This document discusses several key concepts relating to visual culture and images. It addresses why images hold power over viewers and how they became so influential. It explores the Cartesian view of individuals and subjects. It also examines Lacan's concept of the mirror stage in developing self-identity. Additionally, it analyzes Las Meninas and how the gaze is always relational and dialogical. The document also discusses Foucault's ideas around surveillance, the Panopticon, and power over bodies. Finally, it touches on binary oppositions and how they construct differences in society.
John Berger discusses how seeing comes before words and shapes our understanding of the world. Our vision is active and we see things in relation to ourselves and our knowledge. We also understand that we can be seen by others in the visible world. All images, including photographs, embody a way of seeing as they involve selecting sights from infinite possibilities. However, our perception of images also depends on our own way of seeing.
The Interesting Selves of The CounterlifeMick Johnson
1) In The Counterlife, Nathan Zuckerman proposes that there is no essential self and that identity is purely performative. One impersonates different selves based on the situation.
2) Zuckerman states that selves are formed from the imaginings and conceptions that others have of a person as their most interesting self. People are constantly reimagining and recreating each other through this process.
3) While identities are initially thrust upon people through the imaginings of others, Zuckerman also suggests that self-creation is a collaborative process where a person incorporates aspects of how others see them to form their own multifaceted self.
This document discusses several key theorists and concepts related to representation in media. It outlines semiotics as the study of signs and how meaning is conveyed. Laura Mulvey's 1975 work introduced the concept of the male gaze, where women are represented as passive objects for the male viewer's erotic pleasure. Richard Dyer and Steve Neale built on this, discussing how representations reinforce male dominance and encourage identification with powerful masculine ideals. The document also discusses signifiers, signifieds, stereotypes, and analytical frameworks from Dyer and Neale.
1) Vertigo explores Hitchcock's obsession with controlling and reconstructing women to fit his ideal. He used his films and the characters to work through his own romantic failings.
2) The film depicts Scottie reconstructing Judy's appearance and personality to create his perfect woman, mirroring Hitchcock's treatment of his actresses.
3) Psychoanalysis links Scottie's obsession with Madeleine and reconstruction of Judy to regain his masculinity after a perceived "castration" during the prologue that left him feeling emasculated. The film allows the audience to share in Scottie's gaze and construction of the idealized feminine form.
This document discusses concepts related to art, observation, and filmmaking. It contains quotes about photography and observation from Elliott Erwitt and Noam Chomsky. It discusses esthetics as the study of beauty and the mind. Art is the result of intelligence creating order and harmony from sensory data. When making films, directors can express their intentions through techniques like subjective intervention, the illusion of similarity, and metaphoric lighting to represent story events. The document provides principles for artistic works like theme unity, rhythm, variety, contrast, and climax. It also discusses abstraction, stylization, and the filmmaker's role in choosing symbols that take on meaning in the context of the story.
This document discusses representation and how meaning is produced through language. It introduces three approaches to representation - reflective, intentional, and constructionist. Most of the chapter explores the constructionist approach, which views meaning as constructed through language rather than simply reflecting or intentionally expressing preexisting meanings. It examines two constructionist models - the semiotic approach influenced by Saussure that views meaning as produced through systems of signs, and the discursive approach of Foucault that sees meaning shaped by discourses. The key point is that representation connects concepts and language to culture by producing meaning, allowing us to think about and communicate ideas.
The document summarizes an art exhibition featuring five artists who use figurative representations in unconventional ways. The exhibition, titled "Figuratively Speaking", was held at the Art Gallery at Eissey Campus in Palm Beach State College from September 14 to October 8, 2010. It featured works by Angela Dicosola, Rebeca Gilling, Teresa Pastoriza, Moria Holohan, and Jessica Rebik representing the human figure through personal interpretations. Brief descriptions of each artist's figurative works and artistic statements are then provided.
This document provides guidance on developing a character for a role by researching both the external and internal aspects of the character. It discusses approaching character development from the outside-in by focusing first on external traits, and from the inside-out by exploring the character's inner life and motivations. The document also emphasizes the importance of researching the character's biography, goals, and environment to understand how they would react in different situations. Actors are advised to draw from their own experiences to help inhabit the character but also to avoid imposing their own values and view the character as distinct from themselves.
John Berger discusses how seeing comes before words and shapes our understanding of the world. Our vision is active and we see things in relation to ourselves and our knowledge. We also understand that we can be seen by others in the visible world. All images, including photographs, embody a way of seeing as they involve selecting sights from infinite possibilities. However, our perception of images also depends on our own way of seeing.
The Interesting Selves of The CounterlifeMick Johnson
1) In The Counterlife, Nathan Zuckerman proposes that there is no essential self and that identity is purely performative. One impersonates different selves based on the situation.
2) Zuckerman states that selves are formed from the imaginings and conceptions that others have of a person as their most interesting self. People are constantly reimagining and recreating each other through this process.
3) While identities are initially thrust upon people through the imaginings of others, Zuckerman also suggests that self-creation is a collaborative process where a person incorporates aspects of how others see them to form their own multifaceted self.
