Wednesday, 11 December 2019
Tuesday, 10 December 2019
Smashing Stereotypes - Reflection
We chose to
Which professional media products inspired you and how?
The idea for our smashing stereotypes project was inspired by the 'Lynx Effect' advert. However, we decided to spin-off of this idea where a woman was the one spraying perfume and the men were attracted to it, although, in the end, the woman would walk away to show she doesn't need the men.
How well did you manage your time and resources throughout the planning, production and post-production phases?
I feel as if my group's time management could have been a lot better. We spent a normal amount of time on planning, yet we stalled on the actual production side of things because we couldn't find actors to be in our advert since they were all busy. This meant that we only had the last week of production to film the advert which had been changed drastically since the planning phase. Furthermore, due to our lack of initiative in the production stage, we only had two days to edit. This process wasn't at all helped by the lack of attendance of some of the group members throughout the project.
To be completely honest, I don't really feel like I've learned anything from this project. There weren't any advancements in techniques used in this project and we didn't expand into any new territory when it came to the production and post-production.
Friday, 6 December 2019
Brecht - Theories
Verfremdungseffekt:
The Verfremdungseffekt, more commonly known as the alienation (distancing) effect, is a technique used in theater and cinema that prevents the audience from losing itself completely in the narrative, instead of making it a consciously critical observer. The actor accomplishes this by directly addressing the audience, barring them from feeling empathy (film), interrupting the narrative (cinema), or drawing attention to the filmmaking or theatrical process.
Examples of such techniques include explanatory captions or illustrations projected on a screen; actors stepping out of character to lecture, summarize, or sing songs; and stage designs that do not represent any locality but that, by exposing the lights and ropes, keep the spectators aware of being in a theatre. The audience’s degree of identification with characters and events is presumably thus controlled, and it can more clearly perceive the “real” world reflected in the drama.
One current example of this technique in use would be the Deadpool film franchise. These films have the main character, Deadpool, who addresses the audience throughout the film for comedic effect. This distances the audience from the narrative of the film and gives the viewer.
Epic Theatre:
The epic style can be adapted to any form of theatre that puts a social or political message before the exploration of character. Once the character is less important than the message and the intricacies of human motiveless intriguing than storytelling and the exploration of the situation you have Brechtian theatre.
Narration is used to remind the audience that they are watching a story. Sometimes the narrator will tell the audience what is about to happen in the story before it happens, because if the audience knows the outcome then they may not get as emotionally involved.
This is where the wall between the audience and actors on stage is broken. Rather than allowing the audience to sit passively and get lost in the show, the actors will sometimes directly address the audience with a speech, comment or a question - breaking the fourth wall.
Actors will sometimes come out character, often at heightened moments of drama, to remind the audience that it is a piece of fiction that they are watching.
A placard or projection screen can be used to give the audience some extra factual information, for example, it might say how many people have died in a particular war. Placards can also be used to introduce characters in generic ways, e.g. ‘mum,’ or ‘dad.’ Placards are also used to introduce a new scene or to tell the audience when one has finished.
Although Bertolt Brecht's first plays were written in Germany during the 1920s, he was not widely known until much later. Eventually, his theories of stage presentation exerted more influence on the course of mid-century theatre in the West than did those of any other individual. This was mainly because he proposed the major alternative to the Stanislavsky-oriented realism that dominated acting and the "well-made play" construction that dominated playwriting.
Brecht's earliest work was heavily influenced by German Expressionism, but it was his preoccupation with Marxism and the idea that man and society could be intellectually analyzed that led him to develop his theory of "epic theatre." Brecht believed that theatre should appeal not to the spectator's feelings but to his reason. While still providing entertainment, it should be strongly didactic and capable of provoking social change. In the Realistic theatre of illusion, he argued, the spectator tended to identify with the characters on stage and become emotionally involved with them rather than being stirred to think about his own life. To encourage the audience to adopt a more critical attitude to what was happening on stage, Brecht developed his Verfremdungs-effekt ("alienation effect")--i.e., the use of anti-illusive techniques to remind the spectators that they are in a theatre watching an enactment of reality instead of reality itself. Such techniques included flooding the stage with harsh white light, regardless of where the action was taking place, and leaving the stage lamps in full view of the audience; making use of minimal props and "indicative" scenery; intentionally interrupting the action at key junctures with songs in order to drive home an important point or message; and projecting explanatory captions onto a screen or employing placards. From his actors, Brecht demanded not realism and identification with the role but an objective style of playing, to become in a sense detached observers.
