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| '''Research Group: AFFECT, GAZE, GENDER IN RELATION TO LENS-BASED ART'''
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| Members: Susanna, Jue, Marieke
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| This is how we do it.
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| [[File:IMG 20190317 220749.jpg | 600px]]
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| = core text =
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| Laura Mulvey
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| * Essay: Visual Pleasure and Narrative Cinema’ (1975, p177 The Narrative Reader) -
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| * Essay: Afterthoughts on “Visual Pleasure and Narrative Cinema” Inspired by Duel in the Sun (1989, p181, The Narrative Reader)
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| Find the two essays in this book --> [[File:The_Narrative_Reader_-_Martin_McQuillan.pdf]]
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| == synopsis ==
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| [[Jujube/methods-research-group#reading_Mulvey | Synopsis by Jue]]
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| = branching text =
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| * The new brutality film: race and affect in contemporary Hollywood cinema - Paul Gormley
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| * 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]
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| * Why be nonbinary - Robin Dembroff [https://aeon.co/essays/nonbinary-identity-is-a-radical-stance-against-gender-segregation]
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| * Why I am not a feminist - Jessa Crispin
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| * Feeling, Emotions, Affect - Eric Shouse [http://journal.media-culture.org.au/0512/03-shouse.php]
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| * 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]
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| * [[File:The_Narrative_Reader_-_Martin_McQuillan.pdf]]
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| * <s>On the origin of Stories - Brian Boyd</s> maybe later
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| * 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]
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| * The Emergence of Cinematic Time - Mary Ann Doane
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| * Stillness in the Moving Image: Visualizing Time and Its Passing - Laura Mulvey (2003)
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| * Invention of Hysteria - Georges Didi-Huberman
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| * Fire and Ice - Peter Wollen (1984)
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| * Photography and Fetish - Christian Metz (1985)
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| = related films =
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| for potential movie night! Add a one-line reason for why should watch the film on the film.
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| * Afternoon Delight - Jill Soloway
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| * The Florida Project
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| * Guusje America - Video Home System
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| * White Noise - Antoine d'Agata
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| * Marnie - Hitchcock
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| * Vertigo - Hitchcock
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| * Lost Highway - Lynch
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| * Belle de Jour
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| * Beach Rats - Eliza Hittman
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| * Alma Har'el - Bombay Beach
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| Susanna's thought: would it be a good idea to (re-) watch these films in chronological order and make some comments on their historical context? -- Jue: Comments on historical context would be useful. I think we are already doing it by pairing of Vertigo + Lost Highway. Let's see what we find relevant to expand on after the first movie night.
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| = Discussions =
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| == Next: Movie night 23.03 ==
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| Screening: ''Vertigo''+''Lost Highway''
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| == 17.03 ==
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| 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.''
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| Threads mentioned in the discussion:
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| * the three looks, i.e. gazes, in the cinema: the camera, the spectator, and from one character to another
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| * female poses (e.g. ''Rear Window'')
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| * Hitchcock's storytelling and cinematography
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| * meme as an analogy of "stillness" (or fetishizing process) with new technologies
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| * the lack of perspective/analysis of the female spectator
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| * humanism as the new feminism
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| We were reminded of our own upbringings and how that contributed to how we viewed and experienced gender.
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| We then formulated the questions we want to further research. (via an interview-style conversation).
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| In terms of writing.
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| '''Specific research questions: Laura Mulvey as a point of departure'''
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| Jue
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| * physical space: What are spaces for illusions? what are the psychological processes of collective viewing? What is the difference between cinema and gallery?
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| * cinematography: how do focus, camera movement, editing affect the spectator's identification process (whom are they identifying with)? What do close-ups do?
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| * film theory: how do interacting layers of narrative and icon change the spectator's distance with the subject on screen?
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| Susanna
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| * How does the female spectator identify? How do female filmmakers come around male-centered conventions?
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| * The 3 female gazes
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| Marieke
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| * How can you create a narrative/discourse? Why do some become more accepted as truth?
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| '''Proposed content of the reader'''
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| We envision a reader consisting of:
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| * a selection of essays from the titles we will be reading
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| * one article (academic and/or creative) written by each of us
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| * transcript of one interview-style discussion
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| '''Next actions'''
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| Organize the "branching text" above to reflect our specific research questions.
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| Movie night #1 is happening on Saturday 23/03.
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| == 06.03 (day of forming research group)==
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| '''Questions from our practice'''
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| - How has the spectator/observer/viewer/audience changed over time?
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| - 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)?
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| - What is gaze?
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| - Should I/we, as female artists be aware of our gaze and our gender when creating culture?
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| The male gaze is slowly becoming an outdated term.
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| 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.
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| - Why do filmmakers want to show work? What is inside the filmmaker?
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| - What's in our work?
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| Marieke:::subvert norms: make a statement to make the audience (for the lack of the word) aware - how do people relate?
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| Jue:::meditation: affect - how are people moved in cinema?
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