This document discusses several key theorists and concepts related to representation in media. It outlines semiotics as the study of signs and how meaning is conveyed. Laura Mulvey's 1975 work introduced the concept of the male gaze, where women are represented as passive objects for the male viewer's erotic pleasure. Richard Dyer and Steve Neale built on this, discussing how representations reinforce male dominance and encourage identification with powerful masculine ideals. The document also discusses signifiers, signifieds, stereotypes, and analytical frameworks from Dyer and Neale.
1) Vertigo explores Hitchcock's obsession with controlling and reconstructing women to fit his ideal. He used his films and the characters to work through his own romantic failings.
2) The film depicts Scottie reconstructing Judy's appearance and personality to create his perfect woman, mirroring Hitchcock's treatment of his actresses.
3) Psychoanalysis links Scottie's obsession with Madeleine and reconstruction of Judy to regain his masculinity after a perceived "castration" during the prologue that left him feeling emasculated. The film allows the audience to share in Scottie's gaze and construction of the idealized feminine form.
This document discusses concepts related to art, observation, and filmmaking. It contains quotes about photography and observation from Elliott Erwitt and Noam Chomsky. It discusses esthetics as the study of beauty and the mind. Art is the result of intelligence creating order and harmony from sensory data. When making films, directors can express their intentions through techniques like subjective intervention, the illusion of similarity, and metaphoric lighting to represent story events. The document provides principles for artistic works like theme unity, rhythm, variety, contrast, and climax. It also discusses abstraction, stylization, and the filmmaker's role in choosing symbols that take on meaning in the context of the story.
This document discusses representation and how meaning is produced through language. It introduces three approaches to representation - reflective, intentional, and constructionist. Most of the chapter explores the constructionist approach, which views meaning as constructed through language rather than simply reflecting or intentionally expressing preexisting meanings. It examines two constructionist models - the semiotic approach influenced by Saussure that views meaning as produced through systems of signs, and the discursive approach of Foucault that sees meaning shaped by discourses. The key point is that representation connects concepts and language to culture by producing meaning, allowing us to think about and communicate ideas.
The document summarizes an art exhibition featuring five artists who use figurative representations in unconventional ways. The exhibition, titled "Figuratively Speaking", was held at the Art Gallery at Eissey Campus in Palm Beach State College from September 14 to October 8, 2010. It featured works by Angela Dicosola, Rebeca Gilling, Teresa Pastoriza, Moria Holohan, and Jessica Rebik representing the human figure through personal interpretations. Brief descriptions of each artist's figurative works and artistic statements are then provided.
This document provides guidance on developing a character for a role by researching both the external and internal aspects of the character. It discusses approaching character development from the outside-in by focusing first on external traits, and from the inside-out by exploring the character's inner life and motivations. The document also emphasizes the importance of researching the character's biography, goals, and environment to understand how they would react in different situations. Actors are advised to draw from their own experiences to help inhabit the character but also to avoid imposing their own values and view the character as distinct from themselves.
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.
Visual culture studies recognizes that visual forms of media have become predominant in the postmodern world. It examines whether society has shifted more towards visuals and away from text in the last 50 years, accelerating in the last 10-20 years. The field merges the study of popular and high cultural forms, as visual content and codes now migrate across different media like print, television, film, the internet, and more. People learn the codes of different media and switch between them to navigate and make meaning from the visuals in everyday life.
How to Write a Good Essay (on Visual Culture)James Clegg
This document discusses how to write an introduction for an essay analyzing the work of artist Sarah Lucas and how she challenged conventional approaches to gender. The introduction would:
1) State that the purpose is to understand how Lucas overturned gender norms in art
2) Provide context on Lucas' rejection of theoretical aesthetics and embrace of popular culture
3) Explain that the impact on gender will be analyzed through critics like John Roberts and Lucas' own works
A quick intro to John Berger's "Appearances," talking through a couple of his arguments, together with some notes of encouragement on reading complex essays.
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.
John Berger argues that society views men as active and women as passive. Berger claims that men look at women and women watch themselves being looked at, influencing gender relations and how women view themselves. Berger outlines traditional stereotypes that cast men as rational and dominant versus women as emotional and submissive. While an overgeneralization, these stereotypes formed a template for mainstream media to represent gender in advertising and other forms, reinforcing patriarchal views.
Alan Johnson had a difficult childhood, being orphaned at age 12 and raised by his sister in a council flat. He left school at 15 and worked as a shelf stacker and postman before becoming a Labour Party politician, serving as Home Secretary, Health Secretary, Education Secretary, and Shadow Chancellor of the Exchequer. Ethnocentrism is the tendency to believe one's own ethnic or cultural group is most important and to judge other groups in relation to one's own, especially regarding language, behavior, customs, and religion.
The document discusses Laura Mulvey's concept of the "male gaze" in film theory. Mulvey argues that films typically present the perspective of a heterosexual male viewer who objectifies female characters. This relegates women to the status of objects and viewers must identify with the male perspective. The male gaze lingers on women's bodies and defines events through a man's reaction. While some argue this allows female sexuality, critics say it still treats women as objects for the male viewer's pleasure through their visual representation.
