m report week 1: WATCHING FILMS
Oct 1, 2021 7:20PM
Qingming Jiang
1.
In the article “cinema as window and frame,” the authors’ main ideas are about window and frame,
presenting the similarities between the two concepts (Elsaesser & Hagener, 2010). The authors identify
that the similarities are that both concepts offer a desirable effect and aspect to an event to
accommodate curiosity. The main differences are that the window concept represents transparency
while the frame concept represents the film’s blocked surface/ nature.
The main concept in Andre Bazin’s articles is the main idea about the major differences between
painting and cinema. The author presents cinema as a space where people can be real and present
natural ideas without adding more aspects. He explains that cinema has a natural explanation (Bavin,
1960). The idea of painting allows the artists to add expressions to their art and provide an illusion
that would entirely satisfy people’s appetites. Therefore, both cinema work and painting are the work
of artists.
2.
Both texts show the association between the natural world where it is easy to see all themes and the
main ideas the film has and a created world where one has to look for the main themes. For example,
the window which shows transparency shows how the natural aspect of a film makes it possible to
understand everything about it from a natural viewpoint. Both articles have also made it clear that
there is not much difference between frame and painting because it is easy to express oneself from
both. Window and frame separate reality and fiction, similar to painting separated from the reality by
a frame presents.
3.
Before reading the texts, I assumed that the films and cinema work was not the work of nature but all
an illusion. However, the texts have helped me see that the same way paintings are natural but
separated from reality, films are also a presentation of natural ideas, and any added aspects are only
ways to make the films more satisfactory.
4.
The main concepts that stood out for me were the role of the frame in painting and films. The most
interesting idea about the film was that it separated the natural world from the pictures and the ideas
a person expresses themselves through. It did not make sense to me at first that the frame helps
create a form that one cannot make geometrically, hence a barrier between reality and an idea.
Looking at it from that view makes it more interesting.
Work Cited
Bavin, A. (1960). The Ontology of the Photographic Image. Film Quarterly, 13(4), 4-9.
Elsaesser, T., & Hagener, M. (2010). Cinema as Window and Frame. New York and London: Routledge
Taylor & Francis.
report week 2: THE FACE
Oct 8, 2021 8:53PM
Qingming Jiang
What are the authors’ main arguments?
Bela Balazs’s argument on cinema as a mirror is that Griffith brought an entirely different dimension
when he intertwined the actor’s heads full size, one after another, into human interaction scenes. Bela
Balaz said that this brought characters into proximity in the same space. This was pure genius.
According to Bela, Space and physiognomy have a relationship just like that of time, and melody and
expression are made possible in the film when the relation of facial muscles are close to one another
In space (Balazs & Carter, 2011). The close-ups teach us that sometimes we can read the face more
than what is written down. The other argument is on facial expression. They often bring out another
side of the film that can not be written down in a script.
An example is when bandits surround an actor; his facial expression signifies to the audience that he
is indeed in distress. Espen argued that in cinemas, there are no “stories” (Epstein, 2012). He
condemned artificial narratives in acting and focused more on human drama and emotions. Jean
Epstein believed that artificial narratives belonged in theater and novels but not in the film.
How texts Dialogue with one another
In theater, the characters should be ready-made to fit the text perfectly, and all that is left is to find a
performer who corresponds to the word and image. Through this, the director will not need to
exaggerate or throw in stereotypical gestures or change the script; everything will flow naturally.
Balaz’s and Epstein’s explanation on early film.
Bela Balazs sheds light on how to experience silent films. The theorist dived into the exploration of
poetic and symbolic understanding of film. Bela explained how important it is to choose the correct
characters for the play and how facial expressions can bring new meaning into a film. In his word, he
said, “don’t try to act! Just think and feel the situation” (Balazs & Carter, 2011). Jean Epstein, on the
other hand, introduced photogenic as a point of view in filmmaking. He described it to be a symbolic
way of thinking about film. His whole concept of this was to deepen understanding and enjoyment
of films. However, not all films can possess this quality due to the lack of understanding of human
emotions and drama.
Your comment on the author’s argument about something stood out to you.
What stood out for me is how Jean Epstein developed his theory on photogenic in an era where the
film was still in its early stages. In the early nineteen hundreds, people were fascinated by moving
pictures alone, but Jean valued aesthetics, human emotions, and the film’s storyline. His theory was
genuinely remarkable.
Reference
Balazs, B., & Carter, E. (2011)” Bela Balazs: Early Film Theory” (3rd ed., pp. 3-15). Berghahn Books.
Epstein, J. (2012). Jean Epstein: Critical Essays and New Translations. Bibliovault.org. Retrieved 8
October 2021, from https://www.bibliovault.org/BV.book.epl?ISBN=9789089642929.
report week 3: FEMINIST FILM THEORY: IMAGE AND SOUND
Oct 15, 2021 9:29PM
Qingming Jiang
Authors’ main arguments
The Voice in the Cinema is the cinematic work done by Marry Ann Donne. The author discusses the
incorporation of voice in the cinematic presentation work. Donne asseverates cinema has been
inaudible since the audience assumes the voices in the cinematic presentation to be coming from the
body despite the presence of off-screen voices; the audience’s acceptance of the off-screen voice is
based on the understanding of space in the cinema. On the other hand, is the work of Laura Mulvey
in Visual and Narrative Cinema. Mulvey takes a fundamental interest in the narrative pleasure of the
male actors. According to Mulvey (1989), the film industry has been dominated by males for many
years, thus urging the industry to develop new strategies that accommodate feminists’ authors to end
male chauvinism.
The spectator that the authors are discussing/imagining
The spectators addressed by these two authors are active viewers. They should enjoy the pleasure
derived from the film. The authors have another perspective about the spectators other than being
inactive viewers but considers them as active audiences responding and taking action directly as
projected on the screen. Based on the film’s content, spectators play an influential role outside the
film where the pride of the spectator takes over while giving out the views of the film.
The common sense the authors dialoguing with (or against)
Donne and Mulvey, in their work, try to reason the essence of ensuring that film viewers enjoy the
pleasure intend to be derived from the cinematic presentation. The core common sense evident in
their work is the use of voice and the motion of images while creating the cinematic presentation to
entice the viewers. For instance, in most cases female figure has been incorporated to establish a
lustful gaze of the male protagonist. Mulvey argues that most films using female figures intend to
provide a pleasurable visual experience for males.
How do the texts dialogue with one another
Both Donne and Mulvey have outstanding pieces of works in the analysis of the contemporary film
industry. The two forms of dialogue texts indicating the importance of voices and images in films as
crucial elements are forming the pleasure anticipated by viewers. The spectators are interested in the
film’s storyline with an expectation of hearing what they see on the screen. As the film gets intense,
the spectators get carried away by the motion of the images and the voices coming from different
characters within the film. Therefore, the sound and motion of the images are elements of a good
movie stratifying the audience.
How do they change your own view of film
The two articles contain a lot of vital information that individuals can learn. My view on film has been
dramatically impacted in this essence, and I am sure not me but others too; not all films are satisfactory
to the audience as they may lack some crucial elements. This film has meat all the essential aspects
of a good movie. Thus, for a captivating film, the motion of image and voices must go hand in hand
to create viewer satisfaction.
Your comment on something that stood out to you, or that you’d like more explanation on
The Voice in the Cinema is the cinematic work done by Marry Ann Donne, and one thing that stood
out throughout the work is the impact of silent films on the viewers. They create a monotony impact
on the viewers, making them lose interest in watching the movie. Hence film industry should
incorporate sound that goes alongside the motion of images. Also, the impact of the female figure in
the film is something else that stood out.
Works Cited
Doane, M. A. (1980). The voice in the cinema: The articulation of body and space. Yale French Studies,
(60), 33-50.
Mulvey, L. (1989). Visual pleasure and narrative cinema. In Visual and other pleasures (pp. 14-26).
