This document discusses different categories of the gaze in visual and media arts. It begins by defining the gaze as the act of looking and discusses how looking is never a neutral act. It then outlines 4 main types of gaze: 1) The spectator's gaze, which is the viewer's gaze assumed by the artwork. 2) The intra-diegetic gaze, where one character looks at another within the image. 3) The extra-diegetic gaze, where the subject looks directly at the viewer. And 4) the screen or monitor as mirror gaze, where the subject gazes upon their own image. The document provides examples for each type of gaze and discusses concepts like directing the spectator's gaze, the male gaze, and
The power of the image: Contemporary art, gender, and the politics of perceptionDeborahJ
The relation between visual representations and the identity of the human subject.
The ideas and research that have informed this lecture are grounded in the areas of queer theory, gender studies, critical race theory, and feminist studies.
Is a picture worth 1,000 words? Textual AnalysisDeborahJ
This lecture will introduce semiotics or the semiology of art, a mechanism for deriving meaning that is considered to a more inclusive development of Panofsky’s Iconography
This document provides an introduction to the field of Visual Culture studies. It defines visual culture as everything that is seen or produced to be seen, and how it is understood. Visual culture involves exploring images and visual media from various disciplinary perspectives such as art history, gender studies, sociology, and film studies. Studying visual culture is important because experiences are increasingly visual through screens. It discusses how images are encoded with meaning and how they relate to issues of power and ideology. Visual culture analysis considers the social and cultural aspects of images rather than treating them as natural.
The document discusses key concepts in narrative structure and techniques used in films to tell stories. It defines narrative form as the structure through which movies convey stories. It then explores concepts like narrative elements being present across different media, the logical sequence of events in narratives, common narrative structures involving setup, rising action, climax, falling action and resolution, use of characters including traits, goals and obstacles, different types of conflict, and diegetic vs nondiegetic elements.
The document discusses representations and reality in postmodern thought. It argues that representations now precede and construct reality, with emotions, desires, politics, and identities being shaped by media images rather than originating from within individuals. People imitate emotions and desires seen in films, ads, and other media. Our sense of self has become a collection of these outside images rather than something of our own making.
This document discusses theories of socialization, deviance, crime, and social control from different theoretical perspectives. It covers key topics like the processes through which individuals learn social norms and how societies encourage conformity and discourage deviance. Different frameworks for understanding deviance are examined, including how societies define, label, and attempt to control behaviors seen as problematic.
Postmodern media breaks the rules of representationSianLynes
Postmodern media often breaks conventions of representation to create simulated realities that distort or subvert expectations. This is seen in films like Drive and Inglorious Basterds, which manipulate genres and use techniques like self-reflexivity to present disjunctive worlds. Television shows also break rules, like Family Guy's Star Wars parody that acknowledges itself as constructed fiction. Lady Gaga similarly constructs a simulated persona through allusions and genre-crossing. Overall, postmodern media challenges realistic representation to develop new meanings, though these can only be understood by media-literate audiences.
The document discusses religion and belief systems from an anthropological perspective. It begins by defining religion and examining religious phenomena across cultures. It then explores key concepts like animism, polytheism, monotheism, institutionalized religion, and religious practitioners. The document also analyzes religious activities such as magic, divination, and sacrifices. It examines the evolution of religion throughout history and in ancient societies. Finally, it discusses religious organizations and different types of cults based on their structure and relationship to society.
The power of the image: Contemporary art, gender, and the politics of perceptionDeborahJ
The relation between visual representations and the identity of the human subject.
The ideas and research that have informed this lecture are grounded in the areas of queer theory, gender studies, critical race theory, and feminist studies.
Is a picture worth 1,000 words? Textual AnalysisDeborahJ
This lecture will introduce semiotics or the semiology of art, a mechanism for deriving meaning that is considered to a more inclusive development of Panofsky’s Iconography
This document provides an introduction to the field of Visual Culture studies. It defines visual culture as everything that is seen or produced to be seen, and how it is understood. Visual culture involves exploring images and visual media from various disciplinary perspectives such as art history, gender studies, sociology, and film studies. Studying visual culture is important because experiences are increasingly visual through screens. It discusses how images are encoded with meaning and how they relate to issues of power and ideology. Visual culture analysis considers the social and cultural aspects of images rather than treating them as natural.
The document discusses key concepts in narrative structure and techniques used in films to tell stories. It defines narrative form as the structure through which movies convey stories. It then explores concepts like narrative elements being present across different media, the logical sequence of events in narratives, common narrative structures involving setup, rising action, climax, falling action and resolution, use of characters including traits, goals and obstacles, different types of conflict, and diegetic vs nondiegetic elements.
The document discusses representations and reality in postmodern thought. It argues that representations now precede and construct reality, with emotions, desires, politics, and identities being shaped by media images rather than originating from within individuals. People imitate emotions and desires seen in films, ads, and other media. Our sense of self has become a collection of these outside images rather than something of our own making.
This document discusses theories of socialization, deviance, crime, and social control from different theoretical perspectives. It covers key topics like the processes through which individuals learn social norms and how societies encourage conformity and discourage deviance. Different frameworks for understanding deviance are examined, including how societies define, label, and attempt to control behaviors seen as problematic.
Postmodern media breaks the rules of representationSianLynes
Postmodern media often breaks conventions of representation to create simulated realities that distort or subvert expectations. This is seen in films like Drive and Inglorious Basterds, which manipulate genres and use techniques like self-reflexivity to present disjunctive worlds. Television shows also break rules, like Family Guy's Star Wars parody that acknowledges itself as constructed fiction. Lady Gaga similarly constructs a simulated persona through allusions and genre-crossing. Overall, postmodern media challenges realistic representation to develop new meanings, though these can only be understood by media-literate audiences.
The document discusses religion and belief systems from an anthropological perspective. It begins by defining religion and examining religious phenomena across cultures. It then explores key concepts like animism, polytheism, monotheism, institutionalized religion, and religious practitioners. The document also analyzes religious activities such as magic, divination, and sacrifices. It examines the evolution of religion throughout history and in ancient societies. Finally, it discusses religious organizations and different types of cults based on their structure and relationship to society.
Representation refers to how media constructs and portrays aspects of reality such as people, places, events, and concepts through language, images, and other symbols. Within television dramas, representation is analyzed through how characters are portrayed in terms of class, age, gender, ethnicity, and sexuality. Producers create a sense of realism through repetition of representations, which become familiar to audiences and feel natural. Both how identities are depicted within shows and how audiences relate to those depictions based on their own identities and experiences factor into representation.
This document outlines the schedule and content for an introduction to visual culture course. The course will cover topics such as ways of seeing, dominance of images, showing seeing, what is visual culture, art history, art appreciation, connoisseurship and taste, and new ways of seeing. It will examine how images are analyzed in relation to cultural, social, and historical context and how vision is a cultural construction.