Learning analytics for learners - Ways of seeing learningMary Loftus
This document discusses ways to make learning more visible through learning analytics. It provides examples of previous research that used learning analytics to model student learning, measure problem solving processes, and classify student discussions. The proposal is to have first year computing students capture and learn from their own learning data as part of their coursework to build data literacy skills. Machine learning would be used to classify and model aspects of learning as it occurs. The goal is to reduce testing, enable more problem-based and formative assessment, and provide personalized learning paths and feedback to support student understanding and metacognition.
This document discusses the challenges of teaching web design history in higher education. It notes that there is no comprehensive textbook on web design history and limited credible resources, as images of old websites are scarce and often low quality. It presents some potential resources like the Wayback Machine, Communication Arts archives, and AIGA Design Archives, but notes they have limitations. It argues that a centralized, organized and usable website archiving system is needed, along with increased awareness, as well as solutions to issues like management, archiving methods, copyright, and cooperation between organizations.
Laura Mulvey developed the theory that in media dominated by the male gaze, women are typically portrayed as passive and objectified for male pleasure, while men are depicted as active and dominant. The document discusses how Mulvey's theory applies to portrayals of gender in the music industry, with women often shown in revealing clothing and engaging in implicit behavior, and men generally portrayed as powerful heroes. It provides the example of Ne-Yo's "Miss Independent" music video to illustrate these contrasting representations of gender.
1. The document discusses key concepts from Marxism, post-colonialism, feminism, and post-feminism as they relate to analyzing media and culture.
2. It addresses Marxist views of how the dominant ideology and institutions like the media subtly control society. Post-colonial theory examines the effects of colonialism on cultures.
3. Feminism challenges patriarchal power structures, while post-feminism believes women have gained equality but still face issues like the "triple burden" of domestic and professional responsibilities. Post-feminist analysis looks at how gender and sexuality are portrayed.
4. The document prompts applying these theoretical lenses to analyze representations in media like films
THE POWER OF THE GAZE: A STUDY OF "RACE" AND GENDER IN THE ADAPTATIONS OF THE...Sandra Mina
The document provides an overview and objectives of a research study analyzing adaptations of Shakespeare's The Tempest through the lenses of race and gender. The study examines adaptations of the play to film and television, including a 1980 BBC production, Peter Greenaway's 1991 film Prospero's Book, a 1992 BBC animated version, and Julie Taymor's 2010 film. The adaptations are analyzed based on their casting choices, visual elements, and how they portray relationships like Prospero and Caliban in light of post-colonial perspectives. The research aims to understand how the adaptations modify or add to the original Shakespearean text in their retellings of the story.
Gangster crime films typically follow a narrative pattern. The protagonist is often an immigrant of Italian descent who strives to attain the American Dream but whose fall is usually due to his own greed or stupidity. The settings are usually run-down urban areas that provide a view of the secret criminal world. Key themes include rivalry, morality, betrayal, ambition, materialism, self-destruction, loyalty, and the difference between appearances and reality. The target audience for gangster crime films is typically male adults between 20-50 years old.
Mulvey's male gaze theory argues that women are typically depicted in media and film from the perspective of a heterosexual man for the benefit of the male audience. Specifically, women are often sexualized objects whose bodies are overemphasized even when irrelevant to the plot. This perpetuates sexism by reducing women to things that exist to be looked at for male pleasure. However, some critics argue that not all films adhere to this perspective and that female directors may depict women differently.
The document summarizes survey results from a target audience for a film trailer. Key findings include:
- The majority of survey respondents were ages 16-20, suggesting young adults as the target group.
- Respondents were split evenly between males and females.
- Action was the preferred film genre by most.
- Hip hop/R&B was the preferred music genre.
- Sound and music are considered extremely important for setting the mood of a crime thriller.
- Respondents felt excitement when watching gangster crime thrillers and had recently viewed similar films.
- Snapchat, YouTube, and WhatsApp were the most commonly used social media platforms.
This document summarizes the work of several theorists on gender and cinema. Laura Mulvey introduced the concept of the male gaze in film and how it reduces women to objects. John Berger discussed how women are aware they are being looked at, affecting their behavior. Steve Neale and Bracha Ettinger explored the concepts of the gay male gaze and female gaze in reversing gender roles. Carol J Clover analyzed the final girl character in slasher films who defeats the killer by remaining pure and abstaining from sex.
Laura Mulvey's theory discusses how women are typically portrayed in media through the "male gaze". According to Mulvey, media representation is usually from a patriarchal male point of view that depicts women as passive objects for male pleasure or consumption. However, more recent portrayals have shown women fighting back against these traditional stereotypes and taking on more active, empowered roles that challenge the male gaze.
The Human Person | Introduction to the Philosophy of the Human PersonWilfredoDJ1
The document discusses the Buddhist philosophy of a person through the life of Siddhartha Gautama, who became the Buddha. It notes he was born into a royal family in what is now Nepal. Four significant realizations shaped Siddhartha's life: encountering an old man made him realize we all grow old; a sick man showed illness is universal; a corpse demonstrated we all die; and seeing a monk taught him renunciation is possible. These insights prompted Siddhartha to leave his life of luxury to find the truth about suffering and how to be liberated from it, culminating in his enlightenment and teaching others the path to liberation through Buddhism.
