A summary, with some overview questions, of Laure Mulvey's article 'Visual Pleasure and Narrative Cinema' and it's uses in thinking about gender representations.
Rehearsal Techniques for 'Woyzeck' Scene 6lanekatie97
I focused on scene 6 of 'Woyzeck' by Georg Buchner (between Woyzeck and the doctor), and chose some rehearsal techniques that could be written about this scene in my A2 Drama and Theatre Studies exam.
Rehearsal Techniques for 'Woyzeck' Scene 6lanekatie97
I focused on scene 6 of 'Woyzeck' by Georg Buchner (between Woyzeck and the doctor), and chose some rehearsal techniques that could be written about this scene in my A2 Drama and Theatre Studies exam.
Lecture transcript The gaze in historical context All right, s.docxcroysierkathey
Lecture transcript :The gaze in historical context:
All right, so we're continuing our discussion of film noir, but we're really thinking about it in relation to Laura Mulvey's discussion of the gaze. So I've assigned this piece, "Visual Pleasure and Narrative Cinema," because it is probably the most influential work in critical cinema studies that's been published in an academic context. If you look up "Visual Pleasure and Narrative Cinema," you'll see that it was cited tens of thousands of times since it was first published in the journal Screen in 1975. So it's an older piece, but it's very representative of the ways that ideas in film theory that have a certain theoretical construct around them can sort of make their way into popular discourse. So we're going to think about whether we agree with her take on the gaze and whether it still applies to the ways that film form works today. And we'll also look at some examples of feminist filmmakers from the period that she was writing in who tried to really combat these ideas around the gaze and experiment with what feminist film form could really look like. So when the article had its 30th and 40th anniversaries, there were retrospectives which you can find online if you're interested. There were a lot of articles published in places like The Chronicle of Higher Education, as well as the Screen journal that it was originally published in, as well as in popular media commemorating the impact of "Visual Pleasure and Narrative Cinema." And even now the idea of the gaze has been a part of popular culture and discussions of film. So you can see here, it's been talked about in relation to Magic Mike, in relation to tropes of television. And if you look up male gaze in YouTube, you'll actually see hundreds and hundreds of compilations of clips that are organized around the male gaze, the idea of the male gaze in film. So it's had some staying power. As I mentioned, the article came out in a journal called Screen, which was a really influential journal in the 1970s when film studies as a discipline was really making its way into the Academy, and thinking about ways to unify analysis of film form with some of the more philosophical theoretical ideas that were coming out of critical theory, in particular in Europe. And so Mulvey published her piece in a journal called Screen. And she was very influenced by psychoanalytic theory, which was de rigueur at the time. So if you're a psychoanalytic theorist, you'll have to sort of stay with me, because I think these ideas are a little bit controversial now. And certainly a lot of people have published responses to this article that take issue with many aspects of it, but I still think it's useful, so we'll just move through it. So if you're a psychoanalytic theorist, you take as your starting point that the world is underlined with these deep psychological structures that were studied first by Freud and then revised by Lacan. These structures surface in liter ...
