User:Emily/20151203: Difference between revisions

Revision as of 15:31, 6 January 2016

Introduction

With the thesis on my project ("name is coming up"), I will investigate on how the linkage of cameras(a) and firearms(b) has been made and how this contemporary semiotic is shared as a common visual language nowadays. The thesis will be my project report serving with real life stories and fictional scenarios which inform me to make a carefully editied video of misrecognition and a series of fictional/virtually existed gun|camera objects. Those objects function as MacGuffins/visual symbols in my video and formulate the non-linear video. For me it is exactly the way to gain a fantasy of power searching, which shared by photographer and warrior in different context.

The Body of the text

explain the linkage from semiotic perspective of view both historically and technically.

Go through my examples/objects (as listed below still in refinement of raw material) to.

The report is not like a jornalist's report or historical research, but my creation inspired by social phenomenon and myth, which is a hypothesis but it requests spectators to read it seriously, and "enjoy the symptom".

Conclusion

One question or issue

To investigating not a subject but a question -> how we produce semiotic objects(specific as below) and how they function in mediated discourse.

Right now my project boilded down on two parts; The first is that, how could I use personal belongings representing in visual language to penetrate the machanism of MacGuffin/Objet petit a, the guise of the “Other“. The second is bassed on existed linkage between cameras and firearms to create a group of hypothetic object and footage. Both the objects and moving images are hybrid of reality and fiction. In this case the objects I create will be the MacGuffins to reflect on misrecognised senarios, and I am more favor on this part.

Method of analysis

Semiotic concepts on MacGuffin/Objet petit a

History linkage of cameras and firearms both technically and culturally.

Contemporary examples and the emergence of this social semiotic.

The thesis will be a project report walking through the stories via objects that I make.

Bibliography & Articles:

Simulacra and Simulation (Jean Baudrillard, 1981)

The Sublime Object of Ideology (Slavoj Žižek, 1989)

Semiotics for Beginners (Daniel Chandler, 1994)

Enjoy your symptom! (Slavoj Žižek, 1992)

The Shape of Time: Remarks on the History of Things (George Kubler, 1962)?

"Being – A MaGuffin: How to Preserve the Desire to Think", Salmagundi No. 90/91 (Spring-Summer 1991), pp. 191–193. Trans. David Adams.

Seminar on The Purloined Letter

Truffaut/Hichcock, Hichcock/Truffaut, and the Big Reveal

Tom McCarthy on realism and the real

The Symptom 9 editorial by J. A. (retreived from http://www.lacan.com/symptom/?p=38)

Art Works:

Pierre Huyghe, A Journey That Wasn’t, 2005, 16 mm film, 21:43 minutes

Shadow World: Johan Grimonprez & a talk in Witte de With given by Johan Grimonprez and Adam Kleinman

Materials:

The link between the camera and gun is evident in a shared metaphor, but also historically close as well.

1. In the 1860s the development of breech loading guns, using chemicals enclosed in a cartridge with an interior firing pin, gave the hunter a mobile weapon with ammunition that did not explode in the users face. At the same time dry-plate photography replaced plates hand coated with collodion, thereby solving some of the chemical restraints on mobile photography. 2. Although some dry plate cameras were explicitly modelled on Colt revolver mechanisms, and cinema cameras looked to machine guns for design elements, there was still a lot of camera equipment to be carried while travelling if one wanted to make images. 3. Eastman partnered with William Walker, the first camera maker to use manufacturing methods pioneered by gun makers to permit interchangeable parts. But it was their use of chemistry that provided both the greatest breakthrough and the clearest link with gun technology. 4. Eastman and Walker developed a paper negative that used guncotton. A French inventor extended that by creating a gelatinized guncotton that could be cut into strips, thereby also permitting the first modern smokeless gun powder. When the first Kodak was released in 1888 it took 100 exposures on sheets of dry, etherized, guncotton backed up paper. 5. The next development involved Eastman Kodak’s chief chemist adding amyl acetate to guncotton, creating a stable “celluloid”. A year later two English chemists made the explosive cordite by adding nitroglycerine and acetone to guncotton. As Landau concludes, “breech-loading guns and the Kodak camera not only drew on the same language; they both sealed the same sort of chemicals in their cartridges.”

digital

Misrecognised situations

In 2014(taken around 2012) a four-year-old Syrian girl(boy), Adi Hudea ‘surrendered’ when a photographer, Osman Sagirli(Turkish) pointed his camera at her and she assumed it was a gun (BBC investigated)

2009 Iraq Collateral Murder(released classifed documents by Wikileak)

2004 battle for Fallujah in Iraq and the flowing catoon made by Jon Kudelka

1968 Saigon Execution photographed by Eddie Adams, he writed "Two people died in that photograph: the recipient of the bullet and GENERAL NGUYEN NGOC LOAN. The general killed the Viet Cong; I killed the general with my camera. Still photographs are the most powerful weapons in the world. People believe them; but photographs do lie, even without manipulation. They are only half-truths. ... What the photograph didn't say was, 'What would you do if you were the general at that time and place on that hot day, and you caught the so-called bad guy after he blew away one, two or three American people?'.... This picture really messed up his life. He never blamed me. He told me if I hadn't taken the picture, someone else would have, but I've felt bad for him and his family for a long time. ... I sent flowers when I heard that he had died and wrote, "I'm sorry. There are tears in my eyes."