Palgrave Macmillan, London.
report week 4: RACE ON SCREEN
Oct 22, 2021 11:07PM
Qingming Jiang
Hi Guanxin,
I agree with your point of view. The main arguments of the two articles are racial discrimination and
the unequal representation of Hollywood. As you said, whites are always given a good impression,
while the opposite blacks are always given a bad impression. I strongly agree that black people are
marginalized in making and watching Hollywood movies
from report week 4: RACE ON SCREEN
Oct 22, 2021 11:45PM
Qingming Jiang
What are the Authors’ Main Arguments?
The authors’ main arguments in the two articles are racial discrimination and unequal representation
in Hollywood. The article “Black Spectatorship” by Manthia argues about the problems of racial
identification and resistance in Hollywood, while “White” by Richard Dyer argues about the
representation of whites in Hollywood. In their writings, the authors emphasize mixed reactions
expressed by spectators when Hollywood excludes either whites or blacks from their films.
The Spectator that the Authors Are Discussing
The authors do not directly point out any individual spectator. Still, they use this concept to express
their feelings towards racial differences and color representations in the broader film industry. For
instance, in the article “White,” Richard Dyer writes that whiteness is not generally discussed because
it is primarily viewed as the norm. Diawara, in the article “Black Spectatorship’ notes that “there are
spectators who denounce the result and refuse to suspend their disbelief” (Diawara,.1993, p. 66).
Regarding this, I think the authors are talking about blacks and whites as spectators in their articles.
The Common Sense that the Authors Are Dialoguing with
The common sense that the authors are dialoguing with is the representation of blacks and whites in
films. From that time in history, blacks were included in films to oppose the conventionalization of
race, gender, and ethnicities. The authors have highlighted various senses within which blacks and
whites are included in films. Richard Dyer has highlighted the sense of white representation while
Diawara has communicated with black representation in Hollywood.
How do the Texts Dialogue with one another?
The texts in the two articles dialogue with one another by discussing the representation of two
different racial communities (Blacks and Whites) in film. The article “Black Spectatorship” directly
dialogues with the article “White.” The authors argue about the characterization of whites and blacks
in movies. The authors considerably focus on the representative techniques adopted by human
species to view themselves based on their ancestral history and culture. For instance, Dyer explains
how humans viewed Whites as the norm in Hollywood films (Dyer.,2017). Dyer and Diawara focus on
movies as a controlling mode of communication during the 20th century. In addition, the authors
have carried out an extensive analysis of both racial groups (Blacks and whites) and concluded on
how they were and are supposed to be represented in films.
How the Authors Change My view of Film and Media?
The authors have changed my view of film and media by shading much light to my perception of
black and white characters. I think that it is fair for all races to be equally represented in film and
media. Equal representation of all races will convey the message that everybody is important in this
world. All humans should be treated with the utmost respect and fairly, regardless of their ethnic
groups, race, or gender (Trebbe et al.,2017). I now view media and film as an essential medium in
creating awareness about racial equality.
The Implications of Diawara’s and Dyer’s Theories
Diawara’s and Dyer’s theories imply that since film and media is an advanced mode of message
conveyance, it should be accompanied by equal representation of all races. Their theories conclude
that humans should change their perceptions about themselves regarding representation in film and
media. In addition, the authors imply that some unequal representation in films and media is largely
influenced by political parties’ affiliation. Some spectators are noted politicizing the representation
process in films and media.
My Comment on Something that Stood out to me or needs more Explanation
Something that stood for me in the two articles that I would like an explanation for is what Hollywood
films do to promote diversity and inclusivity of all races in the film industry. I want to get a more
comprehensive view of the measures taken by film companies towards equal representation of people
from different racial communities. I want more Explanation on how Hollywood films would benefit
from the fair and equal representation of their members.
References
Diawara, M. (1993). Black Spectatorship: Problems of Identification. Black American Cinema, 211.
Dyer, R. (2017). White. 20th Anniversary Edition. New York City: Routledge.
Trebbe, J., Paasch‐Colberg, S., Greyer, J., & Fehr, A. (2017). Media representation: Racial and ethnic
stereotypes. The international encyclopedia of media effects, 1-9.
report week 5: RACE BEFORE THE SCREEN
Oct 29, 2021 4:32PM
Qingming Jiang
The Authors’ Main Arguments
The authors’ main arguments in the two articles are a misrepresentation of Asian contributors in an
Asian contextualized film and unequal representation of blacks and whites in film production. The
article “Oppositional Gaze” by Hooks argues that black people, especially females, are entitled to
observe or gaze while on and off the screens. The author links her experiences in oppressions on and
off films with the blacks’ “rebellious desire” to gaze. The article “Asian Futures without Asians” argues
that film contexts were drawn from Asian cultures, but Asian contributors were not equally included
in the films.
The Spectators that the Authors’ are Discussing
The author of the article “Oppositional Gaza” directly points out black female spectators in her writings.
However, the author of the article “Asian Futures without Asians” does not directly point out any
individual spectator but uses the term ‘Asian’ to talk about individuals who belong to Asian ethnicities.
For instance, in the article “Oppositional Gaze,” bell hooks tend to contest for an equal environment
that would enable black female spectators to record their visual experiences and establish their
contents with their own feelings. In the article “Asian Futures without Asians,” the author uses his
argument to communicate to spectators from Asian ethnic communities.
The Common Sense that the Authors are dialoguing with
The common sense that the two authors are dialoguing with is the denied rights for black females to
openly record their visual experiences and misinterpretation and misrepresentation of Asians in and
off the films industry. During the time of the authors’, blacks, especially females, were denied rights
to document their visual perceptions. In the same way, Asians were not included in films and shows
that were primarily made from Asian contexts. Bell hooks have analyzed the sense of a black woman’s
right to look or gaze, and Astria Suparak has explored the common sense of including people from
Asian ethnic communities in films contextualized with Asian cultures.
How these texts complement Diawara and Dyer’s texts
In analyzing the two articles, it is clear that they complement Diawara and Dyer’s texts. Since Diawara
and Dyer’s texts talk about the representation of blacks and whites in film, these two articles
complement their texts by talking about the representation of black females and Asian contributors
in the broader film industry. A good example is hood’s article “Oppositional Gaze,” which talks about
the oppression of black females on and off the screens. This article, in particular, complements
Diawara and Dyer’s texts that also talk about the representation of black and white females in films.
My Connections of the “Oppositional Gaze” to the films “K’Bela” and “Black Girl.”
I can connect the article “Black gaze” to the films “K’bella” and “Black girl” by how the characters and
producers in those films express their feelings. For instance, black girl film is about a black girl who
moves from her motherland to work for a wealthy family in France (The criterion collection.,n.d). Her
oppressions as a black female connect to the article “Oppositional Gaze,” which talks about the rights
of black females in expressing their voices and feelings (Hooks.,2003). The three materials highlight
how black women document and converse with their spectators through films (KBELA Filme,2018).
My Comment on Something that Stood out to me and that I would like more Explanation on.
The thing that stood for me in the two articles and films that I would like an explanation for is measures
that film producers are taking to ensure equal representation of black females in their movies. I want
to comprehensively understand what should be done to include Asian contributors in films and shows
that express their culture. Additionally, I want a clear understanding of how films would benefit from
a fair representation of actors.
The two articles and films highlight the poor representation of the black race and Asian contributors
in movies and media. The authors argue that everyone deserves a right to voice their feelings and be
featured in films and media shows that talk about them. The articles are well-analyzed to give readers’
a detailed and simplified experience while learning about films.
References
Hooks, B. (2003). The oppositional gaze: Black female spectators. The feminism and visual culture
reader, 94-105.
The Criterion Collection. (n.d). Black Girl [Video]. https://uci.kanopy.com/product/black-girl
KBELA Filme. (31 Jul 2018). KBELA – O Filme [Video]. YouTube. https://youtu.be/LGNIn5v-3cE
report week 6: FEELING, CONTAGION, PLEASURE
Nov 5, 2021 10:59PM
Qingming Jiang
What are the authors’ main arguments?
