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| '''Potential title: Worst Case Scenario'''
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| '''Introduction'''
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| * The high five story could be referenced
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| There are those stories that are so sickening that they feel like a punch in the gut.
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| In the best case the story is fictional, in the worst case the story is real.
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| I had my own gut punch moment when I read a story about a woman under influence who was raped by two students. After the assault they left the woman in the toilet, who was so severely wounded she needed surgery.
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| There were also 2 recordings.
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| One recording was of the rape. Both men admitted watching their attack back on a mobile phone while making lewd-gestures and re-enacting what they had done to the woman.
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| The other recording came from a surveillance camera. Where the men can be seen hugging, high-fiving each other and.. laughing. Seemingly as it was an experience that bonded their brotherhood.
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| Sexual violence is already horrifying as it is, when this violence is also recorded it adds another layer to this invasion. I imagined how I would feel if I went through such an experience and I would be aware that the perpetrators would look back at my pain because it would arouse them. Besides that, in the above case the woman was unconscious so she has no recollection of the assault herself, but the men do. Robbing the woman of any closure or healing she would have hoped to find after this terrifying experience.
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| The "high five" recording was shared on several news websites.
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| '''Chapter 1. The burden of looking'''
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| In my opinion there are 2 types of viewers when it comes to violent cinema. Those who cover their eyes or those who lean in so they can see it just a bit better.
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| ''Responses to violence:''
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| * As a viewer
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| * As a filmmaker
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| How does that relate to me?
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| ''Improv''
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| Examples:
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| Mr. Blonde dancing/dialogue, Reservoir Dogs - Joker dancing, Joker
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| '''Chapter 2. An eye for an eye, the responsibility of looking'''
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| Diving in the accountability and contradictions of looking. I want to analyse if there is an elevated feeling of responsibility when choice is added.
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| Introduction Film & Game relation
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| * What I've drawn from this
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| * Case studies + Looking at techniques from both
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| ''Films to analyse:''
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| Sex, Lies and Videotapes, Steven Soderbergh - American Beauty, Sam Mendes - Irréversible, Gaspar Noé - Funny Games, Michael Haneke - A Girl Walks Home Alone at Night, Ana Lily Amirpour - It Follows, David Robert Mitchell
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| ''Games to analyse:''
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| Silent Hill 2, Konami - The Path, Tale of Tales - Life is Strange 2, Dontnod Entertainment
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| ''Video Art to analyse:''
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| Der Mirror, Keren Cytter - Time Passes, Ane Hjort Guttu
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| '''Chapter 3. Report on Project'''
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| '''Conclusion'''
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| Preparing longer project and how this research will inform next stage.
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| '''Comments / Thesis questions:'''
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| * Abjection - How does this relate to the self in terms of response to violation?
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| * How does the self-reflexivity of your approach (and film mimic you are connecting to for this project) relate to abjection + the self?
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| Important:
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| * More texts on abjection (Look at abject theory)
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| * More & more violence being filmed in real life (This could be referenced)
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| * Themes of repression
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| Film recommendations Natasha:
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| * Sex, lies and videotapes - Steven Soderbergh
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| * Time Passes - Ane Hjort Guttu
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| * Naked - Mike Leigh
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