Lecture transcript The gaze in historical context All right, s.docxssuser47f0be
Lecture transcript :The gaze in historical context:
All right, so we're continuing our discussion of film noir, but we're really thinking about it in relation to Laura Mulvey's discussion of the gaze. So I've assigned this piece, "Visual Pleasure and Narrative Cinema," because it is probably the most influential work in critical cinema studies that's been published in an academic context. If you look up "Visual Pleasure and Narrative Cinema," you'll see that it was cited tens of thousands of times since it was first published in the journal Screen in 1975. So it's an older piece, but it's very representative of the ways that ideas in film theory that have a certain theoretical construct around them can sort of make their way into popular discourse. So we're going to think about whether we agree with her take on the gaze and whether it still applies to the ways that film form works today. And we'll also look at some examples of feminist filmmakers from the period that she was writing in who tried to really combat these ideas around the gaze and experiment with what feminist film form could really look like. So when the article had its 30th and 40th anniversaries, there were retrospectives which you can find online if you're interested. There were a lot of articles published in places like The Chronicle of Higher Education, as well as the Screen journal that it was originally published in, as well as in popular media commemorating the impact of "Visual Pleasure and Narrative Cinema." And even now the idea of the gaze has been a part of popular culture and discussions of film. So you can see here, it's been talked about in relation to Magic Mike, in relation to tropes of television. And if you look up male gaze in YouTube, you'll actually see hundreds and hundreds of compilations of clips that are organized around the male gaze, the idea of the male gaze in film. So it's had some staying power. As I mentioned, the article came out in a journal called Screen, which was a really influential journal in the 1970s when film studies as a discipline was really making its way into the Academy, and thinking about ways to unify analysis of film form with some of the more philosophical theoretical ideas that were coming out of critical theory, in particular in Europe. And so Mulvey published her piece in a journal called Screen. And she was very influenced by psychoanalytic theory, which was de rigueur at the time. So if you're a psychoanalytic theorist, you'll have to sort of stay with me, because I think these ideas are a little bit controversial now. And certainly a lot of people have published responses to this article that take issue with many aspects of it, but I still think it's useful, so we'll just move through it. So if you're a psychoanalytic theorist, you take as your starting point that the world is underlined with these deep psychological structures that were studied first by Freud and then revised by Lacan. These structures surface in liter ...
LYU
1
SHI LYU
Kelly Morimoto & Paige Andersen
SELF AND SOCIETY 2
4 MARCH, 2020
The Sixth Sense
The topic that I chose for this essay is one of my favorite movies, The Sixth Sense. I am
further pairing it with Virginia Woolf as an author to write a critique about this movie. The Sixth
Sense is an American film which was released in 1999. It is a psychological thriller film that
covers a story about a boy who is able to see and speak to dead people who is being helped by a
child psychologist. I chose this movie because it fits well with the writing style of Woolf. This is
because Woolf had mastered the writing style which was called the Stream of Consciousness.
The film is made up of flashbacks of memories, time montages and free association of images
that show the past, present and future of the boy’s story that intermingle to form the
consciousness of the boy. The feelings and thoughts of the boy are shown uninterruptedly
forming a stream of consciousness just how Woolf does in her literary work. Therefore, I
believed as Woolf’s writing style was mainly focused on caching the technique of stream of
consciousness, it would be better to critique The Sixth Sense by using Woolf’s writing style.
LYU2
The Sixth Sense is a psychological thriller film that is a genuinely thrilling masterpiece. The
movie is about a boy named Cole who can see dead people as he narrates to his psychologist
that, “I can see dead people. They want me to do things for them.” (Shyamalan 01:33:24) This
film covers an important aspect that only innocent children can see dead people, things that
cannot be seen by adults. The film describes the thoughts and feelings of Cole throughout. He
fears darkness because he is afraid to see dead people there just like how every individual fears
darkness. It is as if the world has gone into a black hole and his heartbeat can be heard even from
miles away. Cole feelings are transferred into the audience like a river being poured inside. In
my point of view, this film brings out the reality of life before the audience and while evoking
feelings of Cole, thus the audience feels thrilled and understands how the dead soul do not find
peace until justice has been done in this world to their culprits. The film uses a classic narration
of only Cole as the main character while the entire film revolves around him. The main focus is
placed on the boy who is assumed by doctors to be suffering from a disease where he
hallucinates images. Whereas, in reality he actually sees another dimension of this .
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The map views are useful for providing a geographical representation of data. They allow users to visualize and analyze the data in a more intuitive manner.
We all have good and bad thoughts from time to time and situation to situation. We are bombarded daily with spiraling thoughts(both negative and positive) creating all-consuming feel , making us difficult to manage with associated suffering. Good thoughts are like our Mob Signal (Positive thought) amidst noise(negative thought) in the atmosphere. Negative thoughts like noise outweigh positive thoughts. These thoughts often create unwanted confusion, trouble, stress and frustration in our mind as well as chaos in our physical world. Negative thoughts are also known as “distorted thinking”.