The authors’ main arguments in the “Film bodies: Gender, Genre, and Excess” by Linda William analyze
how gender, genre, and excess as the genres of films with the underlying elements of emotions,
violence, and sex. The pleasure and values of the society come out when the author analyzes the
cultures of past and present hence leading to the three genres of films. Certain types of pleasure are
achieved from each type of element in pornography, melodrama, and horror. The main figures
associated with portraying those elements are the women, in which she says, “…women figured on
the screen have functioned traditionally as the primary embodiments of pleasure, fear, and pain” (373).
The shouts and screams of fear in horror, the amusement is the convulsion or spasm in porn, and the
snivel of torment in melodrama. The significant feature within the three is the excess of the body in
pornography, melodrama, and horror films.
In Jane M. Gaines’ political Mimesis’, the audience takes the documentary’s main argument type of
action and reaction. Hence the political documentary argument presented in the body is contributed
by the reaction that occurs within the film. The political documentary is made exactly for the audience
to get a reaction.
According to the authors, how does the spectator’s body participate in the act of seeing a film?
The spectator’s body participates by reacting to the images displayed on the screen. It is evident when
Linda Williams states that “despite its concern with all manner of gross activities and body functions,
has not been deemed gratuitously excessive is physical clown comedy-probably because the
audience’s reaction does not mimic the sensations experienced by the central clown. Indeed, it is
almost a rule that the audience’s physical reaction of laughter does not coincide with the oftendeadpan reactions of the clown” (144). The body responds by trying to imitate what is on the screen.
In Jane Gaines’s text, “Political Mimesis,” she describes that the audience is moved to react according
to what is being presented on the screen.
How do the dialogue of the text with each other?
The texts interact with one another in situations where the film affects the audience’s body. Linda
Williams shows how the three genres (Gender, Genre, and Excess) react from the film to the audience’s
bodies. The spectator’s body reacts and acts according to what is shown in the film due to the strong
response of the body.
The two texts explain what happens to the body when the film is shown or demonstrates strong
feelings to happen beyond the screen.
How did they change the way you understand or relate to film?
The texts changed the ways I understand and view films hence associating the reactions from watching
a film. I can now consider the influence on our body behavior like fear, emotions, and sadness when
watching a film, inspiring individuals, and expanding my basic knowledge of films. Films can also
create violence and bad habits contributing to a bad message to the body and public.
Your comment on something that stood out to you or that you’d like more explanation on.
I wonder why the main figures associated with portraying those genres’ elements are the women. It
is not just a regular body that becomes the object of spectacle. Still, the female body and it is through
“the sexual maturation of the female body that audiences of all sorts have received some of their
most powerful sensations” (373).
References
Gaines, J. (1999). Political mimesis. Collecting visible evidence, 6, 84-102.
Williams, L. (1991). Film Bodies: Gender, genre, and excess. Film quarterly, 44(4), 2-13.
report week 7: Lived Media
Nov 12, 2021 7:59PM
Qingming Jiang
Sobchack’s argument
Precisely, the author’s main argument is about the impact of technology on the film production
industry. Vivian Sobchacksays that the various forms of technology have greatly influenced modalities
and our means of expression and signification. Additionally, the author suggests that these
technologies have had an enormous impact historically. The spatial and temporal coordinates
gradually in-form and orient our personal, social, and bodily existence. Vivian Sobchackexplains how
in the United States, people are living in electronic and cinematic lives because all of them are part of
a moving-image culture. She says so because people watch televisions, music videos, have
camcorders, videotapes, children are granted permission to play computer and video games, do
shopping and banking online, and do their academic papers online. Therefore, the cinematic,
electronic, and photographic media historically constitute gradual forms of alteration to our cultures.
The author further suggests that the correspondent changes in our technologies are grounded in the
belief that historical changes in our sense of space, time, and existential. However, Martin Heidegger,
at the beginning of the essay, reminds us that something bigger must be considered because the
essence of technology is nothing technological. Therefore, technology does not come to be the
specificity of a particular material and functions in the context of neutrality to neutral effect. Instead,
it should be historically informed and not by its materiality alone but rather by social, political, and
economic context. Both must express and constitute not merely technological value but cultural
values also.
Three different types of media (photograph, film, and digital)
Vivian Sobchack says that Jameson located the photographic representation and perception mode in
the 1840s during the duration of market capitalism. The period was accelerated by technological
innovations steered by the mechanization of steam power. Unprecedented industrial expansion was
geared, which led to the advance of realism cultural logic. Jean-Louis figures out that in the 19thsecond half-century, life was frenzy visible due to the multiplication of social images. However, the
whole world became visible due to the expansion of ideas that led to a geographical extension of the
visual field, which was geared by journies, explorations, and colonization. Photography has recently
developed into the world’s is actual existence and concrete capture. The film media is entirely
dependent on photography. Individuals’ scenes are interconnected using the literal material signifiers
but not through psychological motivations or narrative causality at the local and human level of
narrative coherence. Films can show what is taking place by using motions as the pictures shown to
us in continuous movement. Film media mimics photography, but the film is ongoing. The digital
media diffuses through the flesh of the human body due to its representation of phenomenological
diffusion. However, it is significant intention is to use lived-body subjects, which tends to marginalize
the human body.
My experience as a spectator
Vivian Sobchack reminds me of the old days when a few people owned a television. During certain
days children could camp at one homestead, which had the privilege to own a television to watch
some programs or movies. It was fascinating as darkness is the only thing that could send the kids
away. Additionally, photographs used to be taken during particular occasions like the x-mass period
or a specific event because there were few photographers, and it was pretty expensive. However, due
to technology, the photograph industry and film industry has significantly evolved.
report week 8: televisual materialities
Nov 19, 2021 1:57PM
Qingming Jiang
1.
What are the authors’ main arguments?
In her article, Tina Kendall’s main idea demonstrates how the COVID-19 pandemic made a wide
difference in people’s lives, creating physical, mental, and health implications (Kendall). Everyone from
around the world had to turn to TikTok and Netflix, and other online platforms to reduce their
boredom, and this also generally shaped their living styles and health.
Tanya Horeck explains in her article on binge-watching how staying home to be safe from the
pandemic affected people on another level since the only thing they could do was spend more time
on TV (Horeck). She explains this as a comfort blanket and social communion, good business for
Netflix and other online and movie platforms.
According to Jane Feuer, modern society is built around TV films and shows, which have shaped our
lives today (Feuer). Jane also explains the idea of liveness in TV, where there is direct experience and
joy, but sometimes the television has been for background noise while doing other things.
2.
How would you say these authors bring the situation of spectatorship into their theories? What
new perspectives does it allow for?
All the authors have brought the concept of spectatorship as a way of reducing boredom. Tina
and Tanya explain how watching Netflix and TV programs had set a broader way for people to get
rid of boredom, especially during the pandemic when activities were few. They also point out that
being spectators has created other circumstances for people, making their lives different from what
they used to be. For example, TikTok has made people free enough and broader to try out new things
such as different dances and challenges. According to Jane, the concept of spectatorship in TV
watching is commanding attention without really watching. In this case, people could have their TVs
on just for the background noise.
3.
What is the usual assumption that the authors are dialoguing against?
The author is dialoguing against the fact that watching and spending more time on phones
scrolling was a way of liveness. The articles also dialogues against the fact that watching is a way of
preventing boredom. In other ways, it creates a connection with people such that it becomes routed
to us. Jane explains that sometimes people enjoy the background noises.
4.
How would you build a connection between the readings?
The main connection between the readings is that in as much as the authors explain the
relevance of watching and scrolling in reducing boredom and making people’s lives more interesting,
they also point out the negative impact of binge-watching. However, the readings also point out the
connection Netflix and TV have played in connecting the family and causing unity. On the other hand,
television and the internet also set some standards and liveness that create a lot of pressure, creating
mental wellness challenges.
5.
Your comment on something that stood out to you or that you’d like more explanation on.