This document discusses archetypes, which are universal symbols that represent aspects of human nature. Archetypes include common characters like The Hero, The Mother, and The Villain that appear across different cultures. The document provides descriptions of 12 archetypes including The Hero, who struggles against evil to restore order; The Mother, who nurtures and guides; and The Mentor, who advises the main character. It suggests that archetypes can help people develop personal narratives by reflecting on which roles they and others play in their lives.
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.
Visual culture studies recognizes that visual forms of media have become predominant in the postmodern world. It examines whether society has shifted more towards visuals and away from text in the last 50 years, accelerating in the last 10-20 years. The field merges the study of popular and high cultural forms, as visual content and codes now migrate across different media like print, television, film, the internet, and more. People learn the codes of different media and switch between them to navigate and make meaning from the visuals in everyday life.
How to Write a Good Essay (on Visual Culture)James Clegg
This document discusses how to write an introduction for an essay analyzing the work of artist Sarah Lucas and how she challenged conventional approaches to gender. The introduction would:
1) State that the purpose is to understand how Lucas overturned gender norms in art
2) Provide context on Lucas' rejection of theoretical aesthetics and embrace of popular culture
3) Explain that the impact on gender will be analyzed through critics like John Roberts and Lucas' own works
A quick intro to John Berger's "Appearances," talking through a couple of his arguments, together with some notes of encouragement on reading complex essays.
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.
John Berger argues that society views men as active and women as passive. Berger claims that men look at women and women watch themselves being looked at, influencing gender relations and how women view themselves. Berger outlines traditional stereotypes that cast men as rational and dominant versus women as emotional and submissive. While an overgeneralization, these stereotypes formed a template for mainstream media to represent gender in advertising and other forms, reinforcing patriarchal views.
Alan Johnson had a difficult childhood, being orphaned at age 12 and raised by his sister in a council flat. He left school at 15 and worked as a shelf stacker and postman before becoming a Labour Party politician, serving as Home Secretary, Health Secretary, Education Secretary, and Shadow Chancellor of the Exchequer. Ethnocentrism is the tendency to believe one's own ethnic or cultural group is most important and to judge other groups in relation to one's own, especially regarding language, behavior, customs, and religion.
The document discusses Laura Mulvey's concept of the "male gaze" in film theory. Mulvey argues that films typically present the perspective of a heterosexual male viewer who objectifies female characters. This relegates women to the status of objects and viewers must identify with the male perspective. The male gaze lingers on women's bodies and defines events through a man's reaction. While some argue this allows female sexuality, critics say it still treats women as objects for the male viewer's pleasure through their visual representation.
Learning analytics for learners - Ways of seeing learningMary Loftus
This document discusses ways to make learning more visible through learning analytics. It provides examples of previous research that used learning analytics to model student learning, measure problem solving processes, and classify student discussions. The proposal is to have first year computing students capture and learn from their own learning data as part of their coursework to build data literacy skills. Machine learning would be used to classify and model aspects of learning as it occurs. The goal is to reduce testing, enable more problem-based and formative assessment, and provide personalized learning paths and feedback to support student understanding and metacognition.
This document discusses the challenges of teaching web design history in higher education. It notes that there is no comprehensive textbook on web design history and limited credible resources, as images of old websites are scarce and often low quality. It presents some potential resources like the Wayback Machine, Communication Arts archives, and AIGA Design Archives, but notes they have limitations. It argues that a centralized, organized and usable website archiving system is needed, along with increased awareness, as well as solutions to issues like management, archiving methods, copyright, and cooperation between organizations.
Laura Mulvey developed the theory that in media dominated by the male gaze, women are typically portrayed as passive and objectified for male pleasure, while men are depicted as active and dominant. The document discusses how Mulvey's theory applies to portrayals of gender in the music industry, with women often shown in revealing clothing and engaging in implicit behavior, and men generally portrayed as powerful heroes. It provides the example of Ne-Yo's "Miss Independent" music video to illustrate these contrasting representations of gender.
1. The document discusses key concepts from Marxism, post-colonialism, feminism, and post-feminism as they relate to analyzing media and culture.
2. It addresses Marxist views of how the dominant ideology and institutions like the media subtly control society. Post-colonial theory examines the effects of colonialism on cultures.
3. Feminism challenges patriarchal power structures, while post-feminism believes women have gained equality but still face issues like the "triple burden" of domestic and professional responsibilities. Post-feminist analysis looks at how gender and sexuality are portrayed.
4. The document prompts applying these theoretical lenses to analyze representations in media like films
THE POWER OF THE GAZE: A STUDY OF "RACE" AND GENDER IN THE ADAPTATIONS OF THE...Sandra Mina
The document provides an overview and objectives of a research study analyzing adaptations of Shakespeare's The Tempest through the lenses of race and gender. The study examines adaptations of the play to film and television, including a 1980 BBC production, Peter Greenaway's 1991 film Prospero's Book, a 1992 BBC animated version, and Julie Taymor's 2010 film. The adaptations are analyzed based on their casting choices, visual elements, and how they portray relationships like Prospero and Caliban in light of post-colonial perspectives. The research aims to understand how the adaptations modify or add to the original Shakespearean text in their retellings of the story.
