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"Gaze in motion pictures."
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Reuse, Misuse, Abuse
In contemporary culture, existing audiovisual recordings are constantly reused and repurposed for various ends, raising questions regarding the ethics of such appropriations, particularly when the recording depicts actual people and events. Every reuse of a preexisting recording is, on some level, a misuse in that it was not intended or at least anticipated by the original maker, but not all misuses are necessarily unethical. In fact, there are many instances of productive misuse that seem justified. At the same time, there are other instances in which the misuse shades into abuse. Documentary scholars have long engaged with the question of the ethical responsibility of documentary makers in relation to their subjects. But what happens when this responsibility is set at a remove, when the recording already exists for the taking and repurposing? Reuse, Misuse and Abuse surveys a range of contemporary films and videos that appropriate preexisting footage and attempts to theorize their ethical implications.
eBook
The Real Gaze
Winner of the 2008 Gradiva Award, Theoretical Category,
presented by the National Association for the Advancement of
Psychoanalysis The Real Gaze develops a new theory of the
cinema by rethinking the concept of the gaze, which has long been
central in film theory. Historically film scholars have located the
gaze on the side of the spectator; however, Todd McGowan positions
it within the filmic image, where it has the radical potential to
disrupt the spectator's sense of identity and challenge the
foundations of ideology. This book demonstrates several distinct
cinematic forms that vary in terms of how the gaze functions within
the films. Through a detailed investigation of directors such as
Orson Welles, Claire Denis, Stanley Kubrick, Spike Lee, Federico
Fellini, Ron Howard, Steven Spielberg, Andrei Tarkovsky, Wim
Wenders, and David Lynch, McGowan explores the political, cultural,
and existential ramifications of these differing roles of the gaze.
eBook
Cinesexuality
Cinesexuality explores the queerness of cinema spectatorship - represented as a unique encounter of desire, pleasure and perversion beyond binary dialectics of subject/object and image/meaning. Through a variety of cinematic examples, the book encourages a radical shift to spectatorship as itself inherently queer beyond what is watched and who watches.
eBook
Hitchcock, Second Edition
First published in 1982, William Rothman's Hitchcock is a
classic work of film criticism. Written in an engaging style that
is philosophically sophisticated yet free of jargon, and using over
nine hundred images from the films to illustrate and back up its
critical claims, the book follows six different Hitchcock films as
they unfold, moment by moment, from first shot to last. In addition
to a thoughtful new preface and the original readings of The
Lodger (1927), Murder! (1930), The 39 Steps
(1935), Shadow of a Doubt (1943), and Psycho
(1960), this expanded edition includes a groundbreaking new
chapter-now the book's longest-on Marnie (1964),
Hitchcock's most heartfelt yet most controversial film. Hitchcock
never tired of quoting Oscar Wilde's line, \"And all men kill the
thing they love.\" Dark moods therefore prevail in the five original
chapters, culminating in the reading of Psycho , but in
demonstrating how Marnie overcomes, or transcends, the
murderous aspect of Hitchcock's art, this new chapter balances the
scales and gives an important new dimension to the book. With
exemplary precision, Hitchcock, Second Edition shows how
Hitchcock films express, cinematically, serious thoughts about such
matters as the nature and relationships of love, murder, sexuality,
marriage, and theater-and about their own medium. In so doing, it
keeps faith with the idea that Hitchcock was a master, perhaps
the master, of what he called the \"art of pure cinema.\"
However, insofar as it investigates philosophically the
conditions of authorship in the medium of film, it is an
auteurist study unlike any other. By attending to the films
themselves and to the ways we experience them, rather than allowing
some theory to dictate what to say about them, the book proves the
fruitfulness of an approach that is open and responsive to the ways
serious films are capable of teaching us how to think seriously
about them.
eBook
Hitchcock : the murderous gaze
First published in 1982, William Rothman's Hitchcock is a classic work of film criticism. Written in an engaging style that is philosophically sophisticated yet free of jargon, and using over nine hundred images from the films to illustrate and back up its critical claims, the book follows six different Hitchcock films as they unfold, moment by moment, from first shot to last.In addition to a thoughtful new preface and the original readings of The Lodger (1927), Murder! (1930), The 39 Steps (1935), Shadow of a Doubt (1943), and Psycho (1960), this expanded edition includes a groundbreaking new chapter-now the book's longest-on Marnie (1964), Hitchcock's most heartfelt yet most controversial film. Hitchcock never tired of quoting Oscar Wilde's line, \"And all men kill the thing they love.\" Dark moods therefore prevail in the five original chapters, culminating in the reading of Psycho, but in demonstrating how Marnie overcomes, or transcends, the murderous aspect of Hitchcock's art, this new chapter balances the scales and gives an important new dimension to the book.With exemplary precision, Hitchcock, Second Edition shows how Hitchcock films express, cinematically, serious thoughts about such matters as the nature and relationships of love, murder, sexuality, marriage, and theater-and about their own medium. In so doing, it keeps faith with the idea that Hitchcock was a master, perhaps the master, of what he called the \"art of pure cinema.\" However, insofar as it investigates philosophically the conditions of authorship in the medium of film, it is an auteurist study unlike any other. By attending to the films themselves and to the ways we experience them, rather than allowing some theory to dictate what to say about them, the book proves the fruitfulness of an approach that is open and responsive to the ways serious films are capable of teaching us how to think seriously about them.