Brecht's most important plays, which included Leben des Galilei (The Life of Galileo), Mutter Courage und Ihre Kinder (Mother Courage and Her Children), and Der Gute Mensch von Sezuan (The Good Person of Szechwan, or The Good Woman of Setzwan), were written between 1937 and 1945 when he was in exile from the Nazi regime, first in Scandinavia and then in the United States. At the invitation of the newly formed East German government, he returned to found the Berliner Ensemble in 1949 with his wife, Helene Weigel, as the leading actress. It was only at this point, through his own productions of his plays, that Brecht earned his reputation as one of the most important figures of 20th-century theatre.
Certainly, Brecht's attack on the elusive theatre influenced, directly or indirectly, the theatre of every Western country. In Britain, the effect became evident in the work of such playwrights as John Arden and Edward Bond and in some of the bare-stage productions by the Royal Shakespeare Company. Western theatre in the 20th century, however, has proved to be a cross-fertilization of many styles (Brecht himself acknowledged a debt to traditional Oriental theatre), and by the 1950s other approaches were gaining influence.
The Verfremdungseffekt, more commonly known as the alienation (distancing) effect, is a technique used in theater and cinema that prevents the audience from losing itself completely in the narrative, instead of making it a consciously critical observer. The actor accomplishes this by directly addressing the audience, barring them from feeling empathy (film), interrupting the narrative (cinema), or drawing attention to the filmmaking or theatrical process.
Examples of such techniques include explanatory captions or illustrations projected on a screen; actors stepping out of character to lecture, summarize, or sing songs; and stage designs that do not represent any locality but that, by exposing the lights and ropes, keep the spectators aware of being in a theatre. The audience’s degree of identification with characters and events is presumably thus controlled, and it can more clearly perceive the “real” world reflected in the drama.
One current example of this technique in use would be the Deadpool film franchise. These films have the main character, Deadpool, who addresses the audience throughout the film for comedic effect. This distances the audience from the narrative of the film and gives the viewer.
Epic Theatre:
The epic style can be adapted to any form of theatre that puts a social or political message before the exploration of character. Once the character is less important than the message and the intricacies of human motiveless intriguing than storytelling and the exploration of the situation you have Brechtian theatre.
Narration is used to remind the audience that they are watching a story. Sometimes the narrator will tell the audience what is about to happen in the story before it happens, because if the audience knows the outcome then they may not get as emotionally involved.
This is where the wall between the audience and actors on stage is broken. Rather than allowing the audience to sit passively and get lost in the show, the actors will sometimes directly address the audience with a speech, comment or a question - breaking the fourth wall.
Actors will sometimes come out character, often at heightened moments of drama, to remind the audience that it is a piece of fiction that they are watching.
A placard or projection screen can be used to give the audience some extra factual information, for example, it might say how many people have died in a particular war. Placards can also be used to introduce characters in generic ways, e.g. ‘mum,’ or ‘dad.’ Placards are also used to introduce a new scene or to tell the audience when one has finished.
Although Bertolt Brecht's first plays were written in Germany during the 1920s, he was not widely known until much later. Eventually, his theories of stage presentation exerted more influence on the course of mid-century theatre in the West than did those of any other individual. This was mainly because he proposed the major alternative to the Stanislavsky-oriented realism that dominated acting and the "well-made play" construction that dominated playwriting.