The document provides a critical analysis of the culture industry. It argues that the culture industry produces standardized cultural products that perpetuate the power of capitalism and dominate the minds of consumers. All mass culture produced by the culture industry is identical and aimed solely at profit. It forces all technical elements of production into uniformity, eliminating individual style and genuine artistic expression. The culture industry manipulates consumers by appealing to their base desires while offering the illusion of pleasure and fulfillment. Ultimately, it functions to repress consumers and reinforce the status quo of an alienated society.
COMPREHEND HOW MOTION MEDIA AND INFORMATION IS/ARE FORMALLY ANDINFORMALLY PRODUCED, ORGANIZED AND DISSEMINATED
Motion Media
each picture is a frame and that motion is created by rendering or showing consecutively
several frames per second.
• 24 frames (pictures) or more per second makes for a smooth animation.; videos, film, slides also
make use of frames.
• the series of graphics or images follow a sequence to create a story. This sequence is often called a storyboard which shows a set of
components (audio, visual, videos, etc) changing in
time to create a story or a message.
Motion media can be produced formally and informally.
Informally produced motion media are created by individuals often for personal use.
Formally produced motion media are created by professionals who follow industry standards in creating, editing and producing motion media.
Formal production of animations involve the following steps:
writing the story - writers and directors create the story board
script is written and dialogue is recorded
animators sketch major scenes; in betweeners fill in the gaps
background music and background details are added
drawings are rendered
Videos are produced in the same manner except that instead of drawing the scenes they are acted out and shot. Once the scenes have been shot, all clips are edited and put together in a final product.
The document discusses Jean Baudrillard's concept of hyperreality and how living in a postmodern society influenced by mass media can distort our perception of reality. Baudrillard believed that media simulations of reality become so idealized that they surpass reality and influence how we see the world. This can lead to feeling that our real lives do not measure up to the artificial realities portrayed in media. The document uses examples like highly produced war coverage and advertisements to illustrate these concepts.
The Spiral of Silence theory, proposed by Elisabeth Noelle-Neumann, explains that people are less likely to express opinions that are in the minority for fear of isolation. They have a sense of the prevailing public opinion and remain silent if their views diverge from the majority to avoid social isolation and reprisal. Over time, as minority opinions are suppressed, the majority view dominates public discourse in a "spiral" effect.
The document discusses Laura Mulvey's psychoanalytic analysis of cinema and visual pleasure. It argues that mainstream narrative cinema manipulates visual pleasure by coding eroticism into the dominant patriarchal order. It presents the concepts of scopophilia, or pleasure in looking, and discusses how cinema positions women as the passive, erotic object of the male gaze for both characters and spectators. The male protagonist controls events and coincides with the active, erotic power of the male spectator's gaze.
This document provides an introduction to analyzing films through a semiotic lens. It discusses film as both an audiovisual system that can be analyzed through its individual signs/images, as well as a narrative constructed of characters, settings, and events. Semiotics is introduced as the study of signs and how meanings and representations of reality are constructed. Film represents reality through iconic, narrative, and dramatic forms of representation, as well as through its unique cinematic language of images, editing, and more. Analyzing a film involves examining its narrative modes, the experience of mimesis it provides, and interpreting the meanings of its individual images and signs.
The document provides an overview of postmodern media theories and concepts. It discusses key postmodern thinkers like Baudrillard and Lyotard who rejected the idea of objective truth and reality. Postmodern media is described as challenging conventions by making the audience aware of texts as constructions. Examples of postmodern films, TV shows, and games are given that play with narrative structures and hyperreality. The Matrix is highlighted as a potentially postmodern film for aspects like breaking conventions with "bullet time" sequences and drawing attention to the film's construction.
Stuart Hall developed reception theory and the theory of encoding and decoding. He argues that audiences do not passively accept media texts, but actively negotiate meaning. Hall believes that culture is a site of social action and intervention where power relations can be established or challenged. He views identity as an ongoing cultural production rather than a fixed attribute, and has discussed how notions of race and ethnicity are socially constructed. Hall's influential work examines how institutions like the media can manipulate representations of issues like crime statistics for political purposes and ignite moral panics.
All three film posters share similar conventions including displaying the film title, representing the genre through images, and including production details at the bottom. They show the actors' names to attract audiences interested in their work. Dates of release are also often included. Horror film posters commonly use close-up eye images and depictions of old, unsettling houses to set an eerie tone through enigmatic images and dull colors that convey fear and mystery. Fonts are informal and characters are shown in dark lighting to add uncertainty.
The document discusses several key aspects of the sociology of news including:
1. News is a product manufactured by social, economic, and political institutions and practices, and represents a selective representation of reality.
2. While news may distribute information to large audiences, its influence is more cultural than direct causal control over society. News reflects powerful forces more than exercising autonomous power.
3. News sources like government officials and PR shape news content and the range of voices in debates, potentially narrowing public discussion.
4. Political and media institutions are intertwined, with politicians now seeking to influence public opinion through the media. The role of media depends on the specific political context.
The document discusses the emergence of mass culture in the 19th century. It describes how mass culture became available to large populations through mass media like print, broadcast, and the internet. Mass culture serves to entertain and distract people, and modern economic development has given people free time and income to pay for entertainment. Mass culture faces criticism for its low quality productions that appeal to basic instincts rather than intellectual growth. However, mass culture also plays an important role in societal changes.
This document discusses representation in media, including how the media constructs rather than reflects reality through careful mediation. It defines representation and discusses how certain groups are commonly represented, such as through stereotypes. Several theories of representation are outlined, including how women are often objectified and gazed at from the male perspective. The document also discusses how stereotypes can both enhance realism for audiences but also reinforce dominant ideologies. It questions whether media representations are ever truly realistic or simply simulations that produce our understanding of reality.
the essential features of italian neorealism AyshikaKarmakar
Italian Neorealism emerged after World War 2 and was characterized by stories about the poor filmed on location using non-professional actors. The Bicycle Thieves exemplified these traits by casting a factory worker in the lead role and filming on location with a documentary style. Some key features of Neorealism films included location shooting, a focus on the lower classes, natural dialogue, and a documentary aesthetic. The French New Wave similarly shot on location with available light and recorded sound on set rather than in a studio. Example films included Breathless, The 400 Blows, and Paris Belongs to Us directed by Jean-Luc Godard, Francois Truffaut, and Jacques Rivette respectively.
This document outlines the key elements that go into filmmaking, including theme, plot, script, acting, setting, costume, makeup, sound, music, cinematography, lighting, and direction. It discusses aspects like motif, metaphor, and symbols that comprise a film's theme. It also explains how the script arranges events in a logical order of increasing intensity. Acting elements like proper casting, makeup, understanding the role, and expressing emotions are covered. Setting, costumes, and makeup are discussed in terms of conveying information and authenticity. Sound effects and music are examined for how they can create tension or emphasize solemnity. Cinematography techniques like close-ups, shots, and lighting are presented. Finally,
Humss trends, networks, and critical thinking in the 21st century culture cg 1Carie Justine Estrellado
The document outlines a curriculum for a 12th grade course on trends, networks, and critical thinking in the 21st century. It is divided into two quarters, with each quarter focusing on different topics, including defining and identifying trends, understanding local and global networks, democratic interventions, and information and communication technology. Each topic includes learning competencies and performance standards for students to meet. The course aims to help students discover patterns, think critically, and understand the connections between individual and social realities in the modern world.