Gangster crime films typically follow a narrative pattern. The protagonist is often an immigrant of Italian descent who strives to attain the American Dream but whose fall is usually due to his own greed or stupidity. The settings are usually run-down urban areas that provide a view of the secret criminal world. Key themes include rivalry, morality, betrayal, ambition, materialism, self-destruction, loyalty, and the difference between appearances and reality. The target audience for gangster crime films is typically male adults between 20-50 years old.
Mulvey's male gaze theory argues that women are typically depicted in media and film from the perspective of a heterosexual man for the benefit of the male audience. Specifically, women are often sexualized objects whose bodies are overemphasized even when irrelevant to the plot. This perpetuates sexism by reducing women to things that exist to be looked at for male pleasure. However, some critics argue that not all films adhere to this perspective and that female directors may depict women differently.
The document summarizes survey results from a target audience for a film trailer. Key findings include:
- The majority of survey respondents were ages 16-20, suggesting young adults as the target group.
- Respondents were split evenly between males and females.
- Action was the preferred film genre by most.
- Hip hop/R&B was the preferred music genre.
- Sound and music are considered extremely important for setting the mood of a crime thriller.
- Respondents felt excitement when watching gangster crime thrillers and had recently viewed similar films.
- Snapchat, YouTube, and WhatsApp were the most commonly used social media platforms.
This document summarizes the work of several theorists on gender and cinema. Laura Mulvey introduced the concept of the male gaze in film and how it reduces women to objects. John Berger discussed how women are aware they are being looked at, affecting their behavior. Steve Neale and Bracha Ettinger explored the concepts of the gay male gaze and female gaze in reversing gender roles. Carol J Clover analyzed the final girl character in slasher films who defeats the killer by remaining pure and abstaining from sex.
Laura Mulvey's theory discusses how women are typically portrayed in media through the "male gaze". According to Mulvey, media representation is usually from a patriarchal male point of view that depicts women as passive objects for male pleasure or consumption. However, more recent portrayals have shown women fighting back against these traditional stereotypes and taking on more active, empowered roles that challenge the male gaze.
The Human Person | Introduction to the Philosophy of the Human PersonWilfredoDJ1
The document discusses the Buddhist philosophy of a person through the life of Siddhartha Gautama, who became the Buddha. It notes he was born into a royal family in what is now Nepal. Four significant realizations shaped Siddhartha's life: encountering an old man made him realize we all grow old; a sick man showed illness is universal; a corpse demonstrated we all die; and seeing a monk taught him renunciation is possible. These insights prompted Siddhartha to leave his life of luxury to find the truth about suffering and how to be liberated from it, culminating in his enlightenment and teaching others the path to liberation through Buddhism.
This document discusses archetypes, which are universal symbols that represent aspects of human nature. Archetypes include common characters like The Hero, The Mother, and The Villain that appear across different cultures. The document provides descriptions of 12 archetypes including The Hero, who struggles against evil to restore order; The Mother, who nurtures and guides; and The Mentor, who advises the main character. It suggests that archetypes can help people develop personal narratives by reflecting on which roles they and others play in their lives.
This photograph shows a young girl peering into a circular window in a patterned wall. She wears a bright white dress and stands on her toes to look inside. The intense sunlight outside creates a stark contrast with the total darkness within the window. This contrast suggests the image is meditating on childhood innocence and its inevitable ending as the girl glimpses an unknown future represented by the darkness inside.
This document discusses various theories around identity and representation. It explores how identity is constructed through systems of representation rather than reflecting an inherent reality. Representation is shown to produce meanings and understandings of the world rather than being a neutral reflection. Different artists are discussed who investigate ideas of fluid and performed identity, including Cindy Sherman who adopts various roles to show how identity is constructed. The male gaze and objectification of the female body are also examined as ways that representation can shape understandings of gender and sexuality.
The document discusses the differences between the human and animal experience of self. It argues that while humans and animals may share a "minimal self" based on subjective experience, humans possess a more complex "narrative self" that incorporates self-awareness, morality, intelligence, language, social aspects, and a historical perspective not found in other animals. This bundle of intertwined characteristics in human experience suggests a "transcendental self" that naturalist explanations cannot fully account for. The document concludes that human dignity and rights may be grounded not just in human constructs but in humans' unique natural capacity for self-awareness and justice.
The document discusses several philosophers' theories of self-identity:
- Descartes argues self-identity depends on consciousness and that the mind is distinct from the body.
- Locke claims personal identity is based on self-consciousness and memory. One's identity depends on remembering past experiences.
- Hume argues we cannot find an enduring self through impressions. We are just a "bundle of perceptions" with no fixed identity.
The document discusses different philosophical views of the self throughout history. It addresses perspectives from Western philosophers like William James, Plato, Aristotle, Descartes, Locke, Hume, Kant, Freud, Ryle, Churchland, and Merleau-Ponty. It also covers Eastern notions of self from Confucius, Mencius, Buddha, Sun Tzu, Lao Tzu, and the Dalai Lama. Key ideas discussed include the self as a soul, thinking entity, pattern of behavior, product of experience, unification of consciousness, and an illusion according to Buddhism.