Brecht's earliest work was heavily influenced by German Expressionism, but it was his preoccupation with Marxism and the idea that man and society could be intellectually analyzed that led him to develop his theory of "epic theatre." Brecht believed that theatre should appeal not to the spectator's feelings but to his reason. While still providing entertainment, it should be strongly didactic and capable of provoking social change. In the Realistic theatre of illusion, he argued, the spectator tended to identify with the characters on stage and become emotionally involved with them rather than being stirred to think about his own life. To encourage the audience to adopt a more critical attitude to what was happening on stage, Brecht developed his Verfremdungs-effekt ("alienation effect")--i.e., the use of anti-illusive techniques to remind the spectators that they are in a theatre watching an enactment of reality instead of reality itself. Such techniques included flooding the stage with harsh white light, regardless of where the action was taking place, and leaving the stage lamps in full view of the audience; making use of minimal props and "indicative" scenery; intentionally interrupting the action at key junctures with songs in order to drive home an important point or message; and projecting explanatory captions onto a screen or employing placards. From his actors, Brecht demanded not realism and identification with the role but an objective style of playing, to become in a sense detached observers.
Brecht's most important plays, which included Leben des Galilei (The Life of Galileo), Mutter Courage und Ihre Kinder (Mother Courage and Her Children), and Der Gute Mensch von Sezuan (The Good Person of Szechwan, or The Good Woman of Setzwan), were written between 1937 and 1945 when he was in exile from the Nazi regime, first in Scandinavia and then in the United States. At the invitation of the newly formed East German government, he returned to found the Berliner Ensemble in 1949 with his wife, Helene Weigel, as the leading actress. It was only at this point, through his own productions of his plays, that Brecht earned his reputation as one of the most important figures of 20th-century theatre.
Certainly, Brecht's attack on the elusive theatre influenced, directly or indirectly, the theatre of every Western country. In Britain, the effect became evident in the work of such playwrights as John Arden and Edward Bond and in some of the bare-stage productions by the Royal Shakespeare Company. Western theatre in the 20th century, however, has proved to be a cross-fertilization of many styles (Brecht himself acknowledged a debt to traditional Oriental theatre), and by the 1950s other approaches were gaining influence.
Tuesday, 26 November 2019
Wednesday, 20 November 2019
Wednesday, 13 November 2019
Surrealism Theory
Manifesto of Surrealism
The movement officially began in 1924 with the publication of the first Manifesto of Surrealism, penned by poet and writer André Breton, who became the movement’s titular leader until his death in 1966.
Influenced by Sigmund Freud’s theory of the unconscious, the manifesto defined Surrealism as “psychic automatism”, a process that encouraged a freeing of the mind from rational and utilitarian values and constraints as well as moral and aesthetic judgement.
Throughout the 1930s Surrealism became an incredibly diverse international movement, and included the dissident Surrealist faction grouped around George Bataille.
Revolution of the mind
Breton conceived of Surrealism as a revolution of the mind that would fundamentally transform everyday experience. Surrealism was less interested in the irrational for its own sake, than in reconciling the contradictory states of dream and reality into a more potent form of reality – a kind of surrealist consciousness.
The emergence of psychoanalysis and Freud’s theories of the mind offered Surrealism a way to move beyond an empirical, surface apprehension of the world. While Freud was interested in how everyday life informs dreams, the Surrealists experimented with the ways in which our dream world informs everyday experience, including creative practice.
The Surrealists’ exploration of dreams, sexuality and desire through involuntary actions and processes, such as spontaneous or automatic writing and drawing, redirected the significance of the unconscious away from its traditional therapeutic function.
Monday, 11 November 2019
Surrealism Short Film
Our surrealist idea will involve people treating mannequins as humans.
We be shooting for a POV angle.
The start will with people dancing with the mannequins, they will then wave to the camera and continue dancing.
The camera will then head outside and we will see more people with mannequins acting as if they are alive and able to communicate with us. For example, someone holding a mannequin may walk around the corner towards to camera holding a conversation with the mannequin, they would say something and pause as if listening to the mannequin speak and then reply themselves.