This document discusses mass media and popular culture. It defines popular culture as the everyday objects, actions, and events that influence people's beliefs and behaviors through subtle messages about what is appropriate or desirable. Popular culture is communicated through various media channels, both old and new, and pervades daily life. It has persuasive power to shape beliefs and behaviors by empowering some groups and disempowering others, as well as to reinforce taken-for-granted beliefs. Examples discussed include the influence of underweight models on women's body perceptions and portrayals of gender roles in media. The document emphasizes developing critical thinking skills to discern underlying messages in popular culture.
This document provides information on trends, networks, and critical thinking in the 21st century. It discusses the elements and characteristics of trends and fads. There are six main elements: appeal, result, scope, support, sustainability, and value. Trends have wide appeal and influence, last a long time with various support systems, while fads have limited appeal and influence and are short-lived relying on marketing. The document includes activities to help understand the differences between trends and fads and identify emerging patterns from data.
Guy Debord's 1978 film In girum imus nocte et consumimur igni literalizes movement through the cinema. It disengages film from its static nature by using appropriated footage and images to create a somatic experience for the viewer. The film functions like the Situationist practice of the dérive, placing the viewer in the role of an "inhabited subject" who encounters the city through chance encounters and movement. By using palindromes and appropriated images, In girum aims to shatter the static representation of images and place the viewer within the experience of wandering the city streets.
This document discusses Laura Mulvey's theory of the "male gaze" and the feminist film theoretical concept of the "female gaze." It provides context around Mulvey's seminal 1975 essay that introduced the idea of the male gaze, which represents the gaze of the male viewer as well as the male character and creator in film. The male gaze objectifies women and positions them as objects of male desire. The document also discusses criticisms of Mulvey's theory, such as the proposition of a "matrixial gaze" that challenges the notion of oppositional male and female gazes.
Representation refers to how media constructs and portrays aspects of reality such as people, places, events, and concepts through language, images, and other symbols. Within television dramas, representation is analyzed through how characters are portrayed in terms of class, age, gender, ethnicity, and sexuality. Producers create a sense of realism through repetition of representations, which become familiar to audiences and feel natural. Both how identities are depicted within shows and how audiences relate to those depictions based on their own identities and experiences factor into representation.
This document outlines the schedule and content for an introduction to visual culture course. The course will cover topics such as ways of seeing, dominance of images, showing seeing, what is visual culture, art history, art appreciation, connoisseurship and taste, and new ways of seeing. It will examine how images are analyzed in relation to cultural, social, and historical context and how vision is a cultural construction.
The document provides a critical analysis of the culture industry. It argues that the culture industry produces standardized cultural products that perpetuate the power of capitalism and dominate the minds of consumers. All mass culture produced by the culture industry is identical and aimed solely at profit. It forces all technical elements of production into uniformity, eliminating individual style and genuine artistic expression. The culture industry manipulates consumers by appealing to their base desires while offering the illusion of pleasure and fulfillment. Ultimately, it functions to repress consumers and reinforce the status quo of an alienated society.
COMPREHEND HOW MOTION MEDIA AND INFORMATION IS/ARE FORMALLY ANDINFORMALLY PRODUCED, ORGANIZED AND DISSEMINATED
Motion Media
each picture is a frame and that motion is created by rendering or showing consecutively
several frames per second.
• 24 frames (pictures) or more per second makes for a smooth animation.; videos, film, slides also
make use of frames.
• the series of graphics or images follow a sequence to create a story. This sequence is often called a storyboard which shows a set of
components (audio, visual, videos, etc) changing in
time to create a story or a message.
Motion media can be produced formally and informally.
Informally produced motion media are created by individuals often for personal use.
Formally produced motion media are created by professionals who follow industry standards in creating, editing and producing motion media.
Formal production of animations involve the following steps:
writing the story - writers and directors create the story board
script is written and dialogue is recorded
animators sketch major scenes; in betweeners fill in the gaps
background music and background details are added
drawings are rendered
Videos are produced in the same manner except that instead of drawing the scenes they are acted out and shot. Once the scenes have been shot, all clips are edited and put together in a final product.
The document discusses Jean Baudrillard's concept of hyperreality and how living in a postmodern society influenced by mass media can distort our perception of reality. Baudrillard believed that media simulations of reality become so idealized that they surpass reality and influence how we see the world. This can lead to feeling that our real lives do not measure up to the artificial realities portrayed in media. The document uses examples like highly produced war coverage and advertisements to illustrate these concepts.
The Spiral of Silence theory, proposed by Elisabeth Noelle-Neumann, explains that people are less likely to express opinions that are in the minority for fear of isolation. They have a sense of the prevailing public opinion and remain silent if their views diverge from the majority to avoid social isolation and reprisal. Over time, as minority opinions are suppressed, the majority view dominates public discourse in a "spiral" effect.
The document discusses Laura Mulvey's psychoanalytic analysis of cinema and visual pleasure. It argues that mainstream narrative cinema manipulates visual pleasure by coding eroticism into the dominant patriarchal order. It presents the concepts of scopophilia, or pleasure in looking, and discusses how cinema positions women as the passive, erotic object of the male gaze for both characters and spectators. The male protagonist controls events and coincides with the active, erotic power of the male spectator's gaze.
This document provides an introduction to analyzing films through a semiotic lens. It discusses film as both an audiovisual system that can be analyzed through its individual signs/images, as well as a narrative constructed of characters, settings, and events. Semiotics is introduced as the study of signs and how meanings and representations of reality are constructed. Film represents reality through iconic, narrative, and dramatic forms of representation, as well as through its unique cinematic language of images, editing, and more. Analyzing a film involves examining its narrative modes, the experience of mimesis it provides, and interpreting the meanings of its individual images and signs.
The document provides an overview of postmodern media theories and concepts. It discusses key postmodern thinkers like Baudrillard and Lyotard who rejected the idea of objective truth and reality. Postmodern media is described as challenging conventions by making the audience aware of texts as constructions. Examples of postmodern films, TV shows, and games are given that play with narrative structures and hyperreality. The Matrix is highlighted as a potentially postmodern film for aspects like breaking conventions with "bullet time" sequences and drawing attention to the film's construction.
Stuart Hall developed reception theory and the theory of encoding and decoding. He argues that audiences do not passively accept media texts, but actively negotiate meaning. Hall believes that culture is a site of social action and intervention where power relations can be established or challenged. He views identity as an ongoing cultural production rather than a fixed attribute, and has discussed how notions of race and ethnicity are socially constructed. Hall's influential work examines how institutions like the media can manipulate representations of issues like crime statistics for political purposes and ignite moral panics.
All three film posters share similar conventions including displaying the film title, representing the genre through images, and including production details at the bottom. They show the actors' names to attract audiences interested in their work. Dates of release are also often included. Horror film posters commonly use close-up eye images and depictions of old, unsettling houses to set an eerie tone through enigmatic images and dull colors that convey fear and mystery. Fonts are informal and characters are shown in dark lighting to add uncertainty.