The origins of the word "archetype" can be traced back to the days of ancient Greece, with its definition referring to "original pattern". That definition accurately describes the application of archetypes, as we use it to identify the original patterns of personalities, beliefs, and motivations.
Renowned psychologist Carl Jung first developed the 12 Jungian archetypes as a framework for understanding fundamental human motivations and the operations of the human mind, or what we also know as the human psyche and collective unconscious. Within each archetype lies profound insights into our thoughts, our emotions, and our actions.
The 12 Jungian archetypes are known to conjure a combination of mental images and emotional attachments, with each archetype having its own unique set of personality traits, meanings, and values. It is no wonder that archetypes are used in such a wide variety of applications; literature, mythology, branding, spirituality, psychology, and of course, personality.
With that said, anything that evokes imagery and emotions could be an archetype. However, these imageries and emotions would hold different meanings depending on the individual encountering them in their collective unconscious. That explains why Carl Jung defined only 12 personality archetypes that have remained constant, which we now know as the Jungian archetypes.
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Visual Culture: spectatorship, power and knowledge
1.
2.
3.
Why do we put so much believe and power in
the image?
Why we allow image to exercise power of
indoctrination and persuasion over us?
What make images so fascinating and so
attractive for the viewers?
4.
It is not enough to experience world around us.
We need to be able to represent it
Cartesian (from Descartes) understanding of
the world emphasizes the power and centrality
of the individual.
Subject or Individual is the central figure of
modernity.
5.
6. Mirror Stage
Separation between infant and his
mother/caregiver.
Acquisition of the sense of self
The toddler is over optimistic about his abilities
Result the conflict between the actual subject and
the subjects sense of self.
7.
1. the roles of the unconscious and desire in
viewing practices
2. the role of looking the formation of the
human subjects as such
3. the ways that looking is always a relational
activity and not simply a mental activity.
8.
9.
10.
11.
Significance of Las Meninas
Unstable system of representation
Gaze and power changes depending on the
position, and subjects awareness
Gaze or look is always dialogical, e.g. the gaze is
always returned even by objects
Proves the ideas of interpellation-through the gaze
or look the object can interpellate the human subject
as message: a call, an address, an appeal.
14.
Hence the major effect of the Panopticon: to induce in the inmate a
state of conscious and permanent visibility that assures the
automatic functioning of power.
The inmates should be caught up in a power situation of which
they are themselves the bearers.
To achieve this, it is at once too much and too little that the
prisoner should be constantly observed by an inspector: too
little, for what matters is that he knows himself to be observed; too
much, because he has no need in fact of being so.
24. The power of binary oppositions
White/Black
Man/Woman
Straight/Gay
center / margins
normal / deviant
natural / unnatural
self / other
truth / fiction
25.
26.
27.
The painting is an icon: a generic and
seemingly timeless signifier of classical female
beauty.
32.
Mirror constructs the self
The self as an organized and whole entity
imitates the image in the mirror.
Mirror can be an image
The self organizes its identity around the
images that are being shown.
33.
Film =suspense of the disbelief
Film is like a dream, when watching we are
allowed to project our forbidden
feelings, desires
Identifications with the hero
Eye and gaze are split
Eye (I) is mistaking realization that one is
independent
Gaze seeks unification with the other
34.
35.
36.
37.
The final paper (aprox. 8 pages plus bibliography) will
analyze an object (artwork, advertisement, video, movie
still, or film) not reproduced in the textbook and not covered
in the lectures. The work will be discussed in terms of
material covered in the course. You will be expected to bring
in at least four other images, objects, or other materials that
constitute visual culture with similar subject matter or
function for comparison. At least one of your comparisons
must date from before 1900, one must be from no earlier
than 1950, and one must be from a culture other than
Europe or the United States (Global North). Readings from
the course and original research will be used to elucidate the
subject you have chosen. Bibliography should include at
least 7 academic sources excluding the textbook.