The articles stood out because the authors explained the implications of binge-watching from
both a negative and positive perspective. In this case, it is easy to know the positive ways watching
and spending a lot of time on phones has on our lives. For example, they were involved in physical
activities they watched, which is good for health and mental well-being. I would love more explanation
on the ways TV could be changed to ensure that people use it to get closer to their families. For
example, which shows could more likely bring families together and the ways and ways people could
misinterpret the implications of watching. In this case, the mental challenges that result from watching.
Works Cited
Feuer, Jane. “The Concept of Live Television: Ontology as Ideology”
Tina, Kendall; From Binge-Watching to Binge-Scrolling: TikTok and the Rhythms of #LockdownLife.
Film Quarterly 1 September 2021; 75 (1): 41–46.
Tanya, Horeck; “Netflix and Heal”: The Shifting Meanings of Binge-Watching during the COVID-19
Crisis. Film Quarterly 1 September 2021; 75 (1): 35–40.
report week 9: Digital Dreams
Nov 28, 2021 11:31PM
Qingming Jiang
What is Wendy Chun’s argument?
In “Scenes of Empowerment.” Control and Freedom: Power and Paranoia in the Age of Fiber Optics”
Wendy Chun explores how the internet was initially marketed as a channel of barricading or
eliminating the “Race Problem” (Chun, 2008). The author stresses that the media control interface’s
(MCI) commercial anthem intentionally portrayed racially marked people to accentuate digital media’s
capacity to free people from the limitations of racial prejudice. However, Chun claims that such a
move also diminished the accountability for acts of individual and institutional racism as it insinuates
the burden of racism belongs to certain people, and only the affected people have a responsibility to
address this problem (Chun, 2008). In other words, Chun argues that the notion of MCI’s commercial
is that those racially discriminated against are still happy with the inequality because they are pleased
in another aspect of life.
What is the fantasy about the internet conveyed in the video Anthem (1997) by MCI? What are the
possible consequences of that?
Anthem (1997) shows that the internet has blocked real-life people in the name of virtual connections
and interactions. The two main characters – Shainee Gabel and Kristin Hahn, resigned from their jobs
at Hollywood because they were missing out on the fundamental things about life. The 26-year-olds
rented a car and hit the road across the states to enjoy the world and meet new people (Gabel &
Hahn, 2008). Therefore, the internet creates an illusion that living virtually is okay and does not
negatively affect life in general. As a result, people have become distanced from each other. Family
and friends are no longer holding gatherings and get-togethers, and the real meaning of social life
is being eroded day by day.
How would you relate these early dreams about the internet with how the internet is right now? Link
it with our readings from last week
The world would not be what it is today without the power of the internet. The internet was seen as
a component for only complex tasks such as military operations in the early days. No one had an idea
that the internet would be helpful at the individual level and become part of day-to-day activities.
Some critics of internet connectivity perceived its development as a threat to physical interactions,
paperwork, and human input in various activities. However, the benefits of the internet have proved
to surpass its shortcoming. Today, the internet is integrated into every aspect of our lives, including
leisure, working, socializing, etc. It is an enabler phenomenon with a colossal force that reshapes the
world.
Your comment on something that stood out to you or that you’d like more explanation on
From an individual point of view, what stood out in the discussion of the development of the internet
is how it is used as a tool to perpetuate racism. White people are the culprits of structural and
institutional racism that is rampant across the United States. In this case, it is absurd to insinuate that
racism is the problem of people of color, and they are the only ones that can eliminate it. Worst still,
MCI’s commercial stresses that people of color are “happy” with racial inequalities, while that is not
the case. In the age of colorblindness and white fragility, the perpetrators of racism – Whites continue
to distance themselves from racism despite carrying on with it in the background.
References
Chun, W. H. K. (2008). Control and Freedom: Power and paranoia in the age of fiber optics. MIT Press.
Gabel, S. & Hahn, K. (Directors). (1997). Anthem. [Film].Gabel-Hahn Productions
Modules
1. WATCHING FILMS
• Thomas Elsaesser, Malte Hagener – chpt1.pdfAttachment
Thomas Elsaesser, Malte Hagener – chpt1.pdf
• film: Rear Window (Hitckcock, 1954)External Url
film: Rear Window (Hitckcock, 1954) Links to an external site.
• Bazin_Painting_and_Cinema_page_164.pdfAttachment
Bazin_Painting_and_Cinema_page_164.pdf
• bazin-ontology-photographic-image.pdfAttachment
bazin-ontology-photographic-image.pdf
• report week 1: WATCHING FILMSDiscussion Topic
report week 1: WATCHING FILMS
Oct 1
35 pts
• 09.28.21 slides.pdfAttachment
09.28.21 slides.pdf
2. THE FACE
2. THE FACE
• Elsaesser, Hagener, “Cinema as Mirror: the Face and Close-up.” (link to library e-copy)External
Tool
Elsaesser, Hagener, “Cinema as Mirror: the Face and Close-up.” (link to library e-copy)
• Balazs_The Close Up.pdfAttachment
Balazs_The Close Up.pdf
• Epstein_on certain characteristics of photogenie.pdfAttachment
Epstein_on certain characteristics of photogenie.pdf
• The Big Swallow (Williamson, 1901)External Url
The Big Swallow (Williamson, 1901) Links to an external site.
• Limite (Mário Peixoto, 1931)External Url
Limite (Mário Peixoto, 1931) Links to an external site.
• report week 2: THE FACEDiscussion Topic
report week 2: THE FACE
Oct 8
0 pts
• 10.05.21 slides.pdfAttachment
10.05.21 slides.pdf
• 10.07.21 slides.pdfAttachment
10.07.21 slides.pdf
3. FEMINIST FILM THEORY: IMAGE AND SOUND
3. FEMINIST FILM THEORY: IMAGE AND SOUND
• Doane_Voice and the Cinema.pdfAttachment
Doane_Voice and the Cinema.pdf
•
at-home screening for Oct 12: “Her” (Spike Jonze, 2013)External Url
at-home screening for Oct 12: “Her” (Spike Jonze, 2013) Links to an external site.
• mulvey_visualpleasure.pdfAttachment
mulvey_visualpleasure.pdf
• 110 10.12.21 slides.pdfAttachment
110 10.12.21 slides.pdf
• 110 10.14.21 slides.pdfAttachment
110 10.14.21 slides.pdf
• report week 3: FEMINIST FILM THEORY: IMAGE AND SOUNDDiscussion Topic
report week 3: FEMINIST FILM THEORY: IMAGE AND SOUND
Oct 15
35 pts
4. RACE ON SCREEN
4. RACE ON SCREEN
• Diawara_Black Spectatorship.pdfAttachment
Diawara_Black Spectatorship.pdf
• richard-dyer-white-1.pdfAttachment
richard-dyer-white-1.pdf
• at-home screening for Oct 21: Night of the Living Dead (George Romero, 1968)External Url
at-home screening for Oct 21: Night of the Living Dead (George Romero, 1968)
• report week 4: RACE ON SCREENDiscussion Topic
report week 4: RACE ON SCREEN
Oct 22
35 pts
• 110 10.19.21 slides.pdfAttachment
110 10.19.21 slides.pdf
• 110 10.21.21 slides.pdfAttachment
110 10.21.21 slides.pdf
5. RACE BEFORE THE SCREEN
5. RACE BEFORE THE SCREEN
• bell hooks – oppositional gaze.pdfAttachment
bell hooks – oppositional gaze.pdf
• at-home screening for Oct 26: Black Girl (Ousmane Sembene, 1966)External Url
at-home screening for Oct 26: Black Girl (Ousmane Sembene, 1966)
• in-class screening – K’bela (Yasmin Thayná, 2015)External Url
in-class screening – K’bela (Yasmin Thayná, 2015)
• Suparak_Asian Futures.pdfAttachment
Suparak_Asian Futures.pdf
• in-class screening: “Virtually Asian” (Astria Suparak, 2021)External Url
in-class screening: “Virtually Asian” (Astria Suparak, 2021) Links to an external site.