Storyboard
Tuesday, 5 November 2019
Tuesday, 15 October 2019
Thursday, 10 October 2019
Auteur Theory
A motion picture. Arising in France in the late 1940s, the auteur theory—as it was dubbed by the American film critic Andrew Sarris—was an outgrowth of the cinematic theories of André Bazin and Alexandre Astruc. A foundation stone of the French cinematic movement known as the nouvelle vague, or New Wave, the theory of director-as-author was principally advanced in Bazin’s periodical Cahiers du cinéma (founded in 1951). Two of its theoreticians—François Truffaut and Jean-Luc Godard—later became major directors of the French New Wave.
The auteur theory, which was derived largely from Astruc’s elucidation of the concept of caméra-stylo (“camera-pen”), holds that the director, who oversees all audio and visual elements of the motion picture, is more to be considered the “author” of the movie than is the writer of the screenplay. In other words, such fundamental visual elements as camera placement, blocking, lighting, and scene length, rather than plot line, convey the message of the film. Supporters of the auteur theory further contend that the most cinematically successful films will bear the unmistakable personal stamp of the director.
Monday, 7 October 2019
Saturday, 5 October 2019
Feature Film - Treatment - Freytag's Structure
Act One – Exposition
We begin with a voiceover
explanation from the protagonist with establishing shots. The voiceover
explains about the four nations of the world, the Earth Colony, Fire Kingdom,
Water Nation and Air Tribe. This voiceover also explains the magic system
within the world of the film where around 60% of people are born with the power
to control one of four elements. Fire, Air, Water, Earth and how the
re-incarnation of the Power Spirit is the only person who can control all four
elements and keep the world at peace.
Our
story begins in the Earth Colony. The protagonist (Shu) is in school.
The bell has just rung for lunch and all the children are leaving the classroom
to go and eat. The headteacher stops Shu when he's about to leave the class
and important looking people enter the room. These people turn out to be
government officials who inform him that he's the new reincarnation of the
Spirit of Power and the only person who has the power to stop the Water Nation
from creating a war.
Since Shu has already got the power
to control the element of earth, he sets out on a journey across the world to
find masters of each element to help him fulfil his destiny.
Act 2 –
Rising Action
Shu travels to the Fire Kingdom to begin learning the
second element, fire. Shu is told that the master of fire is waiting for him in
a town, but he must be the one to find them. Shu runs around the town searching
for the master and ends up in the marketplace. He asks an old man who’s running
a fruit stall if he’s the master Shu is looking for, but he shakes his head
informing Shu that he’s never seen a fire master anywhere in this town. A young
and very attractive girl, who looks to be a native to the land of fire, about a
year older than Shu, approaches him and claims to know the master of fire
personally. The girl introduces herself as Lio and begins to explain how she is
the fire master Shu has been searching for. Shu stares in disbelief since he
never expected his teacher to be someone around his age.
Lio begins to teach Shu how to control fire. Although it’s
not going very well since he isn’t able to create a burst of fire larger than
his index finger. Shu’s confidence is then deflated. Lio explains to Shu that
his inability to create fire is due to his confidence and emotion. Since fire is the
element of power and a mainly offensive element and since Shu is a timid
person, he isn’t particularly inept with this element.
Act 3 –
Climax
There’s screaming coming from the town. Shu and Lio rush to
find out what’s creating this commotion, only to find Water Nation soldiers destroying the town. Shu and Lio begin to fight off the soldiers. Only to be captured and put onto a Water Nation ship after a second battalion of troops flanks them from either side.
Act 4 - Falling Action
In chains, Lio and Shu struggle in an attempt to get free. Shu gradually grows more angry to the point where he screams at the top of his lungs. Due to his heightened emotions and anger, at the moment he screamed he began to breathe fire. With his newfound connection to controlling fire, Shu melts the chains away and runs to the door of the room they're being held in. Being on a ship, there is no Earth for him to control so his only hope in making it out is to use fire. Shu and Lio run in an attempt to find an escape route. They turn a corner and are greeted by 2 Water Nation soldiers. Shu explains how he now has a chance against them since he's able to control fire. He throws a fireball at one of the soldiers only for it to be rendered completely useless by their manipulation of water. Lio instructs Shu to get behind her since she's a fire master. She makes an attempt to fight off the soldiers but is injured badly.