eBook
Reading the Representations of Children and Childhood(s) in Malayalam Films
This article examines the representation of childhood(s) and child characters in Malayalam cinema. Child characters have been constantly used since the beginning of Malayalam cinema to fit into the specific normative roles that are largely inconsequential to the plot. Juxtaposing the evolution of the Malayalam film industry with representations of child roles and child-based films through the decades, this article explores the hegemonic adult gaze that conceptualizes such functions to childhood. The dominant adult gaze structures the film to be a medium for adult consumption, where the child’s body becomes a device, and its ‘intellect’ is largely discredited in films. This indicates the social indifference towards ‘children and childhood(s)’, which equates the child as a belonging/property of the parent (adult) and rejects the child’s ability as a creative individual with an ability to think and perform. The paper argues for a space to explore complex child characters in Malayalam films, but in doing so, it does not support the ‘Child’s’ conception as an ‘Adult’. It urges the need for better understanding from the creators of films, who must be creative, rational, and inclusive in fashioning their child characters.
Journal Article
Guidance in Cinematic Virtual Reality-Taxonomy, Research Status and Challenges
In Cinematic Virtual Reality (CVR), the viewer of an omnidirectional movie can freely choose the viewing direction when watching a movie. Therefore, traditional techniques in filmmaking for guiding the viewers’ attention cannot be adapted directly to CVR. Practices such as panning or changing the frame are no longer defined by the filmmaker; rather it is the viewer who decides where to look. In some stories, it is necessary to show certain details to the viewer, which should not be missed. At the same time, the freedom of the viewer to look around in the scene should not be destroyed. Therefore, techniques are needed which guide the attention of the spectator to visual information in the scene. Attention guiding also has the potential to improve the general viewing experience, since viewers will be less afraid to miss something when watching an omnidirectional movie where attention-guiding techniques have been applied. In recent years, there has been a lot of research about attention guiding in images, movies, virtual reality, augmented reality and also in CVR. We classify these methods and offer a taxonomy for attention-guiding methods. Discussing the different characteristics, we elaborate the advantages and disadvantages, give recommendations for use cases and apply the taxonomy to several examples of guiding methods.
Journal Article
Quasi-Feminism and Identity Exploration in the fifilm Laapata Ladies
[...]the jewelry of marriage is seen as a symbol of maintaining the patriarchal social order, as it glamourizes the dowry system. The journey turns out to be the stage to a new lease on life for her: it enables her to leave a cumbersome and violent marriage, and eventually, continue her education in order to open up new avenues to a brighter and more secure future. Critical Perspective The film attacks commonly perpetrated misogynistic ideologies upheld by the character of Pradeep (played by Bhaskar Jha), who is a morally bankrupt individual upholding the dowry system and domestic violence while trying to rationalize that cheating is justified when your bride is \"lost.\" [...]it shows how police may be corrupt, but may also be instrumental in delivering justice, underlining how social institutions play a vital role in institutionalizing the framework of society.
Journal Article
Breaking the Power Dynamics Behind the Scenes of Turkish Cinema: A Head-count Research
In this research, gender representation and equity in the Turkish cinema industry are investigated through a comprehensive analysis of the top 99 films based on ticket sales, utilizing data from Box Office Turkey. Drawing upon Foucault's concepts of power dynamics and discourse, Althusser's notion of ideological state apparatuses, and Laura Mulvey’s concept of the “male gaze,” the research compiles and categorizes the set crews of these films based on roles such as director, producer, and art director. By examining the gender composition of set crews across various departments, the study aims to illuminate patterns of representation and identify areas for improvement in fostering inclusivity and diversity within the Turkish cinema industry. The findings contribute to a deeper understanding of gender dynamics in Turkish cinema and provide insights for shaping future policies and initiatives to promote gender equality and equitable opportunities for all genders, aligning with an emphasis on power relations and ideological reproduction within societal institutions. The study comprehensively analyzes the gender imbalance within the Turkish cinema industry and emphasizes the need to address systemic barriers and promote inclusivity to enrich storytelling and contribute to broader social justice and equality efforts.
Journal Article