w o m e n and c i n e m a.

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w o m e n and c i n e m a … The Making and Unmaking of Reality… Survey Practice The Workplace (UK) The Workplace (US) Search for: Contrasts in photographic method. Contrasts in mise-en-scene. Consider: The effect of these distinctions on the group of onlookers by they way they decipher the story.
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w o m e n & c i n e m a …The Making and Unmaking of Reality…

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Viewing Exercise The Office (UK) The Office (US) Look for: Differences in photographic method. Contrasts in mise-en-scene. Consider: The influence of these distinctions on the group of onlookers by they way they translate the story. The social and political ramifications of these distinctions in gathering.

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ringer snares “making motion picture magic” Films are developed by producers both deliberately and unknowingly to convey certain messages and accomplish particular responses. We must ask that well known inquiry: “Does craftsmanship impersonate life or does life mimic art?” ringer snares recommends that films make reality more than they reflect reality: But for snares, this is accurately what motion pictures don\'t do; “Movies make enchantment. They change things. They take the genuine and make it into something else just before our eyes…They give the reconsidered, rethought adaptation of the genuine. It may look like something natural, however in fact it is an alternate universe from the genuine\'s universe. That’s what makes motion pictures so compelling” (1). Baudrillard – hyperreality. Observation is representation.

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“Strong writings work along the outskirts of our psyches and adjust what as of now exists. They couldn\'t do this is they just reflected what as of now exists” (Jeanette Winterson, qtd. in snares 2) Film and other visual media are an effective wellspring of impact on our lives unequivocally in light of the fact that they appear to be so genuine, they appear to reflect reality to such a degree, to the point that we don’t understand that when we watch motion pictures we are likewise learning .

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When we see something we need to be valid in film or that we ourselves experience to be genuine we say, well, motion pictures are an impression of reality. As chime snares recommends, when we are stood up to by what’s risky in the representation of a film, we will regularly say: “[The movie] was simply demonstrating the way things are. It was real” (1). That’s simply the way men and ladies are, for instance. However, what happens when we reveal every one of the ways that purported the truth is curved, pulled, tilted and formed in films?

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So, what sorts of things to we realize when we watch prominent motion pictures? …About sex? …About sexuality …About race? …About society? …About class?

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in the obscurity of the theatre… For snares, while we may claim to oppose the pictures we see or translate them in distinctive courses than they were proposed, all things considered, the influential force of film figures out how to tempt us in both cognizant and oblivious approaches to take after specific practices. Perused: “A distinction…no control over them” (3). “If we were dependably and just ‘resisting spectators,’ to acquire an artistic expression, then movies would free their enchantment. Watching motion pictures would feel more like work than pleasure” (4).

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“Changing how we see pictures is obviously one approach to change the world” (6). Representations can go far to making one sense that one is considering oneself to be a world\'s piece, yet as chime snares cautions, they can likewise be misdirecting. Simply seeing a great deal of ladies in motion pictures doesn’t mean we’re seeing an exact or important representation of women’s lives, or a basic engagement with the classifications of sexual orientation themselves. The same is valid for race… Filmmaker Issac Julien: “…blackness as a sign is never enough. What does that dark subject do, how can it act, how can it think politically?” Cultural Theorist Stuart Hall: “the minute the signifier ‘black’ is torn from its recorded, social, and political installing and held up in an organically constituted racial class, we valorize, by reversal, the very ground of the bigotry we are attempting to deconstruct” (7).

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Look for: numerous angles communicated in a solitary film. restricting perspectives communicated in one film. what sort of the perspective is being exhibited? what are the suppositions that are being advanced? the governmental issues or force elements of the film representations of sex, sexuality, race, class, society, and so forth

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“Whether we like it or not, silver screen expect a pedagogical part in the lives of numerous individuals. It may not be the plan of a producer to show gatherings of people anything, however that does not imply that lessons are not learned” (2). It may be that we take in more about race, class and sex at the films and other prevailing types of moving picture media than we do from some other social source! We may go to the films to go, to see distinction, to be terrified, to be taken out of our customary range of familiarity, yet regularly what we get in these encounters shows us to withdraw from these longings for otherness as opposed to insist them. “Movies remain the ideal vehicle for the presentation of certain custom transitional experiences that come to remain for the quintessential experience of fringe intersection for everybody who needs to examine distinction the diverse without needing to experientially connect with “the other.”