• report week 5: RACE BEFORE THE SCREENDiscussion Topic
report week 5: RACE BEFORE THE SCREEN
Oct 29
35 pts
•
110 10.26.21 slides.pdfAttachment
110 10.26.21 slides.pdf
• 110 10.28.21 slides.pdfAttachment
110 10.28.21 slides.pdf
6. FEELING, CONTAGION, PLEASURE
6. FEELING, CONTAGION, PLEASURE
• Linda Williams_Film Bodies.pdfAttachment
Linda Williams_Film Bodies.pdf
• Gaines_PoliticalMimesis.pdfAttachment
Gaines_PoliticalMimesis.pdf
• at-home screening for Nov 4: La Hora de Los Hornos (Fernando Solanas and Otavio Gettino,
1968)External Url
at-home screening for Nov 4: La Hora de Los Hornos (Fernando Solanas and Otavio Gettino,
1968) Links to an external site.
• report week 6: FEELING, CONTAGION, PLEASUREDiscussion Topic
report week 6: FEELING, CONTAGION, PLEASURE
Nov 5
35 pts
• 110 11.04.21 slides.pdfAttachment
110 11.04.21 slides.pdf
7. LIVED MEDIA
7. LIVED MEDIA
• Sobchack_Scene of the Screen.pdfAttachment
Sobchack_Scene of the Screen.pdf
• Le Jetée (Chris Marker, 1962)External Url
Le Jetée (Chris Marker, 1962) Links to an external site.
• report week 7: Lived MediaDiscussion Topic
report week 7: Lived Media
Nov 12
35 pts
• 110 11.09.21 slides.pdfAttachment
110 11.09.21 slides.pdf
8. TELEVISUAL MATERIALITIES
8. TELEVISUAL MATERIALITIES
• feuer-the-concept-of-live-television.pdfAttachment
feuer-the-concept-of-live-television.pdf
• Kendall_Binge-Watching Binge-Scrolling.pdfAttachment
Kendall_Binge-Watching Binge-Scrolling.pdf
• Horeck_Binge Healing.pdfAttachment
Horeck_Binge Healing.pdf
• report week 8: televisual materialitiesDiscussion Topic
report week 8: televisual materialities
Nov 19
35 pts
9. DIGITAL DREAMS
9. DIGITAL DREAMS
• MY BINGE: Nov 23 in-class writingAssignment
MY BINGE: Nov 23 in-class writing
Nov 23
0 pts
• chun_scenes of empowerment.pdfAttachment
chun_scenes of empowerment.pdf
• Watch (in-class) Nov 23: “Anthem” (MCI, 1997)External Url
Watch (in-class) Nov 23: “Anthem” (MCI, 1997) Links to an external site.
• report week 9: Digital DreamsDiscussion Topic
report week 9: Digital Dreams
Nov 28
35 pts
10. THE BODIES OF THE ALGORITHMS
10. THE BODIES OF THE ALGORITHMS
• Noble_Searching for Black Women.pdfAttachment
Noble_Searching for Black Women.pdf
• Watch for Dec 02: “Are we automating racism?”External Url
Watch for Dec 02: “Are we automating racism?” Links to an external site.
• Read for Dec 2: Facial recognition systems show rampant racial bias, government study finds
(CNN)External Url
Read for Dec 2: Facial recognition systems show rampant racial bias, government study finds
(CNN) Links to an external site.
• report week 10Discussion Topic
report week 10
Dec 3
35 pts
• FMS110 11.30.21 slides.pdfAttachment
FMS110 11.30.21 slides.pdf
Purchase answer to see full
attachment
Oct 1, 2021 7:20PM
Qingming Jiang
1.
In the article “cinema as window and frame,” the authors’ main ideas are about window and frame,
presenting the similarities between the two concepts (Elsaesser & Hagener, 2010). The authors identify
that the similarities are that both concepts offer a desirable effect and aspect to an event to
accommodate curiosity. The main differences are that the window concept represents transparency
while the frame concept represents the film’s blocked surface/ nature.
The main concept in Andre Bazin’s articles is the main idea about the major differences between
painting and cinema. The author presents cinema as a space where people can be real and present
natural ideas without adding more aspects. He explains that cinema has a natural explanation (Bavin,
1960). The idea of painting allows the artists to add expressions to their art and provide an illusion
that would entirely satisfy people’s appetites. Therefore, both cinema work and painting are the work
of artists.
2.
Both texts show the association between the natural world where it is easy to see all themes and the
main ideas the film has and a created world where one has to look for the main themes. For example,
the window which shows transparency shows how the natural aspect of a film makes it possible to
understand everything about it from a natural viewpoint. Both articles have also made it clear that
there is not much difference between frame and painting because it is easy to express oneself from
both. Window and frame separate reality and fiction, similar to painting separated from the reality by
a frame presents.
3.
Before reading the texts, I assumed that the films and cinema work was not the work of nature but all
an illusion. However, the texts have helped me see that the same way paintings are natural but
separated from reality, films are also a presentation of natural ideas, and any added aspects are only
ways to make the films more satisfactory.
4.
The main concepts that stood out for me were the role of the frame in painting and films. The most
interesting idea about the film was that it separated the natural world from the pictures and the ideas
a person expresses themselves through. It did not make sense to me at first that the frame helps
create a form that one cannot make geometrically, hence a barrier between reality and an idea.
Looking at it from that view makes it more interesting.
Work Cited
Bavin, A. (1960). The Ontology of the Photographic Image. Film Quarterly, 13(4), 4-9.
Elsaesser, T., & Hagener, M. (2010). Cinema as Window and Frame. New York and London: Routledge
Taylor & Francis.
report week 2: THE FACE
Oct 8, 2021 8:53PM
Qingming Jiang
What are the authors’ main arguments?
Bela Balazs’s argument on cinema as a mirror is that Griffith brought an entirely different dimension
when he intertwined the actor’s heads full size, one after another, into human interaction scenes. Bela
Balaz said that this brought characters into proximity in the same space. This was pure genius.
According to Bela, Space and physiognomy have a relationship just like that of time, and melody and
expression are made possible in the film when the relation of facial muscles are close to one another
In space (Balazs & Carter, 2011). The close-ups teach us that sometimes we can read the face more
than what is written down. The other argument is on facial expression. They often bring out another
side of the film that can not be written down in a script.
An example is when bandits surround an actor; his facial expression signifies to the audience that he
is indeed in distress. Espen argued that in cinemas, there are no “stories” (Epstein, 2012). He
condemned artificial narratives in acting and focused more on human drama and emotions. Jean
Epstein believed that artificial narratives belonged in theater and novels but not in the film.
How texts Dialogue with one another
In theater, the characters should be ready-made to fit the text perfectly, and all that is left is to find a
performer who corresponds to the word and image. Through this, the director will not need to
exaggerate or throw in stereotypical gestures or change the script; everything will flow naturally.
Balaz’s and Epstein’s explanation on early film.
Bela Balazs sheds light on how to experience silent films. The theorist dived into the exploration of
poetic and symbolic understanding of film. Bela explained how important it is to choose the correct
characters for the play and how facial expressions can bring new meaning into a film. In his word, he
said, “don’t try to act! Just think and feel the situation” (Balazs & Carter, 2011). Jean Epstein, on the
other hand, introduced photogenic as a point of view in filmmaking. He described it to be a symbolic
way of thinking about film. His whole concept of this was to deepen understanding and enjoyment
of films. However, not all films can possess this quality due to the lack of understanding of human
emotions and drama.
Your comment on the author’s argument about something stood out to you.
What stood out for me is how Jean Epstein developed his theory on photogenic in an era where the
film was still in its early stages. In the early nineteen hundreds, people were fascinated by moving
pictures alone, but Jean valued aesthetics, human emotions, and the film’s storyline. His theory was
genuinely remarkable.
Reference
Balazs, B., & Carter, E. (2011)” Bela Balazs: Early Film Theory” (3rd ed., pp. 3-15). Berghahn Books.