After seeing his new friend hurt so badly, it sends Shu into a state of shock. His eyes turn white, and his body is taken over by the Spirit of Power which uses its knowledge of past its lives to control fire to perfection, his senses and strength are also heightened and he is able to single-handedly fight off the soldiers on the ship. Due to the sheer power used, Shu blacks out and is left laying on the ship. At this point, survivors from the town come aboard searching for Lio and Shu. The survivors bring them both back to the hospital.
Act 5 - Denouement
Shu wakes up the next day and is made aware of why he's in hospital. Shu asks to see Lio and is told that she is in critical condition and may not make it. He asks the nurse if he's allowed to see her. The nurse then agrees. Shu enters the Lio's hospital room and kneels down on the side of the bed and begins to cry and explain how he never wanted any of this to happen and if he wasn't the reincarnation of the Power Spirit, none of this would have happened. He also explains how he has to leave to learn the next element in the cycle, air, and how he hopes Lio will be able to join him on his journey after she recovers.
Act 4 - Falling Action
In chains, Lio and Shu struggle in an attempt to get free. Shu gradually grows more angry to the point where he screams at the top of his lungs. Due to his heightened emotions and anger, at the moment he screamed he began to breathe fire. With his newfound connection to controlling fire, Shu melts the chains away and runs to the door of the room they're being held in. Being on a ship, there is no Earth for him to control so his only hope in making it out is to use fire. Shu and Lio run in an attempt to find an escape route. They turn a corner and are greeted by 2 Water Nation soldiers. Shu explains how he now has a chance against them since he's able to control fire. He throws a fireball at one of the soldiers only for it to be rendered completely useless by their manipulation of water. Lio instructs Shu to get behind her since she's a fire master. She makes an attempt to fight off the soldiers but is injured badly.
After seeing his new friend hurt so badly, it sends Shu into a state of shock. His eyes turn white, and his body is taken over by the Spirit of Power which uses its knowledge of past its lives to control fire to perfection, his senses and strength are also heightened and he is able to single-handedly fight off the soldiers on the ship. Due to the sheer power used, Shu blacks out and is left laying on the ship. At this point, survivors from the town come aboard searching for Lio and Shu. The survivors bring them both back to the hospital.
Act 5 - Denouement
Shu wakes up the next day and is made aware of why he's in hospital. Shu asks to see Lio and is told that she is in critical condition and may not make it. He asks the nurse if he's allowed to see her. The nurse then agrees. Shu enters the Lio's hospital room and kneels down on the side of the bed and begins to cry and explain how he never wanted any of this to happen and if he wasn't the reincarnation of the Power Spirit, none of this would have happened. He also explains how he has to leave to learn the next element in the cycle, air, and how he hopes Lio will be able to join him on his journey after she recovers.
Tuesday, 1 October 2019
Feature Film - Logline
A timid teenager is told he is the only one with the power to stop a war which is blooming between the nations, can he master his powers and stop the blossoming war before it's too late?
Monday, 30 September 2019
Friday, 27 September 2019
Feature Film - Binary Oppositions
Good vs Evil
The protagonist is said to be good and they must face an 'evil' force. However, this can be challenged depending on who's perspective you're looking at the issue from.
Power vs Weakness
Our protagonist is said to be the only person will power capable of stopping the violence which is going to develop throughout the film. Although at the same time, the protagonist is going to feel powerless since many have already died and they haven't been able to save them.
Unity vs Separateness
In the world of the film, there are various nations which have all agreed to be civilised towards each other and not spread hate and destruction. However, one nation has decided that they want to be seperate to that agreement and are trying to take over the other nations. Our protagonist also feels a sense of separateness since he was cast aside by his friends who deemed him too powerful after he learned he had the power to stop the war.