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OTHERING the workmanship and exploration of generalizations

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Richard Dyer “the part of stereotypes” Stereotypes can be considered as: a requesting procedure (simplifications, patternings, epitomes). a ‘short cut’ (disentanglements). a division or checking of limits a type of ‘othering’/delivering distinction TYPE/STEREOTYPE

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Type/Stereotype For Dyer, “it is not generalizations, as a part of human thought and representation, that aren\'t right, yet who controls and characterizes them, what intrigues they serve.” Social sorts are representations of the individuals who ‘belong’ to society; ‘stereotypes’ are representations of the individuals who don\'t have a place, why should implied be outside of one’s society, classes of individuals that are utilized to stamp a limit in the middle of inside and outside. Social sorts are more transparent. In fiction, they work in the account specifically ways however don’t close down the conceivable outcomes of their class. So what do generalizations do then?

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The Function of Stereotypes: Stereotypes are regularly joined to specific and inflexible stories. Generalizations in this way abandon the full mankind and nobility and boundless potential outcomes of people by diminishing them uncertainly one-dimensional exaggerations that don\'t change. Generalizations decrease a gathering of individuals to an arrangement of unbending attributes. They separate and render unmistakable and diverse what may some way or another be understood as comparable and relatable. They make individuals show up either straightforwardly understandable or uncomfortably mysterious. Stereotyping is hence ONE instrument used to different gatherings of individuals. Generalizations distance individuals from one another and themselves by building up false, decontextualized, and misjudged representations of specific gatherings. Cases?

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Stereotypes empower procedures of o t h e r i n g that forestall legit, open, drew in connections between completely acknowledged and continually acknowledging creatures. Dyer: “The part of generalizations is to make unmistakable the undetectable with the goal that there is no risk of it inching up on us unprepared: and to make quick, firm and separate what is in actuality liquid and much closer to the standard than the predominant worth framework considerations to admit” (16).

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Richard Dyer: “This is the most imperative capacity of the generalization: to keep up sharp limit definitions…where there are none.” limits between: men/ladies gay/straight dark/white abled/handicapped rational/crazy

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Internalized Stereotype Not just do generalizations empower those most enabled by the prevailing society to other underestimated people and gatherings, they are regularly disguised by those exceptionally individuals. Case: Women start to trust that they truly are bad at math and science. Asian ladies feel they’re confronts look drained or less shrewd. The vicinity of negative generalizations can debilitate execution and change one’s feeling of self. Generalizations, when disguised, can likewise unite individuals in hazardous and uncalled for ways.

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There is a striking contrast, on the other hand, between sex generalizations and generalizations about racial, ethnic, or religious minorities. Western White society others it’s non-white nationals through the generation of xenophobia (apprehension of what is peculiar, outside). In any case, stereotyping happens inside of all gatherings included men and ladies that plans to keep up the progressive structure between the sexual orientations while as yet advancing heterosexuality.

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Stereotypes are most affectively imparted secretly – picture media is one the most full of feeling approaches to convey generalizations and empower othering systems. Obvious/COVERT OTHERING

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Stereotypes that we learn through media shape the world for us, making us trust that we see reality about other individuals when truth be told we are traveling through the world with an arrangement of predefined IMAGES. We recollect when a generalization is by all accounts demonstrated genuine, and once in a while when they are not on the grounds that we turn out to be latently and effectively connected to thoughts regarding ourselves and the world that depend on these generalizations for legitimization. In this way, stereotyping is a capable apparatus for defending and/or downplaying socially uncalled for universes.

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The force of silver screen The closeness of film makes it a particularly intense medium for making and rehashing stereotyped thoughts.

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“Much of the enchantment of silver scre

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