Epstein, J. (2012). Jean Epstein: Critical Essays and New Translations. Bibliovault.org. Retrieved 8
October 2021, from https://www.bibliovault.org/BV.book.epl?ISBN=9789089642929.
report week 3: FEMINIST FILM THEORY: IMAGE AND SOUND
Oct 15, 2021 9:29PM
Qingming Jiang
Authors’ main arguments
The Voice in the Cinema is the cinematic work done by Marry Ann Donne. The author discusses the
incorporation of voice in the cinematic presentation work. Donne asseverates cinema has been
inaudible since the audience assumes the voices in the cinematic presentation to be coming from the
body despite the presence of off-screen voices; the audience’s acceptance of the off-screen voice is
based on the understanding of space in the cinema. On the other hand, is the work of Laura Mulvey
in Visual and Narrative Cinema. Mulvey takes a fundamental interest in the narrative pleasure of the
male actors. According to Mulvey (1989), the film industry has been dominated by males for many
years, thus urging the industry to develop new strategies that accommodate feminists’ authors to end
male chauvinism.
The spectator that the authors are discussing/imagining
The spectators addressed by these two authors are active viewers. They should enjoy the pleasure
derived from the film. The authors have another perspective about the spectators other than being
inactive viewers but considers them as active audiences responding and taking action directly as
projected on the screen. Based on the film’s content, spectators play an influential role outside the
film where the pride of the spectator takes over while giving out the views of the film.
The common sense the authors dialoguing with (or against)
Donne and Mulvey, in their work, try to reason the essence of ensuring that film viewers enjoy the
pleasure intend to be derived from the cinematic presentation. The core common sense evident in
their work is the use of voice and the motion of images while creating the cinematic presentation to
entice the viewers. For instance, in most cases female figure has been incorporated to establish a
lustful gaze of the male protagonist. Mulvey argues that most films using female figures intend to
provide a pleasurable visual experience for males.
How do the texts dialogue with one another
Both Donne and Mulvey have outstanding pieces of works in the analysis of the contemporary film
industry. The two forms of dialogue texts indicating the importance of voices and images in films as
crucial elements are forming the pleasure anticipated by viewers. The spectators are interested in the
film’s storyline with an expectation of hearing what they see on the screen. As the film gets intense,
the spectators get carried away by the motion of the images and the voices coming from different
characters within the film. Therefore, the sound and motion of the images are elements of a good
movie stratifying the audience.
How do they change your own view of film
The two articles contain a lot of vital information that individuals can learn. My view on film has been
dramatically impacted in this essence, and I am sure not me but others too; not all films are satisfactory
to the audience as they may lack some crucial elements. This film has meat all the essential aspects
of a good movie. Thus, for a captivating film, the motion of image and voices must go hand in hand
to create viewer satisfaction.
Your comment on something that stood out to you, or that you’d like more explanation on
The Voice in the Cinema is the cinematic work done by Marry Ann Donne, and one thing that stood
out throughout the work is the impact of silent films on the viewers. They create a monotony impact
on the viewers, making them lose interest in watching the movie. Hence film industry should
incorporate sound that goes alongside the motion of images. Also, the impact of the female figure in
the film is something else that stood out.
Works Cited
Doane, M. A. (1980). The voice in the cinema: The articulation of body and space. Yale French Studies,
(60), 33-50.
Mulvey, L. (1989). Visual pleasure and narrative cinema. In Visual and other pleasures (pp. 14-26).
Palgrave Macmillan, London.
report week 4: RACE ON SCREEN
Oct 22, 2021 11:07PM
Qingming Jiang
Hi Guanxin,
I agree with your point of view. The main arguments of the two articles are racial discrimination and
the unequal representation of Hollywood. As you said, whites are always given a good impression,
while the opposite blacks are always given a bad impression. I strongly agree that black people are
marginalized in making and watching Hollywood movies
from report week 4: RACE ON SCREEN
Oct 22, 2021 11:45PM
Qingming Jiang
What are the Authors’ Main Arguments?
The authors’ main arguments in the two articles are racial discrimination and unequal representation
in Hollywood. The article “Black Spectatorship” by Manthia argues about the problems of racial
identification and resistance in Hollywood, while “White” by Richard Dyer argues about the
representation of whites in Hollywood. In their writings, the authors emphasize mixed reactions
expressed by spectators when Hollywood excludes either whites or blacks from their films.
The Spectator that the Authors Are Discussing
The authors do not directly point out any individual spectator. Still, they use this concept to express
their feelings towards racial differences and color representations in the broader film industry. For
instance, in the article “White,” Richard Dyer writes that whiteness is not generally discussed because
it is primarily viewed as the norm. Diawara, in the article “Black Spectatorship’ notes that “there are
spectators who denounce the result and refuse to suspend their disbelief” (Diawara,.1993, p. 66).
Regarding this, I think the authors are talking about blacks and whites as spectators in their articles.
The Common Sense that the Authors Are Dialoguing with
The common sense that the authors are dialoguing with is the representation of blacks and whites in
films. From that time in history, blacks were included in films to oppose the conventionalization of
race, gender, and ethnicities. The authors have highlighted various senses within which blacks and
whites are included in films. Richard Dyer has highlighted the sense of white representation while
Diawara has communicated with black representation in Hollywood.
How do the Texts Dialogue with one another?
The texts in the two articles dialogue with one another by discussing the representation of two
different racial communities (Blacks and Whites) in film. The article “Black Spectatorship” directly
dialogues with the article “White.” The authors argue about the characterization of whites and blacks
in movies. The authors considerably focus on the representative techniques adopted by human
species to view themselves based on their ancestral history and culture. For instance, Dyer explains
how humans viewed Whites as the norm in Hollywood films (Dyer.,2017). Dyer and Diawara focus on
movies as a controlling mode of communication during the 20th century. In addition, the authors
have carried out an extensive analysis of both racial groups (Blacks and whites) and concluded on
how they were and are supposed to be represented in films.
How the Authors Change My view of Film and Media?
The authors have changed my view of film and media by shading much light to my perception of
black and white characters. I think that it is fair for all races to be equally represented in film and
media. Equal representation of all races will convey the message that everybody is important in this
world. All humans should be treated with the utmost respect and fairly, regardless of their ethnic
groups, race, or gender (Trebbe et al.,2017). I now view media and film as an essential medium in
creating awareness about racial equality.
The Implications of Diawara’s and Dyer’s Theories
Diawara’s and Dyer’s theories imply that since film and media is an advanced mode of message
conveyance, it should be accompanied by equal representation of all races. Their theories conclude
that humans should change their perceptions about themselves regarding representation in film and
media. In addition, the authors imply that some unequal representation in films and media is largely
influenced by political parties’ affiliation. Some spectators are noted politicizing the representation
process in films and media.
My Comment on Something that Stood out to me or needs more Explanation
Something that stood for me in the two articles that I would like an explanation for is what Hollywood
films do to promote diversity and inclusivity of all races in the film industry. I want to get a more
comprehensive view of the measures taken by film companies towards equal representation of people
from different racial communities. I want more Explanation on how Hollywood films would benefit
from the fair and equal representation of their members.
References
Diawara, M. (1993). Black Spectatorship: Problems of Identification. Black American Cinema, 211.
Dyer, R. (2017). White. 20th Anniversary Edition. New York City: Routledge.
Trebbe, J., Paasch‐Colberg, S., Greyer, J., & Fehr, A. (2017). Media representation: Racial and ethnic
stereotypes. The international encyclopedia of media effects, 1-9.
report week 5: RACE BEFORE THE SCREEN
Oct 29, 2021 4:32PM
Qingming Jiang
The Authors’ Main Arguments
The authors’ main arguments in the two articles are a misrepresentation of Asian contributors in an
Asian contextualized film and unequal representation of blacks and whites in film production. The
article “Oppositional Gaze” by Hooks argues that black people, especially females, are entitled to
observe or gaze while on and off the screens. The author links her experiences in oppressions on and
off films with the blacks’ “rebellious desire” to gaze. The article “Asian Futures without Asians” argues
that film contexts were drawn from Asian cultures, but Asian contributors were not equally included
in the films.
