Post 6
Both Devereaux and Brand address the issue of the images presented by film. Devereaux is much more in-depth in supporting her argument and providing examples as Brand’s piece is merely an introduction. Brand contends that in film “the universal subject is historically situated (masculine, patriarchal, imperialistic)” (Brand, 8). Devereaux agrees by addressing the claims that “in cinema the gaze is male, and that the cinematic text is a male text” (Devereaux, 126). Although Devereaux does explain that these feminist claims were not completely grounded, she does acknowledge that in film the industry is male dominated making the male gaze evident at some level, whether at editing or acting, as the system is “owned and operated by men” (Devereaux, 126). Interestingly, although one may argue that women can play the lead roles and direct films, the male-gaze does not simply mean that the viewer is male in anatomy. Women also are subject to being indoctrinated by films to believe in patriarchal assumptions that man is the subject and woman the object (Devereaux, 127). Due to the film industry’s powerful influence on the public, as confirmed by the study of Riefenstahl in the previous posts, gender is of importance in the images that the film presents. For example, the purpose of most movies today is entertainment, or to induce pleasure. However, “this pleasure characteristically takes the form of looking at women” (Devereaux, 132). On the other hand, men are rarely objectified in the presence of and for the pleasure of women. Although some may oppose Devereaux’s argument using evidence of feminist film makers and strong-willed heroines, the author quickly indicates the weakness of their argument. For example, in films such as Woman of the Year, when the strong female character breaks from the norm she is “revealed to be cold-hearted and in need of ‘reeducation’” (Devereaux, 128). In addition, the art of feminist filmmaking is primarily shown only in “film courses and private film societies,” (Devereaux, 139) not necessarily influencing mainstream audiences. Therefore, if any alternate point of view is even allowed to reach the public, the image of a strong woman is portrayed as negative.
Devereaux and Brand also address the issue of the universality of art. Brand indicates that although the theory is under fire, “art and aesthetic attention are both in some sense universal…[with] the same value for everyone” (Brand, 7). Devereaux makes clear that feminists challenge conventions of art interpretation and “propose that we reexamine art’s claim to speak for all of us” (Devereaux, 136). Devereaux explains that feminists base this argument on the idea that art does not speak in a gender-neutral voice and therefore cannot have universality. Rather, “seeing never escapes a way of seeing” (Devereaux, 127). What this phrase indicates is that when a person of any sex looks at a piece of art, he or she has a specific perspective, oftentimes dominated by the male gaze. Thus, due to conditioning from society, patriarchal perspectives are even adopted by female viewers. When a male gaze oriented viewer observes the work, it is with regards to the man as the subject and the woman as the object whose value is defined by her value to the man (Devereaux, 128). Feminists aim to change this pattern by encouraging “focus on the understanding [of] the development of gendered points of view and understanding the diverse positions of the masculine and feminine in culture” (Brand, 15). Interestingly, Brand indicates that “feminists have adapted psychoanalytic insights” (Brand, 15) in order to address such issues, a method to which Devereaux indirectly refers to. For example, when discussing individual perspectives, Devereaux mentions interpretations of the inkblot (Devereaux 122). The inkblot tests are one of the methods developed with Freud and his psychoanalytic theory to diagnose the subconscious. In the same way, society influences the public’s subconscious to the point that male-domination in images takes hold of the viewer’s perspective, often times unknowingly. For example, Devereaux mentions stereotypical images of women as “portraits of the Good Girl, the Vamp, and the Dutiful Wife” (Devereaux, 128) to which one realizes is indeed true, especially in film but also in paintings and scripts. The works below are of particular importance as they all attempt to challenge the male gaze, the first by fooling the viewer, the second by portraying a strong woman and the final by emphasizing the unity and equality of man and woman.
Devereaux and Brand also address the issue of the universality of art. Brand indicates that although the theory is under fire, “art and aesthetic attention are both in some sense universal…[with] the same value for everyone” (Brand, 7). Devereaux makes clear that feminists challenge conventions of art interpretation and “propose that we reexamine art’s claim to speak for all of us” (Devereaux, 136). Devereaux explains that feminists base this argument on the idea that art does not speak in a gender-neutral voice and therefore cannot have universality. Rather, “seeing never escapes a way of seeing” (Devereaux, 127). What this phrase indicates is that when a person of any sex looks at a piece of art, he or she has a specific perspective, oftentimes dominated by the male gaze. Thus, due to conditioning from society, patriarchal perspectives are even adopted by female viewers. When a male gaze oriented viewer observes the work, it is with regards to the man as the subject and the woman as the object whose value is defined by her value to the man (Devereaux, 128). Feminists aim to change this pattern by encouraging “focus on the understanding [of] the development of gendered points of view and understanding the diverse positions of the masculine and feminine in culture” (Brand, 15). Interestingly, Brand indicates that “feminists have adapted psychoanalytic insights” (Brand, 15) in order to address such issues, a method to which Devereaux indirectly refers to. For example, when discussing individual perspectives, Devereaux mentions interpretations of the inkblot (Devereaux 122). The inkblot tests are one of the methods developed with Freud and his psychoanalytic theory to diagnose the subconscious. In the same way, society influences the public’s subconscious to the point that male-domination in images takes hold of the viewer’s perspective, often times unknowingly. For example, Devereaux mentions stereotypical images of women as “portraits of the Good Girl, the Vamp, and the Dutiful Wife” (Devereaux, 128) to which one realizes is indeed true, especially in film but also in paintings and scripts. The works below are of particular importance as they all attempt to challenge the male gaze, the first by fooling the viewer, the second by portraying a strong woman and the final by emphasizing the unity and equality of man and woman.