Editor's Notes
For instance, this photo-graph by Dorothea Lange depicts a woman, who is also apparently a mother, during the California migration of the 1930s. This photograph is regarded as an iconic image of the Great Depression in the United States. It is famous because it evokes both the despair and the perseverance of those who sur-vived the hardships of that time. Yet the image gains much of its meaning from its implicit reference to the history of artistic depictions of women and their children, such as Madonna and child images, and its difference from them. This mother is hardly a nurturing figure. She is distracted. Her children cling--- Page 29 ---Underline (red), 2013-01-14 10:59 AM:to her and burden her thin frame. She looks not at her children but outward as if toward her future—one seemingly with little promise. This image derives its meaning largely from a viewer's knowledge of the historical moment it rep-resents. At the same time, it makes a statement about the complex role of motherhood that is informed by its traditional representation. Like the earlier images, this photograph denotes a mother with children, but it casts this social relationship in terms of hunger, poverty, struggle, loss, and strength. Thus, it can be read in a number of waysDorothea Lange's "Migrant Mother" Photographs in the Farm Security Administration Collection: An OverviewThe photograph that has become known as "Migrant Mother" is one of a series of photographs that Dorothea Lange made of Florence Owens Thompson and her children in February or March of 1936 in Nipomo, California. Lange was concluding a month's trip photographing migratory farm labor around the state for what was then the Resettlement Administration. In 1960, Lange gave this account of the experience:I saw and approached the hungry and desperate mother, as if drawn by a magnet. I do not remember how I explained my presence or my camera to her, but I do remember she asked me no questions. I made five exposures, working closer and closer from the same direction. I did not ask her name or her history. She told me her age, that she was thirty-two. She said that they had been living on frozen vegetables from the surrounding fields, and birds that the children killed. She had just sold the tires from her car to buy food. There she sat in that lean- to tent with her children huddled around her, and seemed to know that my pictures might help her, and so she helped me. There was a sort of equality about it. (From: Popular Photography, Feb. 1960). The images were made using a Graflex camera. The original negatives are 4x5" film. It is not possible to determine on the basis of the negative numbers (which were assigned later at the Resettlement Administration) the order in which the photographs were taken.There are no known restrictions on the use of Lange's "Migrant Mother" images. A rights statement for the Farm Security Administration/Office of War Information black-and-white negatives is available online at: http://www.loc.gov/rr/print/res/071_fsab.html. In March 1936, after picking beets, Thompson and her family were traveling on US Highway 101 towards Watsonville in hopes of finding more work. On the road, the car timing chain snapped and they coasted to a stop just inside a pea-picker's camp on Nipomo Mesa. While Jim Hill, her husband, and two of Thompson's sons took the radiator, which had also been damaged, to town for repair,[2][3] Thompson and some of the children set up a temporary camp. As Thompson waited, Dorothea Lange, working for the Resettlement Administration, drove up and started taking photos of Florence and her family. Over 10 minutes she took 6 images.Lange's field notes of the images read:"Seven hungry children. Father is native Californian. Destitute in pea pickers’ camp … because of failure of the early pea crop. These people had just sold their tires to buy food."[2] Lange later wrote of the meeting:"I did not ask her name or her history. She told me her age, that she was 32. She said that they had been living on frozen vegetables from the surrounding fields and birds that the children killed. She had just sold the tires from her car to buy food."[4] However, Thompson claimed that Lange never asked her any questions and got many of the details incorrect. Troy Owens recounted:"There's no way we sold our tires, because we didn't have any to sell. The only ones we had were on the Hudson and we drove off in them. I don't believe Dorothea Lange was lying, I just think she had one story mixed up with another. Or she was borrowing to fill in what she didn't have."[2] Thompson also claimed that Lange promised the photos would never be published, but Lange sent them to the San Francisco News as well as to the Resettlement Administration in Washington, D.C. The News ran the pictures almost immediately, with an assertion that 2,500 to 3,500 migrant workers were starving in Nipomo, California.[5] Within days, the pea-picker camp received 20,000 pounds of food from the federal government.[5] However, Thompson and her family had moved on by the time the food arrived[5] and were working near Watsonville, California.[2]While Thompson's identity was not known for over forty years after the photos were taken, the images became famous. The sixth image especially, which later became known as Migrant Mother, "has achieved near mythical status, symbolizing, if not defining, an entire era in [United States] history." Roy Stryker called Migrant Mother the "ultimate" photo of the Depression Era. "[Lange] never surpassed it. To me, it was the picture … The others were marvelous, but that was special ... . She is immortal." As a whole, the photographs taken for the Resettlement Administration "have been widely heralded as the epitome of documentary photography." Edward Steichen described them as "the most remarkable human documents ever rendered in pictures." Later, however, the photographer was criticized for taking inaccurate notes.[2]It was only in the late 1970s that Thompson's identity was discovered. In 1978, acting on a tip, Modesto Bee reporter Emmett Corrigan located Thompson at her mobile home in Space 24 of the Modesto Mobile Village and recognized her from the 40-year-old photograph.[6] A letter Thompson wrote was published in The Modesto Bee and the Associated Press sent a story around entitled "Woman Fighting Mad Over Famous Depression Photo." Florence was quoted as saying "I wish she [Lange] hadn't taken my picture. I can't get a penny out of it. She didn't ask my name. She said she wouldn't sell the pictures. She said she'd send me a copy. She never did."[2]Lange was funded by the federal government when she took the picture, so the image was in the public domain and Lange never directly received any royalties. However, the picture did ultimately make Lange a celebrity and earned her "respect from her colleagues".