The Spectators that the Authors’ are Discussing
The author of the article “Oppositional Gaza” directly points out black female spectators in her writings.
However, the author of the article “Asian Futures without Asians” does not directly point out any
individual spectator but uses the term ‘Asian’ to talk about individuals who belong to Asian ethnicities.
For instance, in the article “Oppositional Gaze,” bell hooks tend to contest for an equal environment
that would enable black female spectators to record their visual experiences and establish their
contents with their own feelings. In the article “Asian Futures without Asians,” the author uses his
argument to communicate to spectators from Asian ethnic communities.
The Common Sense that the Authors are dialoguing with
The common sense that the two authors are dialoguing with is the denied rights for black females to
openly record their visual experiences and misinterpretation and misrepresentation of Asians in and
off the films industry. During the time of the authors’, blacks, especially females, were denied rights
to document their visual perceptions. In the same way, Asians were not included in films and shows
that were primarily made from Asian contexts. Bell hooks have analyzed the sense of a black woman’s
right to look or gaze, and Astria Suparak has explored the common sense of including people from
Asian ethnic communities in films contextualized with Asian cultures.
How these texts complement Diawara and Dyer’s texts
In analyzing the two articles, it is clear that they complement Diawara and Dyer’s texts. Since Diawara
and Dyer’s texts talk about the representation of blacks and whites in film, these two articles
complement their texts by talking about the representation of black females and Asian contributors
in the broader film industry. A good example is hood’s article “Oppositional Gaze,” which talks about
the oppression of black females on and off the screens. This article, in particular, complements
Diawara and Dyer’s texts that also talk about the representation of black and white females in films.
My Connections of the “Oppositional Gaze” to the films “K’Bela” and “Black Girl.”
I can connect the article “Black gaze” to the films “K’bella” and “Black girl” by how the characters and
producers in those films express their feelings. For instance, black girl film is about a black girl who
moves from her motherland to work for a wealthy family in France (The criterion collection.,n.d). Her
oppressions as a black female connect to the article “Oppositional Gaze,” which talks about the rights
of black females in expressing their voices and feelings (Hooks.,2003). The three materials highlight
how black women document and converse with their spectators through films (KBELA Filme,2018).
My Comment on Something that Stood out to me and that I would like more Explanation on.
The thing that stood for me in the two articles and films that I would like an explanation for is measures
that film producers are taking to ensure equal representation of black females in their movies. I want
to comprehensively understand what should be done to include Asian contributors in films and shows
that express their culture. Additionally, I want a clear understanding of how films would benefit from
a fair representation of actors.
The two articles and films highlight the poor representation of the black race and Asian contributors
in movies and media. The authors argue that everyone deserves a right to voice their feelings and be
featured in films and media shows that talk about them. The articles are well-analyzed to give readers’
a detailed and simplified experience while learning about films.
References
Hooks, B. (2003). The oppositional gaze: Black female spectators. The feminism and visual culture
reader, 94-105.
The Criterion Collection. (n.d). Black Girl [Video]. https://uci.kanopy.com/product/black-girl
KBELA Filme. (31 Jul 2018). KBELA – O Filme [Video]. YouTube. https://youtu.be/LGNIn5v-3cE
report week 6: FEELING, CONTAGION, PLEASURE
Nov 5, 2021 10:59PM
Qingming Jiang
What are the authors’ main arguments?
The authors’ main arguments in the “Film bodies: Gender, Genre, and Excess” by Linda William analyze
how gender, genre, and excess as the genres of films with the underlying elements of emotions,
violence, and sex. The pleasure and values of the society come out when the author analyzes the
cultures of past and present hence leading to the three genres of films. Certain types of pleasure are
achieved from each type of element in pornography, melodrama, and horror. The main figures
associated with portraying those elements are the women, in which she says, “…women figured on
the screen have functioned traditionally as the primary embodiments of pleasure, fear, and pain” (373).
The shouts and screams of fear in horror, the amusement is the convulsion or spasm in porn, and the
snivel of torment in melodrama. The significant feature within the three is the excess of the body in
pornography, melodrama, and horror films.
In Jane M. Gaines’ political Mimesis’, the audience takes the documentary’s main argument type of
action and reaction. Hence the political documentary argument presented in the body is contributed
by the reaction that occurs within the film. The political documentary is made exactly for the audience
to get a reaction.
According to the authors, how does the spectator’s body participate in the act of seeing a film?
The spectator’s body participates by reacting to the images displayed on the screen. It is evident when
Linda Williams states that “despite its concern with all manner of gross activities and body functions,
has not been deemed gratuitously excessive is physical clown comedy-probably because the
audience’s reaction does not mimic the sensations experienced by the central clown. Indeed, it is
almost a rule that the audience’s physical reaction of laughter does not coincide with the oftendeadpan reactions of the clown” (144). The body responds by trying to imitate what is on the screen.
In Jane Gaines’s text, “Political Mimesis,” she describes that the audience is moved to react according
to what is being presented on the screen.
How do the dialogue of the text with each other?
The texts interact with one another in situations where the film affects the audience’s body. Linda
Williams shows how the three genres (Gender, Genre, and Excess) react from the film to the audience’s
bodies. The spectator’s body reacts and acts according to what is shown in the film due to the strong
response of the body.
The two texts explain what happens to the body when the film is shown or demonstrates strong
feelings to happen beyond the screen.
How did they change the way you understand or relate to film?
The texts changed the ways I understand and view films hence associating the reactions from watching
a film. I can now consider the influence on our body behavior like fear, emotions, and sadness when
watching a film, inspiring individuals, and expanding my basic knowledge of films. Films can also
create violence and bad habits contributing to a bad message to the body and public.
Your comment on something that stood out to you or that you’d like more explanation on.
I wonder why the main figures associated with portraying those genres’ elements are the women. It
is not just a regular body that becomes the object of spectacle. Still, the female body and it is through
“the sexual maturation of the female body that audiences of all sorts have received some of their
most powerful sensations” (373).
References
Gaines, J. (1999). Political mimesis. Collecting visible evidence, 6, 84-102.
Williams, L. (1991). Film Bodies: Gender, genre, and excess. Film quarterly, 44(4), 2-13.
report week 7: Lived Media
Nov 12, 2021 7:59PM
Qingming Jiang
Sobchack’s argument
Precisely, the author’s main argument is about the impact of technology on the film production
industry. Vivian Sobchacksays that the various forms of technology have greatly influenced modalities
and our means of expression and signification. Additionally, the author suggests that these
technologies have had an enormous impact historically. The spatial and temporal coordinates
gradually in-form and orient our personal, social, and bodily existence. Vivian Sobchackexplains how
in the United States, people are living in electronic and cinematic lives because all of them are part of
a moving-image culture. She says so because people watch televisions, music videos, have
camcorders, videotapes, children are granted permission to play computer and video games, do
shopping and banking online, and do their academic papers online. Therefore, the cinematic,
electronic, and photographic media historically constitute gradual forms of alteration to our cultures.
The author further suggests that the correspondent changes in our technologies are grounded in the
belief that historical changes in our sense of space, time, and existential. However, Martin Heidegger,
at the beginning of the essay, reminds us that something bigger must be considered because the
essence of technology is nothing technological. Therefore, technology does not come to be the
specificity of a particular material and functions in the context of neutrality to neutral effect. Instead,
it should be historically informed and not by its materiality alone but rather by social, political, and
economic context. Both must express and constitute not merely technological value but cultural
values also.
