|
|
| (87 intermediate revisions by 3 users not shown) |
| Line 1: |
Line 1: |
| '''FROM LAURA: AFFECT, GAZE, GENDER IN RELATION TO LENS-BASED ART'''
| |
|
| |
|
| Members: Susanna, Jue, Marieke
| |
|
| |
| This is how we do it.
| |
|
| |
| [[File:IMG 20190317 220749.jpg | 600px]]
| |
|
| |
| = core text: Laura Mulvey=
| |
|
| |
| * Essay: Visual Pleasure and Narrative Cinema’ (1975, p177 The Narrative Reader) -
| |
| * Essay: Afterthoughts on “Visual Pleasure and Narrative Cinema” Inspired by Duel in the Sun (1989, p181, The Narrative Reader)
| |
|
| |
| Find the two essays in this book --> [[File:The_Narrative_Reader_-_Martin_McQuillan.pdf]]
| |
|
| |
| == synopsis & annotations ==
| |
|
| |
| [[Jujube/methods-research-group#reading_Mulvey | Synopsis by Jue]]
| |
|
| |
| = specific research questions =
| |
|
| |
| Jue
| |
|
| |
| * physical space: What are spaces for illusions? what are the psychological processes of collective viewing? What is the difference between cinema and gallery?
| |
| * cinematography: how do focus, camera movement, editing affect the spectator's identification process (whom are they identifying with)? What do close-ups do?
| |
| * film theory: how do interacting layers of narrative and icon change the spectator's distance with the subject on screen?
| |
|
| |
| Susanna
| |
|
| |
| * How does the female spectator identify? How do female filmmakers come around male-centered conventions?
| |
| * The 3 female gazes
| |
|
| |
|
| |
| == branching text ==
| |
|
| |
| * The new brutality film: race and affect in contemporary Hollywood cinema - Paul Gormley
| |
| * Book: Death 24x Times per second (2005). pdf [https://dubravka.memoryoftheworld.org/Laura%20Mulvey/Death%2024x%20a%20Second_%20Stillness%20and%20the%20Moving%20Image%20(181)/Death%2024x%20a%20Second_%20Stillness%20and%20the%20Moving%20Image%20-%20Laura%20Mulvey.pdf]
| |
|
| |
|
| |
| * Why be nonbinary - Robin Dembroff [https://aeon.co/essays/nonbinary-identity-is-a-radical-stance-against-gender-segregation]
| |
| * Why I am not a feminist - Jessa Crispin
| |
|
| |
|
| |
| * Feeling, Emotions, Affect - Eric Shouse [http://journal.media-culture.org.au/0512/03-shouse.php]
| |
| * Mind the Screen (selected chapters) [https://www.jstor.org/stable/j.ctt46n2j2?Search=yes&resultItemClick=true&searchText=affect&searchText=cinema&searchText=screen&searchText=emotions&searchText=amsterdam&searchText=university&searchUri=%2Faction%2FdoBasicSearch%3FQuery%3Daffect%2Bcinema%2Bscreen%2Bemotions%2Bamsterdam%2Buniversity&ab_segments=0%2Ftbsub-1%2Frelevance_config_with_tbsub&refreqid=search%3Af0e85e400df842102745c5b7a03aa90a]
| |
| * [[File:The_Narrative_Reader_-_Martin_McQuillan.pdf]]
| |
| * <s>On the origin of Stories - Brian Boyd</s> maybe later
| |
| * Stories [https://www.jstor.org/stable/j.ctv5rf6vf?Search=yes&resultItemClick=true&searchText=affect&searchText=cinema&searchText=screen&searchText=emotions&searchText=amsterdam&searchText=university&searchUri=%2Faction%2FdoBasicSearch%3FQuery%3Daffect%2Bcinema%2Bscreen%2Bemotions%2Bamsterdam%2Buniversity&ab_segments=0%2Ftbsub-1%2Frelevance_config_with_tbsub&refreqid=search%3Af0e85e400df842102745c5b7a03aa90a]
| |
|
| |
|
| |
| * The Emergence of Cinematic Time - Mary Ann Doane
| |
| * Stillness in the Moving Image: Visualizing Time and Its Passing - Laura Mulvey (2003)
| |
| * Invention of Hysteria - Georges Didi-Huberman
| |
| * Fire and Ice - Peter Wollen (1984)
| |
| * Photography and Fetish - Christian Metz (1985)
| |
|
| |
| = related films =
| |
|
| |
| for potential movie night! Add a one-line reason for why should watch the film on the film.