Young vs Old
Since the protagonist is so young and inexperienced in terms of combat and knowledge, people tend to not take his opinions seriously. The older generation tend to have a more aggressive approach towards our protagonist since they idea of a 'kid' having all this power.
Moral vs Corruption
The protagonist is shown how his power can be used for good, yet at the same time can also be used for evil. Since he is so young and impressionable, he almost gives into the temptation of power and evil and tries to turn to the side of evil until his friends bring him back.
Logic vs Madness
The antagonist of our story is given a sense of mental instability since he was raised with the sole purpose to 'bring greatness' to his nation. Also, in society, the logical path to choose would be the path with the least amount of destruction and death, yet not many people from the 'villainous' nation seem to question the morals of their actions.
Sanctity vs Worthlessness
The antagonist gives our story a different spin on these binary opposites since he believes that his 'glorious nation' is the ultimate sanctuary and believes himself to be a somewhat god within a state of holiness in which he cannot be touched or contested. Due to his upbringing he also believes that anyone who rejects his nation and his beliefs is completely useless and worthless. This further develops his state of madness.
We also see how the protagonist attempts to create a world where people can live in safety, a somewhat Sanctuary. He also believes that the various nations being separate and becoming violent towards each other is completely useless and unnecessary.
Life vs Death
In the film, many people die. Some of these people have a connection to the protagonist and we see how the concept of death affects his actions throughout the story.
Early on in the film, it is revealed to the audience that the protagonist is a reincarnation of a spirit which holds the power which is able to control the nations. Since the spirit resides in our protagonist, he is able to wield this power. Since he is a reincarnation of past lives, the protagonist is able to call upon the wisdom and knowledge of these past lives since their human spirits are all tied and connected to the spirit of power which gives them their power and this spirit never dies. Since this spirit never dies, our protagonist can never die either.
The protagonist is said to be good and they must face an 'evil' force. However, this can be challenged depending on who's perspective you're looking at the issue from.
Power vs Weakness
Our protagonist is said to be the only person will power capable of stopping the violence which is going to develop throughout the film. Although at the same time, the protagonist is going to feel powerless since many have already died and they haven't been able to save them.
Unity vs Separateness
In the world of the film, there are various nations which have all agreed to be civilised towards each other and not spread hate and destruction. However, one nation has decided that they want to be seperate to that agreement and are trying to take over the other nations. Our protagonist also feels a sense of separateness since he was cast aside by his friends who deemed him too powerful after he learned he had the power to stop the war.
Young vs Old
Since the protagonist is so young and inexperienced in terms of combat and knowledge, people tend to not take his opinions seriously. The older generation tend to have a more aggressive approach towards our protagonist since they idea of a 'kid' having all this power.
Moral vs Corruption
The protagonist is shown how his power can be used for good, yet at the same time can also be used for evil. Since he is so young and impressionable, he almost gives into the temptation of power and evil and tries to turn to the side of evil until his friends bring him back.
Logic vs Madness
The antagonist of our story is given a sense of mental instability since he was raised with the sole purpose to 'bring greatness' to his nation. Also, in society, the logical path to choose would be the path with the least amount of destruction and death, yet not many people from the 'villainous' nation seem to question the morals of their actions.
Sanctity vs Worthlessness
The antagonist gives our story a different spin on these binary opposites since he believes that his 'glorious nation' is the ultimate sanctuary and believes himself to be a somewhat god within a state of holiness in which he cannot be touched or contested. Due to his upbringing he also believes that anyone who rejects his nation and his beliefs is completely useless and worthless. This further develops his state of madness.
We also see how the protagonist attempts to create a world where people can live in safety, a somewhat Sanctuary. He also believes that the various nations being separate and becoming violent towards each other is completely useless and unnecessary.
Life vs Death
In the film, many people die. Some of these people have a connection to the protagonist and we see how the concept of death affects his actions throughout the story.
