –”wave” points to the centrality of movement to the thing. Same for “trans”. On the left: Renoir, “The Wave”
- Animation as a queer practice or as a way of understanding gender identity throughout time. Is the desire to give the illusion of movement from individual stills? Or is the desire to document movement as individual stills?
- With time lapse, processes that would normally happen very subtly to the human eye – sunsets, for example, or transitions– become very pronounced.
- An example of “Pixel Art”
- When I teach stop motion, the tips I give to teenagers are: Move things only a very little bit each time, and take lots of pictures. It is not lost on me that this is also how transition works. Things change only a very little bit at a time, and we take lots of pictures.
- Kineograph: “Moving Picture”
- From Playground Graphics
- An afterimage is thought to persist for approximately one twenty-fifth of a second on th retina.
- From The Big Bang
- Flipbook running along the right hand side of pages in the memoir of experimental queer feminist filmmaker Barbara Hammer
- These prompts are adapted from an exercise from Ivan Brunetti’s book Cartooning. You’ll notice that these are numbered every other one, which brings us to that second question: How does your gender move?
- You’ll notice that these are numbered every other one, which brings us to that second question: How does your gender move?
- You’ll notice that these are numbered every other one, which brings us to that second question: How does your gender move?