The document discusses several key aspects of the sociology of news including:
1. News is a product manufactured by social, economic, and political institutions and practices, and represents a selective representation of reality.
2. While news may distribute information to large audiences, its influence is more cultural than direct causal control over society. News reflects powerful forces more than exercising autonomous power.
3. News sources like government officials and PR shape news content and the range of voices in debates, potentially narrowing public discussion.
4. Political and media institutions are intertwined, with politicians now seeking to influence public opinion through the media. The role of media depends on the specific political context.
The document discusses the emergence of mass culture in the 19th century. It describes how mass culture became available to large populations through mass media like print, broadcast, and the internet. Mass culture serves to entertain and distract people, and modern economic development has given people free time and income to pay for entertainment. Mass culture faces criticism for its low quality productions that appeal to basic instincts rather than intellectual growth. However, mass culture also plays an important role in societal changes.
This document discusses representation in media, including how the media constructs rather than reflects reality through careful mediation. It defines representation and discusses how certain groups are commonly represented, such as through stereotypes. Several theories of representation are outlined, including how women are often objectified and gazed at from the male perspective. The document also discusses how stereotypes can both enhance realism for audiences but also reinforce dominant ideologies. It questions whether media representations are ever truly realistic or simply simulations that produce our understanding of reality.
the essential features of italian neorealism AyshikaKarmakar
Italian Neorealism emerged after World War 2 and was characterized by stories about the poor filmed on location using non-professional actors. The Bicycle Thieves exemplified these traits by casting a factory worker in the lead role and filming on location with a documentary style. Some key features of Neorealism films included location shooting, a focus on the lower classes, natural dialogue, and a documentary aesthetic. The French New Wave similarly shot on location with available light and recorded sound on set rather than in a studio. Example films included Breathless, The 400 Blows, and Paris Belongs to Us directed by Jean-Luc Godard, Francois Truffaut, and Jacques Rivette respectively.
This document outlines the key elements that go into filmmaking, including theme, plot, script, acting, setting, costume, makeup, sound, music, cinematography, lighting, and direction. It discusses aspects like motif, metaphor, and symbols that comprise a film's theme. It also explains how the script arranges events in a logical order of increasing intensity. Acting elements like proper casting, makeup, understanding the role, and expressing emotions are covered. Setting, costumes, and makeup are discussed in terms of conveying information and authenticity. Sound effects and music are examined for how they can create tension or emphasize solemnity. Cinematography techniques like close-ups, shots, and lighting are presented. Finally,
Humss trends, networks, and critical thinking in the 21st century culture cg 1Carie Justine Estrellado
The document outlines a curriculum for a 12th grade course on trends, networks, and critical thinking in the 21st century. It is divided into two quarters, with each quarter focusing on different topics, including defining and identifying trends, understanding local and global networks, democratic interventions, and information and communication technology. Each topic includes learning competencies and performance standards for students to meet. The course aims to help students discover patterns, think critically, and understand the connections between individual and social realities in the modern world.
This document discusses mass media and popular culture. It defines popular culture as the everyday objects, actions, and events that influence people's beliefs and behaviors through subtle messages about what is appropriate or desirable. Popular culture is communicated through various media channels, both old and new, and pervades daily life. It has persuasive power to shape beliefs and behaviors by empowering some groups and disempowering others, as well as to reinforce taken-for-granted beliefs. Examples discussed include the influence of underweight models on women's body perceptions and portrayals of gender roles in media. The document emphasizes developing critical thinking skills to discern underlying messages in popular culture.
This document provides information on trends, networks, and critical thinking in the 21st century. It discusses the elements and characteristics of trends and fads. There are six main elements: appeal, result, scope, support, sustainability, and value. Trends have wide appeal and influence, last a long time with various support systems, while fads have limited appeal and influence and are short-lived relying on marketing. The document includes activities to help understand the differences between trends and fads and identify emerging patterns from data.
Guy Debord's 1978 film In girum imus nocte et consumimur igni literalizes movement through the cinema. It disengages film from its static nature by using appropriated footage and images to create a somatic experience for the viewer. The film functions like the Situationist practice of the dérive, placing the viewer in the role of an "inhabited subject" who encounters the city through chance encounters and movement. By using palindromes and appropriated images, In girum aims to shatter the static representation of images and place the viewer within the experience of wandering the city streets.
This document discusses Laura Mulvey's theory of the "male gaze" and the feminist film theoretical concept of the "female gaze." It provides context around Mulvey's seminal 1975 essay that introduced the idea of the male gaze, which represents the gaze of the male viewer as well as the male character and creator in film. The male gaze objectifies women and positions them as objects of male desire. The document also discusses criticisms of Mulvey's theory, such as the proposition of a "matrixial gaze" that challenges the notion of oppositional male and female gazes.
This document provides an overview of some key characteristics of science fiction as a genre based on an analysis of several example texts. It discusses how SF explores transformations to human existence through imagined technologies and ideas. It presents its stories in the context of scientific thought at the time. It also often values progress, tolerance, democracy and rationalism. The document then analyzes some works by John Wyndham to illustrate examples of changed existences, a background of science, tolerance and rationalism in his stories.
The Power of Watching: The Everyday Voyeur in Popular Cultureguestabfd6e
1) Voyeurism, the gratification from seeing others unobserved, is a central aspect of popular culture through reality television, photography, literature and the internet.
2) During the Cold War era, lesbian pulp novels exploited American anxieties about communists and homosexuals, satisfying voyeuristic desires through a distanced perspective.
3) Reality television provides a god-like voyeuristic perspective, though participants know they are observed, and it can objectify people's lives for entertainment. Wide acceptance of voyeurism in culture risks manipulation and sadism.
This document discusses concepts related to film editing and scene construction. It covers key terms like establishing shots, master shots, over-the-shoulder shots, reaction shots, two-shots, close-ups, and point-of-view shots. It also discusses concepts like constructing desire, the male gaze, identification and spectatorship. Specific films discussed include Rear Window, She's Gotta Have It, and Illusions. The document debates when to cut versus sculpting in time in a scene.
This document discusses the six main types of documentaries:
1) Poetic documentaries use fragmented, impressionistic images and disrupt chronological timelines.
2) Expository documentaries directly address the viewer through voiceovers and titles to make an argument.
3) Observational documentaries simply observe real life with minimal intervention.
4) Participatory documentaries acknowledge the filmmaker's influence and include their interactions with subjects.
5) Reflexive documentaries draw attention to their own construction as representations of reality.
6) Performative documentaries emphasize subjective experiences and emotions through unconventional, poetic, or experimental styles.
The document discusses several feminist film theorists and their perspectives on the portrayal of women in cinema. Mary Ann Doane argues for defining a feminine poetic syntax and positioning of looking/desire derived from reimagining depictions of the female body. Teresa de Lauretis calls for reconsidering women in cinema by addressing the spectator as a woman and depicting diversity among women. Laura Mulvey's theory of visual pleasure argues that the spectator and camera adopt the active male gaze, while women on screen are the passive objects of desire.