Early on in the film, it is revealed to the audience that the protagonist is a reincarnation of a spirit which holds the power which is able to control the nations. Since the spirit resides in our protagonist, he is able to wield this power. Since he is a reincarnation of past lives, the protagonist is able to call upon the wisdom and knowledge of these past lives since their human spirits are all tied and connected to the spirit of power which gives them their power and this spirit never dies. Since this spirit never dies, our protagonist can never die either.
Tuesday, 24 September 2019
Freytag's 5 Act Structure
Exposition - Outlines characters and background information. Ends with 'inciting incident' that asks the dramatic question.
Rising action - Obstacles and twists that get in the protagonists way.
Climax - A turning point.
Falling action - Suspense. Dramatic question answered.
Denouement - Catharsis. All conflicts resolved.
The exposition in Psycho is the act in which the protagonist, Marion is established and we are given information about her character and her relationships with other characters. This act ends after she stole the money and sees her boss on her way out of the city.
The rising action of the film is shown when Marion finds herself at the motel and after speaking to Norman, she decides that she needs to go back and return the money that was stolen.
The climax then ensues due to Norman's split personality and Marion is killed.
The falling action in the film takes part when we see Arbogast has been hired to find out where Marion has run off to. Within this arc, Arbogast is killed and Marion's boyfriend and sister are left to investigate.
In the dénouement ('to finish' in French), Norman is arrested for his crimes and the police begin explain that Norman has a split personality (that of himself and his mother).
The exposition in Psycho is the act in which the protagonist, Marion is established and we are given information about her character and her relationships with other characters. This act ends after she stole the money and sees her boss on her way out of the city.
The rising action of the film is shown when Marion finds herself at the motel and after speaking to Norman, she decides that she needs to go back and return the money that was stolen.
The climax then ensues due to Norman's split personality and Marion is killed.
The falling action in the film takes part when we see Arbogast has been hired to find out where Marion has run off to. Within this arc, Arbogast is killed and Marion's boyfriend and sister are left to investigate.
In the dénouement ('to finish' in French), Norman is arrested for his crimes and the police begin explain that Norman has a split personality (that of himself and his mother).
Tuesday, 17 September 2019
Sunday, 15 September 2019
Sakura vs Haku
Tuesday, 10 September 2019
Smashing Stereotypes - The Gender Equality Collective
Gillette 1989/2019 - Masculinity:
- Traditional vs Contemporary representation of masculinity
- Future audiences - changing brand image
- #MeToo - 2017, global cultural shift in gender politics
Feminism
Definitions
The advocacy of women's rights on the ground of the equality of the sexes.
Origins
In the UK, suffragettes were the first feminists, c. 1900
Still needed?
Globally, yes
Waves of Feminism
First Wave: Late c 19th - early c 20th century UK and US
USA 1843: 300 men and women met to rally for women's rights at Seneca Falls Convention in New York.
In the UK the Suffragettes and Suffragists campaigned for the women's vote. The first Suffrage movement was led by Millicent Fawcent in 1897. Later leaders include Emmeline Pankhurst.
1918: Women over 30 who owned property won the right to vote.
Second Wave: 1960s - 1990s
Inspired by the Civil Rights Movement - focusing on issues like sexuality and reproductive rights (women's right to the pill and attitudes to abortion).
Extended the fight beyond political rights to education, work and the home.
1963: Betty Friedan published The Feminine Mystique in which she argues women were unhappy because of the feminine mystique, a damaging ideal of femininity which she called, "The Happy Housewife" which restricted women to the role of housewife and mother, giving up on work and education.
Feminine accessories such as make-up and high heels as symbols of oppression (cruel exercise of authority) - viewed stereotypical!
1975: Film theorist Laura Mulvey publishes Visual Pleasure and Narrative Cinema which presents the theory of the male gaze.
It is argued that 1st, 2nd and 3rd waves ignore the fight for equal rights and the end to discrimination by women outside the large feminist movements in the UK and US, including working class women and black and ethnic minority women.