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In Odoo, the multi-company feature allows you to manage multiple companies within a single Odoo database instance. Each company can have its own configurations while still sharing common resources such as products, customers, and suppliers.
The French Revolution, which began in 1789, was a period of radical social and political upheaval in France. It marked the decline of absolute monarchies, the rise of secular and democratic republics, and the eventual rise of Napoleon Bonaparte. This revolutionary period is crucial in understanding the transition from feudalism to modernity in Europe.
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1. Notes on 'Visual Pleasure and Narrative Cinema' by Laura Mulvey
This is one of the more complicated ideas we will think about. The original
article (subtitled 'A Political Use of Psychoanalysis') is much more advanced
and complicated than we need to worry about, but there are ideas within it
that are very useful. It is particularly relevant to work about messages and
values - representations - especially in relation to gender issues.
Mulvey is writing about films, but what she says is relevant to all visual media.
She is talking about the power and pleasure of looking (which has a name in
psychoanalytical theory - scopophilia). She says...
1. There is pleasure to be had in seeing things and, in seeing them, also
understanding and to an extent controlling them (or at least deciding
what they mean).
2. This comes from deeply embedded psychological processes, especially
what one writer (called Jacques Lacan) called 'The Mirror Phase' of a
young child's development. This happens when a very young child
recognises his/her reflection in a mirror as both him/herself and
something that isn't actually him/herself but only an image of
him/herself. It's the beginning of 'symbolic understanding' - seeing that
things can represent other things without actually being them. (And it's
about more than just mirrors - it also means that the very young child
sees the world and understand that it is full of things that might
represent and mean other things - again developing the idea of
symbolic understanding. It's about understanding connotation as well
as denotation.)
3. Cinema, by its very nature, highlights the pleasures in looking and
making meaning. It is all about the imaginary relationships that exist
between film-makers and their cast and the films they are making,
between the characters and perhaps the actors, between the audience
and the characters and perhaps between the audience and the
actors/director. It's about the idea of the film as being 'real-and-not-
real' - being what it is and what it means.
4. This idea links up closely with ideas about gender. Cinema is usually a
very stereotypically gendered thing - men are brave and muscular and
do things and women are visually attractive and submissive and have
things done to them. Men stereotypically have narrative agency - they
are the characters within the narrative who make things happen.
Women stereotypically don't have narrative agency - there are there to
2. be admired/desired/rescued, they are there as the reward, they are there
to be looked at and men are there to look at them.
5. And there are interesting 'levels' of this look that take us back to the
mirror phase - because women are being looked at for pleasure by a) the
male characters b) the camera and c) the audience, and even if some of
the audience are women (or gay men) the look is itself gendered
masculine, because it's about more than looking, it's about asserting
power and controlling meaning and these things are stereotypically
masculine. It gets described, in film theory, as 'the male gaze'.
6. And just to push you one stage further, the psychoanalytical basis for all
of this, both from Lacan and from Freud, is that women's role is to
'carry' meaning (just as their role is to carry a child) whereas men's role
is to make meaning (just as it is their role to provide the child) … and
even further... psychoanalysts being what they are, this in turn looks
back to the idea of male power and female weakness coming from the
presence or absence of the phallus. There are other critics - especially
feminist critics - who think Freud and his followers were talking
nonsense.
This is relevant and useful to us because it's all part of reinforcing how much
mainstream media relies on gender stereotypes and about how it's not just the
gendered characters but the underlying process of audiences looking at media
that forces different characters into these stereotypical roles.
Questions
1. What do you understand by 'The mirror phase'?
2. How is this relevant to looking at the media?
3. Explain the point about gender roles in films and narrative agency.
4. What is the male gaze? Why is it male?
5. What different levels of the male gaze exist in cinema?
6. How might all of this stuff help you write interesting things about how
media texts communicate messages and values and make meaning for
audiences?