| |
|
| |
| * Afternoon Delight - Jill Soloway
| |
| * The Florida Project
| |
| * Guusje America - Video Home System
| |
| * White Noise - Antoine d'Agata
| |
| * Marnie - Hitchcock
| |
| * Vertigo - Hitchcock
| |
| * Lost Highway - Lynch
| |
| * Belle de Jour
| |
| * Beach Rats - Eliza Hittman
| |
| * Alma Har'el - Bombay Beach
| |
|
| |
| = Discussions =
| |
|
| |
| == Next: Movie night 23.03 ==
| |
|
| |
| Screening: ''Vertigo''+''Lost Highway''
| |
|
| |
| == 20.03 ==
| |
|
| |
| By the end of the day we would like to have done:
| |
|
| |
| * organize branching text according to our specific research questions (see 17.03)
| |
| * outline relevance to listed text/films
| |
|
| |
| == 17.03 ==
| |
|
| |
| We met to discuss the two essays. We started with Mulvey's conscious use of psychoanalysis as a framework and expressed our frustration towards the outdated vocabulary in Freud's theories. Susanna provided visual references (posters and still shots) to all the movies mentioned in ''Visual Pleasure.''
| |
|
| |
| Threads mentioned in the discussion:
| |
|
| |
| * the three looks, i.e. gazes, in the cinema: the camera, the spectator, and from one character to another
| |
| * female poses (e.g. ''Rear Window'')
| |
| * Hitchcock's storytelling and cinematography
| |
| * meme as an analogy of "stillness" (or fetishizing process) with new technologies
| |
| * the lack of perspective/analysis of the female spectator
| |
| * humanism as the new feminism
| |
|
| |
| We were reminded of our own upbringings and how that contributed to how we viewed and experienced gender.
| |
|
| |
| We then formulated the questions we want to further research. (via an interview-style conversation).
| |
|
| |
| In terms of writing.
| |
|
| |
| '''Specific research questions: Laura Mulvey as a point of departure'''
| |
|
| |
| Jue
| |
|
| |
| * physical space: What are spaces for illusions? what are the psychological processes of collective viewing? What is the difference between cinema and gallery?
| |
| * cinematography: how do focus, camera movement, editing affect the spectator's identification process (whom are they identifying with)? What do close-ups do?
| |
| * film theory: how do interacting layers of narrative and icon change the spectator's distance with the subject on screen?
| |
|
| |
| Susanna
| |
|
| |
| * How does the female spectator identify? How do female filmmakers come around male-centered conventions?
| |
| * The 3 female gazes
| |
|
| |
| Marieke
| |
|
| |
| * How can you create a narrative/discourse? Why do some become more accepted as truth?
| |
|
| |
| '''Proposed content of the reader'''
| |
|
| |
| We envision a reader consisting of:
| |
|
| |
| * a selection of essays from the titles we will be reading
| |
| * one article (academic and/or creative) written by each of us
| |
| * transcript of one interview-style discussion
| |
|
| |
| '''Next actions'''
| |
|
| |
| Organize the "branching text" above to reflect our specific research questions.
| |
|
| |
| Movie night #1 is happening on Saturday 23/03.
| |
|
| |
| == 06.03 (day of forming research group)==
| |
|
| |
| '''Questions from our practice'''
| |
|
| |
| - How has the spectator/observer/viewer/audience changed over time?
| |
|
| |
| - How do we feel/relate to people when we present an idea/image as a certain gaze (doesn't have to be defined according to gender)?
| |
|
| |
| - What is gaze?
| |
|
| |
| - Should I/we, as female artists be aware of our gaze and our gender when creating culture?
| |
|
| |
| The male gaze is slowly becoming an outdated term.
| |
|
| |
| Let's define gaze intuitively: We look at something for some time, we are intrigued, and we try to understand from our own (cultural) framework of reference.
| |
|
| |
| - Why do filmmakers want to show work? What is inside the filmmaker?
| |
|
| |
| - What's in our work?
| |
|
| |
| Marieke:::subvert norms: make a statement to make the audience (for the lack of the word) aware - how do people relate?
| |
|
| |
| Jue:::meditation: affect - how are people moved in cinema?
| |
XPUB & Lens-Based wiki