Third Wave: 1990s
Ideas beyond middle class , white women, addressing the different disadvantages women experience because of, for example their race, ethnicity and class.
Believed women should each define their own femininity and that traditional feminine traits or accessories did not have to be viewed as outside the realm of feminism. This is and inclusive and progressive feminism. Some key thinkers:
1989: Kimberle Crenshaw introduced the concept of Intersectionality
1990: Judith Butler publishes Gender Trouble
First wave fought for and gained the right for women to vote. the second wave fought for the right for women to have access to and equal opportunity in the workforce, as well as the end of legal sex work discrimination. Third wave of feminism allegedly lacks a cohesive goal!
Intersectionality - the term emerged from work carried out by Bell Hooks, a black American feminist whose work includes Reel to Real: race, sex and class at the movies. Intersectionality as a term was adopted by academic and activist Kimble Crenshaw. It refers to the intersection of race, capitalism and gender, and how those interlocking systems impact us.
Judith Butler:
Butler suggests gender is not the result of nature but is socially constructed.
She views male and female behaviour not as the result of biology but constructed and reinforced through media and culture.
She views gender as performative rather than part of our nature, that we act out our gender.
This theory sees the media and culture as offering men and women a range of 'scripts' for gender roles, which audiences both interpret and perform in their daily lives.
Fourth Wave: 2008-
Post Feminism Theory (During the third and fourth wave)
Waves of Feminism
First Wave: Late c 19th - early c 20th century UK and US
USA 1843: 300 men and women met to rally for women's rights at Seneca Falls Convention in New York.
In the UK the Suffragettes and Suffragists campaigned for the women's vote. The first Suffrage movement was led by Millicent Fawcent in 1897. Later leaders include Emmeline Pankhurst.
1918: Women over 30 who owned property won the right to vote.
Second Wave: 1960s - 1990s
Inspired by the Civil Rights Movement - focusing on issues like sexuality and reproductive rights (women's right to the pill and attitudes to abortion).
Extended the fight beyond political rights to education, work and the home.
1963: Betty Friedan published The Feminine Mystique in which she argues women were unhappy because of the feminine mystique, a damaging ideal of femininity which she called, "The Happy Housewife" which restricted women to the role of housewife and mother, giving up on work and education.
Feminine accessories such as make-up and high heels as symbols of oppression (cruel exercise of authority) - viewed stereotypical!
1975: Film theorist Laura Mulvey publishes Visual Pleasure and Narrative Cinema which presents the theory of the male gaze.
It is argued that 1st, 2nd and 3rd waves ignore the fight for equal rights and the end to discrimination by women outside the large feminist movements in the UK and US, including working class women and black and ethnic minority women.
Third Wave: 1990s
Ideas beyond middle class , white women, addressing the different disadvantages women experience because of, for example their race, ethnicity and class.
Believed women should each define their own femininity and that traditional feminine traits or accessories did not have to be viewed as outside the realm of feminism. This is and inclusive and progressive feminism. Some key thinkers:
1989: Kimberle Crenshaw introduced the concept of Intersectionality
1990: Judith Butler publishes Gender Trouble
First wave fought for and gained the right for women to vote. the second wave fought for the right for women to have access to and equal opportunity in the workforce, as well as the end of legal sex work discrimination. Third wave of feminism allegedly lacks a cohesive goal!
Intersectionality - the term emerged from work carried out by Bell Hooks, a black American feminist whose work includes Reel to Real: race, sex and class at the movies. Intersectionality as a term was adopted by academic and activist Kimble Crenshaw. It refers to the intersection of race, capitalism and gender, and how those interlocking systems impact us.
Judith Butler:
Butler suggests gender is not the result of nature but is socially constructed.
She views male and female behaviour not as the result of biology but constructed and reinforced through media and culture.
She views gender as performative rather than part of our nature, that we act out our gender.
This theory sees the media and culture as offering men and women a range of 'scripts' for gender roles, which audiences both interpret and perform in their daily lives.
Fourth Wave: 2008-
Post Feminism Theory (During the third and fourth wave)
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