Laura Mulvey's 1975 article "Visual Pleasure and Narrative Cinema" uses psychoanalytic and feminist theory to critique the way classic Hollywood films reflect and reinforce patriarchal ideology through the male gaze. She argues that films position women as objects for the male gaze and viewer identification, establishing male dominance and female inferiority. Rear Window is offered as an example of the "voyeur's film" that depicts the world from a male point of view and investigates female sexuality and male desire through patterns of submission and dominance. Central to Mulvey's analysis is the concept of "scopophilia," or pleasure in looking, which cinema and films like Rear Window offer by allowing the viewer to take on the controlling and voy
A) Existentialism emphasizes existence over essence, meaning that humans define their own essence and meaning through their choices and actions rather than having a predetermined essence.
B) This leads to an "absurd condition" where humans seek meaning in a meaningless universe. It also leads to a sense of freedom but also responsibility over how one chooses to act with no external guidance.
C) Prominent existentialist philosophers include Kierkegaard, Nietzsche, Sartre, and Camus. Key concepts in existentialism include dread, anxiety, responsibility, and "bad faith" which is denying one's authentic self.
The intention of the essay is to link evolution
in cinema genres with the changes in the structure
of popular culture.
La intención del ensayo es asociar la evolución en los géneros cinematográficos con los cambios en la estructura de la cultura popular.
An Investigation Into The Representation Of Women In French New Wave CinemaKarla Adamson
This document provides an analysis of the representation of women in French New Wave cinema. It begins with context on gender inequality in film industries and an overview of French New Wave. It then examines Genevieve Sellier's application of Laura Mulvey's "Male Gaze Theory" to argue that most French New Wave films were made from the male perspective, portraying women as male desires. The document focuses on Godard's films A Bout de Souffle and Une Femme Est Une Femme to debate whether they objectified women or portrayed the emerging "modern woman" with sexual independence. While Sellier sees contradictions, the document argues Godard represented changing social attitudes towards women's sexuality during the sexual
A2Y2 Media Studies, Media Language theory Postmodernism hyperrealityKBucket
The document provides an overview of postmodernism and some key postmodern concepts. It discusses how postmodernism emerged after modernism and rejected notions of universal truths or grand theories. Some key postmodern ideas discussed include the breakdown of distinctions between high and low art, self-referentiality, intertextuality, pastiche, irony, and the blurring of boundaries between reality and simulation in a hyperreal world dominated by media. Jean Baudrillard's concepts of simulation and the simulacrum are summarized, where mediated experiences become more "real" than reality itself.
Todd McGowan - The Impossible David Lynch.pdfeffkayjay101
This document provides an introduction to David Lynch's films and their challenge to conventional film viewing. It discusses how Lynch's films break down the distance between the spectator and the screen by implicating viewers in the film's structure. In contrast to more radical films that enhance distance, Lynch's films include moments that reveal the spectator's own desires. The introduction argues that Lynch confronts viewers in a way that transforms their cinematic experience and subjectivity. It aims to take up Lynch's theoretical challenge through analyzing his films.
This document provides a summary and analysis of Jean-Luc Marion's perspective on the relationship between images, reality, and the visible versus the invisible. The key points are:
1) Marion argues that in modern society, reality has become invisible and crushed by the proliferation of images and representations. The only way to access the invisible or reality is through religious icons that deny their own visibility.
2) Icons point to an invisible gaze or "the other" rather than making the invisible imminently present in the visible world. This leaves us unable to overcome the divide between visible and invisible.
3) The author disagrees with Marion's perspective because it does not provide a solution and reinforces the detached
This document discusses various approaches to psychoanalysis and its application to cultural theory and popular culture. It explores Freudian psychoanalysis, Lacanian psychoanalysis, cine-psychoanalysis, and Slavoj Zizek's Lacanian perspective on fantasy. Key aspects covered include the unconscious, the structure of the psyche, the mirror stage, language and lack, scopophilia and the male gaze in film, and fantasy as a frame through which we understand reality.
The document provides an overview of Laura Mulvey's seminal work on "the male gaze" in film and how it has influenced feminist film theory. It discusses key concepts such as scopophilia and the mirror stage that influenced Mulvey's theory of how classical Hollywood cinema positions the male viewer to objectify female characters. It also summarizes how Mulvey's theory has been expanded on to incorporate different types of gazes and more diverse audiences and film texts over the decades since her initial work. As a case study, it analyzes how the gaze functions in the film Y Tu Mamá También.
This document discusses various perspectives in feminist film theory, including the male gaze, female gaze, oppositional gaze, and matrixial gaze. It explores how early feminist film theory, beginning with Laura Mulvey's concept of the male gaze, viewed women as sexual objects for the male viewer's pleasure. Later theories proposed the ideas of the female gaze, where women can objectify men, and the oppositional gaze, where marginalized groups critique stereotypical representations. The document also examines post-feminism and whether contemporary female characters truly move beyond earlier feminist politics.
The hypodermic needle theory suggests that media messages can be directly injected into passive audiences' brains, influencing their beliefs. It views audiences as weak and the media as powerful. However, the theory ignores that audiences think critically and disagree with media at times. It was popular in the 1930s-40s but is now widely debunked in favor of theories recognizing audiences' active interpretations of media.
Representation refers to how aspects of reality are constructed in media. Key concerns are that representations become familiar over time and seem natural despite changing, and that they are inherently selective by foregrounding some things and backgrounding others. Representations also require interpretation and always come from a particular point of view. Contemporary theories stress that representations construct particular realities rather than objectively reflect reality.
Week 6 subjectivity and identity(nx power lite)DeborahJ
Postmodernism questions notions of identity, subjectivity and the self. It rejects the idea of a fixed or essential self, viewing identity as socially constructed. Issues explored include how identity is formed, the influence of images and media on identity construction, and the idea that identities are multiple and mutable rather than fixed. Postmodern art reflects these ideas by depicting shallow or fragmented identities influenced by consumerism and popular culture. Artists like Sherman, Kruger and McCarthy critique consumerism and the constructed nature of modern identities.
This document provides context on decolonization and indigenous identities from a global perspective. It defines indigenous peoples according to the UN as culturally distinct groups who find themselves engulfed by settler societies due to forces of empire and conquest, and who have ancestral roots embedded more deeply in the lands they live in than more powerful settler societies. Notable points made include that indigenous peoples number over 370 million globally, that indigenous identity involves factors like self-identification and connection to territory, and that decolonization aims to recentre indigenous life and ways of knowing by challenging colonial institutions and power relations. The document also examines survivance theory and provides examples of how indigenous artists depict survivance in media arts.
The document discusses issues of subaltern speech and representation in post-colonial contexts. It begins by defining key terms like colonialism, settler colonialism, and post-colonialism. It then examines Gayatri Spivak's influential work "Can the Subaltern Speak?" which argues that subaltern groups are often unable to express themselves within structures of power and domination. The document also provides examples of how subaltern speech and identity are explored through various media artworks, like video games, performance, and installation art, that seek to give voice to marginalized groups.