Joana Vasconcelos, chandelier made of tampons
Vasconcelo’s work is an enormous chandelier made of thousands of suspended tampons. The object is reminiscent of the Venetian glass chandeliers in its elegance and design. Upon first glance one would not realize the material which the art is made of. For example, to those who tend to shy away from abstract or feminist art, the viewer may see only the elegant chandelier. The fact that the creation is composed of tampons lends the message that beauty in art can be seen from any perspective and that perhaps a work or person may look like one thing but have the essence of another. The juxtaposition of material and final product creates irony within the art in which the feminist aspect surprises and may even shock.
Frida Kahlo
Kahlo’s work portrays a somewhat surreal image of a woman lying on a bed in a wasteland surrounded by anatomically representative objects attached to her with string. She is lying naked in the bed with a pool of blood. The image is very symmetrical with the objects and boards of the bed surrounding or perhaps encaging the woman. In the background one can see the image of an industrialized city which may be important in the message Kahlo is attempting to transmit. Notice also that the color scheme uses many shades of brown that seem to dirty the image and the strings and blood are red. The color red is often considered a power color in feminist works. The classic strong woman typical of Kahlo’s paintings also seems small in comparison to the bed and surrounding objects, in fact the baby appears to be as large if not larger than she is. Kahlo is emphasizing the prominence and importance of the feminine role in society. Even in an industrial world where the woman seems to be neglected, the woman’s reproductive roles and anatomy make her essential and strong. The woman’s confidence seems to be portrayed by the way in which she calmly is holding all of the strings representing her roles.
Louise Bourgeois, Seven in a Bed, 2001
Bourgeois’s work, known for its sexual emphasis and eroticism, portrays seven naked entities in human form wrapped around one another. Some of the bodies are connected together and counted as one. The bodies are so close together it is difficult to tell which are male and which are female. When two bodies are kissing they seem to be completely connected at the mouth while others are connected at the back of the head. As seen by the reflection in the glass, the legs line up in perfect harmony lending a unified sense to the work. The expressions on the faces of the bodies are passionate and intensely focused on one another. The joints also look like those of a doll. The way in which all of the bodies are interconnected may be focusing on the way in which bodies are passionate and unite to become one during intercourse. The fact that gender is indiscriminate may emphasize the equality among males and females.
2 comments:
In her post, Amy made an interesting correlation between Freud's psychoanalytic theory and the way that today's society views women and men in terms of art. It is very much an unconscious act when one interprets a work of art that depicts a man or a woman. As Amy also stated, women were viewed as objects, while men were viewed as subjects. By being viewed as a subject, men are given an identity, and the viewer may even be able to relate to him. However, when women are viewed as objects, they do not have an identity, and rather than trying to relate to them or find a connection to them, the viewer instead critiques their appearance and actions in the painting. The art world is male dominated, yet it remained that way for so long because most people did not think about it, but rather inadvertently accepted it as normal.
The point you brought up about the cinematic gaze is a very strong one because of the relation it has to one of the statistics Shakirra pulled up in her post. She had a billboard which read, “Even Congress is more progressive than Hollywood” and below were the statistics that 14% of US Senators were women while only 4% of Hollywood filmmakers were women. Devereaux point which you invoked in your post has solid ground on which she can make her claims. It goes back to the discussion we had in class that when even if women are either the lead role or directing a movie, they still function within the frameworks of the male gaze. There is this conformity ever-present because anyone who tries to defy it becomes the laughingstock of the film industry. On another note, the chandelier made out of tampons evokes an interesting sensation because this was an elegant and intricately elaborated chandelier. Our associations will label it as beautiful because it radiates light, white light, a pure light. When we find out it’s made out of tampons, it offsets the viewer because tampons are not associated with radiance and purity. We have this almost instinctive revulsion when we deal with anything associated with the female’s menstrual cycle. Given all this evidence, we consider our society to be much more progressive than it actually is.
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