ALFRED HITCHCOCK PRESENTS (1985) - Bang! You're Dead! http://www.dailymotion.com/video/xvikc3_alfred-hitchcock-presents-1985-bang-you-re-dead_creation

@@ Line 1: / Line 1: @@
 ====Introduction====
+With the thesis on my project ("name is coming up"), I will investigate on how the linkage of cameras(a) and firearms(b) has been made and how this contemporary semiotic is shared as a common visual language nowadays. The thesis will be my project report serving with real life stories and fictional scenarios which inform me to make a carefully editied video of misrecognition and a series of fictional/virtually existed gun|camera objects. Those objects function as MacGuffins/visual symbols in my video and formulate the non-linear video. For me it is exactly the way to gain a fantasy of power searching, which shared by photographer and warrior in different context.
+====The Body of the text====
+:explain the linkage from semiotic perspective of view both historically and technically.
+:Go through my examples/objects (as listed below still in refinement of raw material) to.
+:The report is not like a jornalist's report or historical research, but my creation inspired by social phenomenon and myth, which is a hypothesis but it requests spectators to read it seriously, and "enjoy the symptom".
+:
+====Conclusion====
@@ Line 12: / Line 18: @@
 :History linkage of cameras and firearms both technically and culturally.
 :Contemporary examples and the emergence of this social semiotic.
-:The thesis will be a project report walking through the stories via objects.
+:The thesis will be a project report walking through the stories via objects that I make.
 Bibliography & Articles:
@@ Line 42: / Line 48: @@
 ::1968 Saigon Execution photographed by Eddie Adams, he writed "Two people died in that photograph: the recipient of the bullet and GENERAL NGUYEN NGOC LOAN. The general killed the Viet Cong; I killed the general with my camera. Still photographs are the most powerful weapons in the world. People believe them; but photographs do lie, even without manipulation. They are only half-truths. ... What the photograph didn't say was, 'What would you do if you were the general at that time and place on that hot day, and you caught the so-called bad guy after he blew away one, two or three American people?'.... This picture really messed up his life. He never blamed me. He told me if I hadn't taken the picture, someone else would have, but I've felt bad for him and his family for a long time. ... I sent flowers when I heard that he had died and wrote, "I'm sorry. There are tears in my eyes."
+:ALFRED HITCHCOCK PRESENTS (1985) - Bang! You're Dead!  http://www.dailymotion.com/video/xvikc3_alfred-hitchcock-presents-1985-bang-you-re-dead_creation
+<!--
+''Human Remains'' is a 1998 short documentary film about the personal lives of Adolf Hitler, Benito Mussolini, Joseph Stalin, Francisco Franco and Mao Zedong. It was written and directed by filmmaker Jay Rosenblatt and won a Sundance Award.
+''Human Remains'' is a haunting documentary which illustrates the banality of evil by creating intimate portraits of five of the 20th century's most reviled dictators. The film unveils the personal lives of Adolf Hitler, Benito Mussolini, Joseph Stalin, Francisco Franco and Mao Tse Tung. We learn the private and mundane details of their everyday lives -- their favorite foods, films, habits and sexual preferences. There is no mention of their public lives or of their place in history. The intentional omission of the horrors for which these men were responsible hovers over the film.
+''Human Remains'' addresses this horror from a completely different angle. Irony and even occasional humor are sprinkled throughout the documentary. This darkly poetic film is based entirely on fact, creatively combining direct quotes and biographical research. Though based on historical figures, Human Remains is contemporary in its implications and ultimately invites the viewer to confront the nature of evil.
+The Devil's Mistress (1966)
+===Notes for thesis===
+''Everything You Always Wanted to Know About Lacan (But Were Afraid to Ask Hitchcock)''- zizek on
+'''Mechanical suspense'''
+suspense<ref>http://filomasnou.blogspot.nl/2014/07/zizek-1-suspens-everything-you-always.html<ref> <br>
+"Suspense is in fact produced by editing." Typical case study is the editing of chases - a parrallel editing, in which Griffith built up through the interplay of close-up shots of the protagonists' face. "To a great extent, the cinema of terror or of anxiety still depends upon the principle of editing" (a German word, Angst)
+'''Hitchcockian suspense/ "Hitchcock's touch"'''
+"A good part of Hitchcock's work in cinema could in fact be summarized in terms of the editing of chases, with the proviso that the chase, which is precipitated by a token object - which Hitchcock himself
+calls, as is well known, a McGuffin."<br>
+"What, then, is the object that this anxiety or suspense releases, revives and sets going? I would hazard the response that this object, which emerged at the same time as the close-up was discovered, is because of its characteristic malice, the gaze." "Gesture, concentration [haragei] and neutrality would thus represent three stages in a progressive
+domestication of the actor's body, 'through the top', through the face, which benefited staging and editing and was crucial to establishing the laws of suspense. Hitchcock often recalled that he would keep the face neutral."
+"This is how fiction is introduced, for, as Godard has observed — actually with reference to Hitchcock — it is the gaze which creates fiction."
+'''The 'impression of reality' shifts to a secondary level, that of connotation'''
+-->