The document discusses the concept of Relational Aesthetics, an artistic movement from the 1990s that focused on human interaction and social contexts. It examines works by artists like Rirkrit Tiravanija who created social situations in galleries through serving food. Other examples include Christine Hill's Volksboutique pop-up shops and Ben Kinmont's Waffles for an Opening project. The document explores how these works used human relationships and social frameworks as their medium rather than traditional art objects. It analyzes how Relational Aesthetics reflected issues of communication systems and consumerism in the late 20th century.
This document discusses the history and concept of institutional critique in art. It begins by defining what institutions are and discussing Michel Foucault's concept of heterotopias and critique. Institutional critique emerged in the early 1970s as artists questioned and confronted institutions of art like museums and galleries. Some key events and works that critiqued institutions from the 1960s are discussed, like Futurist calls to flood museums and Black Emergency Cultural Coalition protests. The document then covers the development of institutional critique and debates around an inside vs. outside. It analyzes Andrea Fraser's view that the institution is inside artists themselves and there is no true outside. Overall, the document provides context around the emergence and goals of institutional critique as a practice
Appropriation involves intentionally borrowing and altering preexisting images and objects. This raises issues around originality, authorship, and copyright. The document discusses the history of appropriation in artistic movements from Cubism to Pop Art. It provides examples such as Warhol appropriating a photo of Prince for a silkscreen series and Lichtenstein appropriating comic book panels. The increasing reproducibility of images through technology challenges traditional notions of an artwork's aura and uniqueness.
This document discusses the issue of cultural appropriation through examples in music, fashion, sports, politics and popular culture. It provides definitions of cultural appropriation as the taking of intellectual property or cultural elements from marginalized groups without permission. It then examines issues of cultural appropriation and cultural property rights in the art world through case studies of exhibitions at major museums that have led to criticism and debates around cultural sensitivity, artist intention vs audience interpretation, and repatriation of culturally significant artifacts.
This document summarizes Linda Nochlin's seminal 1971 essay "Why Have There Been No Great Women Artists?". Nochlin rejected the assumption behind the question, that women inherently lacked artistic genius. Instead, she argued feminist art historians should analyze how social and institutional structures shaped artistic production and excluded women. The document discusses essentialism in feminism and artists like Judy Chicago who linked women's art to biological experience. It also analyzes issues with Nochlin's approach, like its focus on painting and privileging of the notion of artistic genius. Overall, the document provides context around Nochlin's influential essay and its questioning of gender biases in the art world.
Self-portraiture has a long history dating back to the early Renaissance, but the development of video technology in the 1960s and 70s allowed artists to confront their own image in real-time feedback between the camera and monitor. While some viewed this new form of video self-portraiture as providing an opportunity for aesthetic contemplation of oneself, others criticized it as embodying a narcissistic psychological state through its ability to erase boundaries between subject and object. Contemporary debates continue over whether self-portraiture through new media like smartphones represents narcissism or a performance of different social selves.
This document discusses how spectators and viewers interpret visual forms like images, discussing concepts like the Kantian idea of disinterested viewing, cinema of attractions, and theories of spectatorship and how images negotiate social relationships and power dynamics. It also covers case studies analyzing how context, both historical/social and presentation, shapes interpretation, as well as the viewer's own identity and position. Key themes are how images can be read differently over time as social norms change, and how poor or amateur images reveal conditions of marginalization.
The document discusses the benefits of exercise for mental health. Regular physical activity can help reduce anxiety and depression and improve mood and cognitive functioning. Exercise causes chemical changes in the brain that may help boost feelings of calmness, happiness and focus.
This portfolio piece documents Margaret Boozer's 2020 residency at the Hambidge Center for Creative Arts and Sciences. During her time there, Boozer explored new creative directions through painting, drawing, and photography while surrounded by the natural beauty of the Georgia landscape. Her work from this residency period reflects on change, memory, and how life paths can diverge from what was once familiar.
This document provides an overview of how to analyze the visual elements in works of art. It discusses analyzing elements such as medium/material, style, formal qualities like line and color, space and setting. It also discusses additional elements to analyze for moving images, such as editing, framing, camera movement, sound, loops, and genre. Examples are provided of works that demonstrate different visual elements, such as a Clyfford Still painting showing formal qualities and a Christo artwork demonstrating scale and setting.
The document discusses the final assignment for the class, which is to rewrite the artist statement and is due on December 4. It then reviews the difference between interpretation and thematic content in art, noting that interpretation refers to what the artist hopes the viewer takes away from the work, such as a deeper understanding, emotion, experience, realization, appreciation, exposure to new ideas, desire to learn more, or aesthetic experience. It provides examples of artworks and their thematic subjects and interpretations. Students are then instructed to post in one sentence the subject matter and intended interpretation of their own artwork on the class blog.
Main Java[All of the Base Concepts}.docxadhitya5119
This is part 1 of my Java Learning Journey. This Contains Custom methods, classes, constructors, packages, multithreading , try- catch block, finally block and more.
How to Make a Field Mandatory in Odoo 17Celine George
In Odoo, making a field required can be done through both Python code and XML views. When you set the required attribute to True in Python code, it makes the field required across all views where it's used. Conversely, when you set the required attribute in XML views, it makes the field required only in the context of that particular view.
This slide is special for master students (MIBS & MIFB) in UUM. Also useful for readers who are interested in the topic of contemporary Islamic banking.
A review of the growth of the Israel Genealogy Research Association Database Collection for the last 12 months. Our collection is now passed the 3 million mark and still growing. See which archives have contributed the most. See the different types of records we have, and which years have had records added. You can also see what we have for the future.
How to Add Chatter in the odoo 17 ERP ModuleCeline George
In Odoo, the chatter is like a chat tool that helps you work together on records. You can leave notes and track things, making it easier to talk with your team and partners. Inside chatter, all communication history, activity, and changes will be displayed.
LAND USE LAND COVER AND NDVI OF MIRZAPUR DISTRICT, UPRAHUL
This Dissertation explores the particular circumstances of Mirzapur, a region located in the
core of India. Mirzapur, with its varied terrains and abundant biodiversity, offers an optimal
environment for investigating the changes in vegetation cover dynamics. Our study utilizes
advanced technologies such as GIS (Geographic Information Systems) and Remote sensing to
analyze the transformations that have taken place over the course of a decade.
The complex relationship between human activities and the environment has been the focus
of extensive research and worry. As the global community grapples with swift urbanization,
population expansion, and economic progress, the effects on natural ecosystems are becoming
more evident. A crucial element of this impact is the alteration of vegetation cover, which plays a
significant role in maintaining the ecological equilibrium of our planet.Land serves as the foundation for all human activities and provides the necessary materials for
these activities. As the most crucial natural resource, its utilization by humans results in different
'Land uses,' which are determined by both human activities and the physical characteristics of the
land.
The utilization of land is impacted by human needs and environmental factors. In countries
like India, rapid population growth and the emphasis on extensive resource exploitation can lead
to significant land degradation, adversely affecting the region's land cover.