[7]In an interview with CNN, Thompson's daughter, Katherine McIntosh, recalled how her mother was a "very strong lady", and "the backbone of our family". She said that "We never had a lot, but she always made sure we had something. She didn't eat sometimes, but she made sure us children ate. That's one thing she did do."[8]Rediscovering Migrant MotherWhile the image was being prepared for exhibit in 1941,[9] the negative of the famous photo was retouched to remove Florence's thumb in the lower-right corner of the image.[10] In the late 1960s, Bill Hendrie found the original Migrant Mother photograph and 31 other vintage, untouched photos by Dorothea Lange in a dumpster at the San Jose Chamber of Commerce.[11] After the death of Hendrie and his wife, their daughter, Marian Tankersley, rediscovered the photos while emptying her parents' San Jose home.[11] In 1998, the retouched photo of Migrant Mother became a 32-cent U.S. Postal Service stamp in the 1930s Celebrate the Century series.[12] The stamp printing was unusual since daughters Katherine McIntosh (on the left in the stamp) and Norma Rydlewski (in Thompson's arms in the stamp) were alive at the time of the printing and "It is very uncommon for the Postal Service to print stamps of individuals who have not been dead for at least 10 years."[13]In the same month the U.S. stamp was issued, a print of the photograph with Lange's handwritten notes and signature sold in 1998 for $244,500 at Sotheby's New York.[14] In November 2002, Dorothea Lange's personal print of Migrant Mother sold at Christie's New York for $141,500.[5] In October 2005, an anonymous buyer paid $296,000 at Sotheby's New York for the rediscovered 32 vintage, untouched Lange photos—nearly six times the pre-bid estimate.[11]
The Special Handling Unit is Canada's highest super-maximum security prison. It is located in Sainte-Anne-des-Plaines, Quebec. As of 2008, it is home to 90 prisoners.[1] It is nicknamed The SHU (pronounced 'shoe').The PresidioModelo was a "model prison" of Panopticon design, built on the former Isla de Pinos (now the Isla de la Juventud) in Cuba.The prison was built under the dictator Gerardo Machado in the period 1926–1931, and held 6000 prisoners.Most of the survivors of the rebel attacks on Moncada Barracks and Carlos Manuel de Céspedes garrisons, including Fidel Castro, were imprisoned there from 1953 to 1955.The prison now serves as a museum and is declared a National Monument, and the old administration building now serves as a school and research center for young people.
The movie is framed around the television show "The Truman Show." Its main character, Truman Burbank, has lived his entire life since before birth in front of cameras for the show, though he himself is unaware of this fact. Truman's life is filmed through thousands of hidden cameras, 24 hours a day and broadcast live around the world, allowing executive producer Christof to capture Truman's real emotion and human behavior when put in certain situations. Truman's hometown of Seahaven is a complete set built under a giant dome and populated by the show's actors and crew, allowing Christof to control every aspect of Truman's life, even the weather. To prevent Truman from discovering his false reality, Christof has invented means of dissuading his sense of exploration, including "killing" his father in a storm while on a fishing trip to instill in him a fear of the water. However, despite Christof's control, Truman has managed to behave in unexpected manners, in particular falling in love with an extra, Sylvia, instead of Meryl, the actress intended to be his wife. Though Sylvia is removed from the set quickly, her memory still resonates with him, and he secretly thinks of her outside of his marriage to Meryl. Sylvia subsequently starts a "Free Truman" campaign that fights to have Truman freed from the show.In the film's present, during the 30th year "The Truman Show" has been on the air, Truman discovers facts that seem out of place, such as a spotlight that nearly hits him (quickly passed off by local radio as an airplane's dislodged landing light) and a "Truman Show" crew conversation on his car radio that is describing his morning commute into work. These events are punctuated by the reappearance of Truman's father, supposedly "dead," onto the set, at first dressed as a hobo. All of this causes Truman to start wondering about his life, realizing much of the town seems to revolve around him. Stress on Meryl to continue her role in spite of Truman's increasing skepticism and attendant hostility causes their marriage to unravel. Truman seeks to get away from Seahaven but is blocked by the inability to arrange for flights, bus breakdowns, sudden masses of traffic, and an apparent nuclear meltdown. After Meryl breaks down and is taken off the show, Christof officially brings back Truman's father, hoping his presence will keep Truman from trying to leave. However, he only provides a temporary respite: Truman soon becomes isolated and begins staying alone in his basement after Meryl "leaves" him. One night, Truman manages to escape the basement undetected via a secret tunnel, forcing Christof to temporarily suspend broadcasting of the show for the first time in its history. This causes a surge in viewership, with many viewers, including Sylvia, cheering on Truman's escape attempt.Christof orders every actor and crew member to search the town, breaking the town's daylight cycle to help in the search. They find that Truman has managed to overcome his fear of the water and has been sailing away from the town in a small boat named Santa Maria (the name of the ship in which Christopher Columbus discovered the New World). After restoring the broadcast, Christof orders the show's crew to create a large storm to try to capsize the boat. However, Truman's determination eventually leads Christof to terminate the storm. As Truman recovers, the boat reaches the edge of the dome, its bow piercing through the dome's painted sky. An awe-struck Truman then discovers a flight of stairs nearby, leading to a door marked "exit". As he contemplates leaving his world, Christof speaks directly to Truman via a powerful sound system, trying to persuade him to stay and arguing that there is no more truth in the real world than there is in his own, artificial world. Truman, after a moment's thought, delivers his catchphrase, "In case I don't see you ... good afternoon, good evening, and good night," bows to his audience, and steps through the door and into the real world. The assembled television viewers excitedly celebrate Truman's escape, and Sylvia quickly leaves her apartment to reunite with him. A network executive orders the crew to cease transmission. With the show completed, members of Truman's former audience are shown looking for something else to watch.