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* Invention of Hysteria - Georges Didi-Huberman | * Invention of Hysteria - Georges Didi-Huberman | ||
* Photography and Fetish - Christian Metz (1985) | * Photography and Fetish - Christian Metz (1985) | ||
* 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] | * 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]] | ||
* On the origin of Stories - Brian Boyd | |||
* 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] | * 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 | * The Emergence of Cinematic Time - Mary Ann Doane | ||
* Fire and Ice - Peter Wollen | |||
= related films = | = related films = | ||
Revision as of 23:29, 6 March 2019
Research group SJM
Keywords: AFFECT, GAZE, GENDER
Members: Susanna, Jue, Marieke
core text
Laura Mulvey
- Essay: Visual Pleasure and Narrative Cinema’ (p177, The Narrative Reader)
- Essay: Afterthoughts on “Visual Pleasure and Narrative Cinema” Inspired by Duel in the Sun (p182, The Narrative Reader)
- Book: Death 24x Times per second. pdf [1]
Find the two essays in this book --> File:The Narrative Reader - Martin McQuillan.pdf
branching text
- The new brutality film: race and affect in contemporary Hollywood cinema - Paul Gormley
- Feeling, Emotions, Affect - Eric Shouse [2]
- Why be nonbinary - Robin Dembroff [3]
- Why I am not a feminist - Jessa Crispin
- Invention of Hysteria - Georges Didi-Huberman
- Photography and Fetish - Christian Metz (1985)
- Mind the Screen (selected chapters) [4]
- File:The Narrative Reader - Martin McQuillan.pdf
- On the origin of Stories - Brian Boyd
- Stories [5]
- The Emergence of Cinematic Time - Mary Ann Doane
- Fire and Ice - Peter Wollen
for potential movie night!
- Afternoon Delight - by Jill Soloway
- The Florida Project
- Capernaüm
- Guusje America - Video Home System
- White Noise - Antoine d'Agata
next meetings
Sunday 17.03 @ 18.30
Meet to discuss key text (at least the two essays) plus any other readings done till then.
notes
day of forming research group 06.03.2019
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?