Therefore, human intervention has significantly influenced land use patterns over many
centuries, evolving its structure over time and space. In the present era, these changes have
accelerated due to factors such as agriculture and urbanization. Information regarding land use and
cover is essential for various planning and management tasks related to the Earth's surface,
providing crucial environmental data for scientific, resource management, policy purposes, and
diverse human activities.
Accurate understanding of land use and cover is imperative for the development planning
of any area. Consequently, a wide range of professionals, including earth system scientists, land
and water managers, and urban planners, are interested in obtaining data on land use and cover
changes, conversion trends, and other related patterns. The spatial dimensions of land use and
cover support policymakers and scientists in making well-informed decisions, as alterations in
these patterns indicate shifts in economic and social conditions. Monitoring such changes with the
help of Advanced technologies like Remote Sensing and Geographic Information Systems is
crucial for coordinated efforts across different administrative levels. Advanced technologies like
Remote Sensing and Geographic Information Systems
9
Changes in vegetation cover refer to variations in the distribution, composition, and overall
structure of plant communities across different temporal and spatial scales. These changes can
occur natural.
3. The gaze = looking at
Looking is never a neutral act (Sturken)
4. VISUAL + MEDIA
ARTS:
4 MAIN TYPES OF
GAZE
the spectator's gaze
the intra-diegetic gaze
extra-diegetic gaze
the screen or monitor as mirror
the camera's gaze, or photographer’s/director's gaze
9. BLAKE GOPNIK
PERSEPCTIVAL PAINTING
• The yellow lines on my Pic are, of course, an “overpainting” of my own,
demonstrating that the bottom edge of the Cupid intersects with the curtain
precisely at the painting’s vanishing point.
• …Dutch viewers knew that perspectival paintings had a special power when
viewed from the “center of projection” — a single viewing spot, often close-up
and off to one side, from which effects of depth and space are vastly more
impressive and effective. So many Dutch paintings are an invitation to the viewer
to come within arm’s reach of the image, to the spot where the fictive curtain
might be drawn and which, as it happens, is also very often the “correct”
perspectival viewing point.
• The original version of Vermeer’s painting gave its (male?) Dutch viewers all
the clues and cues they needed to understand how to look at his picture, from
where. Once they got to the right spot they knew — they could see and feel —
that they were up close to Vermeer's table and looming above its fruit bowl; that
they were standing on the same floor as the yellow-clad lady and were almost in
her face, in every sense of the word.
• Like her, they were at Cupid’s feet, and at his mercy.
10. 2. the intra-diegetic gaze, where
one person is depicted looking
at another person or object in
the image, such as one character
looking at another.
Gives the viewer a sense of
intimacy between characters; of
eavesdropping on a
conversation; and/or works to
draw viewer into the narrative
(i.e., something is happening,
being discussed, why are looks
being exchanged, etc.)
13. 3. extra-diegetic gaze, where the
person depicted in the image looks
at the spectator (also known as
“direct address” in film/tv +
“breaking the fourth wall” in theater
).
In this gaze, the individual depicted
returns the viewer’s gaze – this can
be alternatively intimate,
threatening, powerful, creepy. What
does it mean to meet the gaze of
the viewer?
19. 4. MONITOR OF SCREEN GAZE
The maker is gazing upon their own image
and addressing our interacting with their
own image in the screen (YouTube, Tik Tok,
Selfies, video art)
“Narcissistic enclosure”
Leave Brittany Alone!
Chris Crooker
20. 5. the camera's gaze, which is
often equated to the
photographer or director's gaze
Always present in a film or
photograph, but sometimes it is
made obvious/references
24. 3rdi (2010)
Wafaa Bilal
“The 3rdi arises from a need to
objectively capture my past as
it slips behind me from a non-
confrontational point of view.
A camera temporarily
implanted on the back of my
head, it spontaneously and
objectively captures the
images – one per minute –
that make up my daily life, and
transmits them to a website
for public consumption.”
http://www.3rdi.me/
28. Zoom Pavilion (2016)
Rafael Lozano-Hemmer
Uses face recognition
algorithms to detect the
presence of participants and
record their spatial
relationship within the
exhibition space.
https://www.youtube.com/wat
ch?v=ENWBRsvn7qA
29. Look At Me: Women's Aid interactive billboard
https://www.youtube.com/watch?v=wEybVOerb9
Q
30. THE GAZE/THE MALE GAZE
“VISUAL PLEASURE AND NARRATIVE CINEMA”
LAURA MULVEY (1975)
31. Looking is never a neutral act (social
relationship)
• Who is looking (creator and viewer)?
• Who is being looked at?
• What is the social relationship between
viewer and image?
32. MULVEY
REFLECTING
ON ESSAY
“One absolutely crucial change is that feminist film
theory is today an academic subject to be studied
and taught. "Visual Pleasure and Narrative
Cinema" was a political intervention, primarily
influenced by the Women's Liberation Movement
and, in my specific case, a Women's Liberation
study group, in which we read Freud and realised
the usefulness of psychoanalytic theory for a
feminist project.”
33. KEY CONCEPTS
1. Scopophilia
2. Identification with male protagonist
3. Active Male Viewer/Passive Female Object
• Voyeurism
• Fetishistic Scopophilia
4. Threat
34. 1. SCOPOPHILIA
“pleasure of looking” (visual pleasure) is known as scopophilia
scopophilia specifically refers to sexual pleasure derived from
looking at erotic objects: erotic photographs, pornography,
naked bodies, etc.
So… the visual pleasure Mulvey is talking about is erotic and
sexual in nature
35. 2. IDENTIFICATION
Mulvey argues that Hollywood film is constructed assuming a heterosexual male observer (not necessarily the
director).
The pleasure in looking (scopophilia) is a desire to fulfill the pleasures of a heterosexual male viewer.
The (male) spectator identifies with the image on screen.
36. REAR WINDOW (1954) BY
ALFRED HITCHCOCK
“…the woman as object of
the combined gaze of
spectator and all the male
protagonists in the film. She
is isolated, glamorous, on
display, sexualised…. By
means of identification with
him, through participating
in his power, the spectator
can indirectly possess her
too.”
39. 3. ACTIVE MALE
VIEWER/PASSIVE
FEMALE OBJECT
In mainstream Hollywood cinema, the male position is the active
viewing position, while the female position is that of the passive
object of male visual pleasure. (i.e., not made with female
position in mind).
“In a world ordered by sexual imbalance, pleasure in looking has
been split between active/male and passive/female. The
determining male gaze projects its phantasy on to the female
form which is styled accordingly. In their traditional exhibitionist
role women are simultaneously looked at and displayed, with
their appearance coded for strong visual and erotic impact so
that they can be said to connote to-be-looked-at-ness.”
Image of woman (passive) is the “raw” materials for the looking
of man.
“Woman's desire is subjugated to her image (...) as bearer, not
maker, of meaning.”
40. • “Woman, then, stands in
patriarchal culture as a signifier
for the male other, bound by a
symbolic order in which man
can live out his fantasies and
obsessions through linguistic
command by imposing them on
the silent image of a woman still
tied to her place as the bearer
of meaning, not maker of
meaning.”
42. THE PARADOX OF PHALLOCENTRISM IDENTIFIED
IN ALL THIS PLEASURABLE LOOKING
• Phallocentrism = privileging of the masculine (the phallus) in understanding
meaning or social relations.
• Looking can be pleasurable in its form but threatening in its content – woman is an
active threat
• Woman de facto signifies sexual difference, a lack of a penis, the threat of
castration (Freud)
• “unpleasure, she threatens to destroy unity of the diegesis: ‘Thus the woman as
icon, displayed for the gaze and enjoyment of men, the active controllers of the
look, always threatens to evoke the anxiety it originally signified.’”
43. JOHNNY
GUITAR (1954)
“The paradox of phallocentrism
in all its manifestations is that it
depends on the image of the
castrated woman to give order
and meaning to its world. An
idea of woman stands as lynch
pin to the system: it is her lack
that produces the phallus as a
symbolic presence, it is her
desire too make good the lack
that the phallus signifies.”
(“penis envy”)
44. A. FETISHISTIC SCOPOPHILIA
disavowing castration altogether
by fetishizing the figure of the
woman (or substituting fetish
object), taming it, making it
reassuring, satisfying in itself
45. B. VOYEURISM
Going to source of anxiety (“investigating the woman,
demystifying her mystery”) combined w/ devaluation,
punishment, or saving “the guilty object”
Mulvey notes that this is typical in film noir -asserting
control, judging, punishing women
“Femme Fatale” (“deadly woman”)
49. John Berger's famous formulation in his Ways
of Seeing (1972)
“according to usage and conventions which
are at last being questioned but have by no
means been overcome—men act and women
appear. Men look at women. Women watch
themselves being looked at (as spectator).”
50. THE KEY
QUESTIONS
ARISING FROM
“VISUAL
PLEASURE AND
NARRATIVE
CINEMA”
Can filmmakers/artists/photographers
create images of women that counter the
gaze + its objectification and eroticization
of the female body?
Can a non-sexist form of narrative cinema
be created?
“It is said that analyzing pleasure, or beauty,
destroys it.”
― Laura Mulvey
51. The Riddles of the Sphinx (1977)
Laura Mulvey/Peter Wollen
https://ubu.com/film/mulvey_riddles.html
A complex treatise exploring feminism, motherhood and sexual
difference in seven numbered chapters
Non-sexist cinema
Degraded and blurry images
Continuously moving camera
Voice Over and Text
No close-ups
Full female body never in frame
58. CINDY SHERMAN: FILM STILLS
• Sherman's photographs can be seen as self-portraits that are not actually about herself, since she is
always disguised and playing a role
• Viewers are not meant to understand these pictures as images of Sherman or of actual film stills,
but as ironic readings, deliberate imitations, and self-conscious interpretations of style, gesture, and
stereotypes
• She transformed he own body in order to proclaim that her femininity is performative – not one
thing
• Sherman's work is a response to an era of feminist criticism that challenged representations of
women
67. THE REINCARNATION OF SAINTE-
ORLAN, 1990-1995
• From 1990 to 1995, French artist Orlan underwent nine plastic surgery operations, intending to
rewrite western art on her own body.
• Orlan’s goal in these surgeries is to acquire the ideal of female beauty as depicted by male artists.
• When the surgeries are complete, she will have the chin of Botticelli's Venus, the nose of Jean-Léon
Gérôme's Psyche, the lips of François Boucher's Europa, the eyes of Diana (as depicted in a 16th-
century French School of Fontainebleu painting), and the forehead of Leonardo da Vinci's Mona
Lisa.
73. Allen Jones
Chair Table Hat Stand
(1969 and first exhibited in
1970)
Life-sized
sculptures/woman as sexual
object/ part of the
furniture/S&M
74. Jemima Stehli
Table 2 (1997–1998 )Medium:
gelatin silver print
53.9 x 94.3 in.
"I wanted not only to show
woman as a sexual object, but
to show myself, the artist,
becoming an object.”
“Thinking about what it means
to participate in your own
objectification.”
77. Vanessa Beecroft
Show (Performance
Solomon R. Guggenheim
Museum, NY), 1998–1998
Beecroft has been
accused of staging "sex
shows" in the name of
feminism, of "objectifying
women,” of "pandering
to the male gaze” and of
being “hooters for
intellectuals''
78. VB48 Genoa, Italy, 2001
Beecroft calls her models an
''army'' that empowers women
She also claims indifference to
the presence of men in the
audience and sees her work as
countering the male gaze by
intensifying the roles of
spectator and performer
“The true beauty of women
has never been reflected in art
or fashion”
80. “THE REBELLIOUS DESIRE’ TO GAZE”
The gaze “has been and is the site of
resistance for colonized black people
globally … one learns to look a certain
way in order to resist”
81. hooks
two main
critiques
1. Critiques who gets to look
• Hollywood cinema robs black women of
narrative agency through not only violent
misrepresentations, but also utter lack of
representation
• hooks argues that not only are black woman
underrepresented in film, but they are also not
allowed to 'look' either (as spectator or within
the image)
• Looking implores a sense of power that is
removed from the black female body, to play
the role of object in direct relation to white
female existence
82. Olympia (again)
Direct gaze/extra-diegetic gaze vs.
intra-diegetic gaze
representations of black women in
film = their “bodies and being were
there to serve- to enhance and
maintain white womanhood as object
of the phallocentric gaze.”
The maid’s gaze is in service to the
prostitute
“cooperating with the West's
construction of not-white women as
not-to-be-seen”
85. hooks
two main
critiques
2. Who gets objectified/fetishized?
• Lorraine O'Grady "...only the white body
remains as the object of a voyeuristic, fetishizing
male gaze - the ideal woman portrayed in film
and television, is a white, sexy, obedient lover to
her counterpart”
• The oppositional gaze, therefore, encompasses
an understanding and awareness of the politics
of race and racism via cinematic whiteness
inclusive of the male gaze.
86. OPPOSITIONAL
GAZE
• hooks call for an oppositional gaze that restores the
power inherent in looking to black female spectators
• A gaze that is “confrontational, a gesture of resistance,
[and] a challenge to authority”
• Identifying with neither the phallocentric gaze nor the
construction of white-womanhood as lack, critical black
female spectators construct a theory of looking relations
where cinematic visual delight is the “pleasure of
interrogation”
• 'the pleasure of resistance, of saying "no": not to
"unsophisticated" enjoyment... but to the structures of
power which asks us to consume them uncritically’
• Calls for more filmmakers of color – especially women
filmmakers of color – to make films creating a space for
“new transgressive possibilities for the formulation of
identity
87. PASSION OF
REMEMBRANCE (1986)
ISAAC JULIEN, MAUREEN
BLACKWOOD
"Dressing to go to a party,
Louise and Maggie claim
the 'gaze'. Looking at one
another, staring in mirrors,
they appear completely
focused on their encounter
with black femaleness.”
Here’s an example of what both Mulvey and Berger are discussing – Marilyn Monroe as the object of male visual pleasure – being looked at – the female viewer watching that