Three different types of media (photograph, film, and digital)
Vivian Sobchack says that Jameson located the photographic representation and perception mode in
the 1840s during the duration of market capitalism. The period was accelerated by technological
innovations steered by the mechanization of steam power. Unprecedented industrial expansion was
geared, which led to the advance of realism cultural logic. Jean-Louis figures out that in the 19thsecond half-century, life was frenzy visible due to the multiplication of social images. However, the
whole world became visible due to the expansion of ideas that led to a geographical extension of the
visual field, which was geared by journies, explorations, and colonization. Photography has recently
developed into the world’s is actual existence and concrete capture. The film media is entirely
dependent on photography. Individuals’ scenes are interconnected using the literal material signifiers
but not through psychological motivations or narrative causality at the local and human level of
narrative coherence. Films can show what is taking place by using motions as the pictures shown to
us in continuous movement. Film media mimics photography, but the film is ongoing. The digital
media diffuses through the flesh of the human body due to its representation of phenomenological
diffusion. However, it is significant intention is to use lived-body subjects, which tends to marginalize
the human body.
My experience as a spectator
Vivian Sobchack reminds me of the old days when a few people owned a television. During certain
days children could camp at one homestead, which had the privilege to own a television to watch
some programs or movies. It was fascinating as darkness is the only thing that could send the kids
away. Additionally, photographs used to be taken during particular occasions like the x-mass period
or a specific event because there were few photographers, and it was pretty expensive. However, due
to technology, the photograph industry and film industry has significantly evolved.
report week 8: televisual materialities
Nov 19, 2021 1:57PM
Qingming Jiang
1.
What are the authors’ main arguments?
In her article, Tina Kendall’s main idea demonstrates how the COVID-19 pandemic made a wide
difference in people’s lives, creating physical, mental, and health implications (Kendall). Everyone from
around the world had to turn to TikTok and Netflix, and other online platforms to reduce their
boredom, and this also generally shaped their living styles and health.
Tanya Horeck explains in her article on binge-watching how staying home to be safe from the
pandemic affected people on another level since the only thing they could do was spend more time
on TV (Horeck). She explains this as a comfort blanket and social communion, good business for
Netflix and other online and movie platforms.
According to Jane Feuer, modern society is built around TV films and shows, which have shaped our
lives today (Feuer). Jane also explains the idea of liveness in TV, where there is direct experience and
joy, but sometimes the television has been for background noise while doing other things.
2.
How would you say these authors bring the situation of spectatorship into their theories? What
new perspectives does it allow for?
All the authors have brought the concept of spectatorship as a way of reducing boredom. Tina
and Tanya explain how watching Netflix and TV programs had set a broader way for people to get
rid of boredom, especially during the pandemic when activities were few. They also point out that
being spectators has created other circumstances for people, making their lives different from what
they used to be. For example, TikTok has made people free enough and broader to try out new things
such as different dances and challenges. According to Jane, the concept of spectatorship in TV
watching is commanding attention without really watching. In this case, people could have their TVs
on just for the background noise.
3.
What is the usual assumption that the authors are dialoguing against?
The author is dialoguing against the fact that watching and spending more time on phones
scrolling was a way of liveness. The articles also dialogues against the fact that watching is a way of
preventing boredom. In other ways, it creates a connection with people such that it becomes routed
to us. Jane explains that sometimes people enjoy the background noises.
4.
How would you build a connection between the readings?
The main connection between the readings is that in as much as the authors explain the
relevance of watching and scrolling in reducing boredom and making people’s lives more interesting,
they also point out the negative impact of binge-watching. However, the readings also point out the
connection Netflix and TV have played in connecting the family and causing unity. On the other hand,
television and the internet also set some standards and liveness that create a lot of pressure, creating
mental wellness challenges.
5.
Your comment on something that stood out to you or that you’d like more explanation on.
The articles stood out because the authors explained the implications of binge-watching from
both a negative and positive perspective. In this case, it is easy to know the positive ways watching
and spending a lot of time on phones has on our lives. For example, they were involved in physical
activities they watched, which is good for health and mental well-being. I would love more explanation
on the ways TV could be changed to ensure that people use it to get closer to their families. For
example, which shows could more likely bring families together and the ways and ways people could
misinterpret the implications of watching. In this case, the mental challenges that result from watching.
Works Cited
Feuer, Jane. “The Concept of Live Television: Ontology as Ideology”
Tina, Kendall; From Binge-Watching to Binge-Scrolling: TikTok and the Rhythms of #LockdownLife.
Film Quarterly 1 September 2021; 75 (1): 41–46.
Tanya, Horeck; “Netflix and Heal”: The Shifting Meanings of Binge-Watching during the COVID-19
Crisis. Film Quarterly 1 September 2021; 75 (1): 35–40.
report week 9: Digital Dreams
Nov 28, 2021 11:31PM
Qingming Jiang
What is Wendy Chun’s argument?
In “Scenes of Empowerment.” Control and Freedom: Power and Paranoia in the Age of Fiber Optics”
Wendy Chun explores how the internet was initially marketed as a channel of barricading or
eliminating the “Race Problem” (Chun, 2008). The author stresses that the media control interface’s
(MCI) commercial anthem intentionally portrayed racially marked people to accentuate digital media’s
capacity to free people from the limitations of racial prejudice. However, Chun claims that such a
move also diminished the accountability for acts of individual and institutional racism as it insinuates
the burden of racism belongs to certain people, and only the affected people have a responsibility to
address this problem (Chun, 2008). In other words, Chun argues that the notion of MCI’s commercial
is that those racially discriminated against are still happy with the inequality because they are pleased
in another aspect of life.
What is the fantasy about the internet conveyed in the video Anthem (1997) by MCI? What are the
possible consequences of that?
Anthem (1997) shows that the internet has blocked real-life people in the name of virtual connections
and interactions. The two main characters – Shainee Gabel and Kristin Hahn, resigned from their jobs
at Hollywood because they were missing out on the fundamental things about life. The 26-year-olds
rented a car and hit the road across the states to enjoy the world and meet new people (Gabel &
Hahn, 2008). Therefore, the internet creates an illusion that living virtually is okay and does not
negatively affect life in general. As a result, people have become distanced from each other. Family
and friends are no longer holding gatherings and get-togethers, and the real meaning of social life
is being eroded day by day.
How would you relate these early dreams about the internet with how the internet is right now? Link
it with our readings from last week
The world would not be what it is today without the power of the internet. The internet was seen as
a component for only complex tasks such as military operations in the early days. No one had an idea
that the internet would be helpful at the individual level and become part of day-to-day activities.
Some critics of internet connectivity perceived its development as a threat to physical interactions,
paperwork, and human input in various activities. However, the benefits of the internet have proved
to surpass its shortcoming. Today, the internet is integrated into every aspect of our lives, including
leisure, working, socializing, etc. It is an enabler phenomenon with a colossal force that reshapes the
world.
Your comment on something that stood out to you or that you’d like more explanation on
From an individual point of view, what stood out in the discussion of the development of the internet
is how it is used as a tool to perpetuate racism. White people are the culprits of structural and
institutional racism that is rampant across the United States. In this case, it is absurd to insinuate that
racism is the problem of people of color, and they are the only ones that can eliminate it. Worst still,
MCI’s commercial stresses that people of color are “happy” with racial inequalities, while that is not
the case. In the age of colorblindness and white fragility, the perpetrators of racism – Whites continue
to distance themselves from racism despite carrying on with it in the background.
References
Chun, W. H. K. (2008). Control and Freedom: Power and paranoia in the age of fiber optics. MIT Press.
Gabel, S. & Hahn, K. (Directors). (1997). Anthem. [Film].Gabel-Hahn Productions
Modules
1. WATCHING FILMS
• Thomas Elsaesser, Malte Hagener – chpt1.pdfAttachment
Thomas Elsaesser, Malte Hagener – chpt1.pdf
• film: Rear Window (Hitckcock, 1954)External Url
film: Rear Window (Hitckcock, 1954) Links to an external site.
• Bazin_Painting_and_Cinema_page_164.pdfAttachment
Bazin_Painting_and_Cinema_page_164.pdf
• bazin-ontology-photographic-image.pdfAttachment
bazin-ontology-photographic-image.pdf
• report week 1: WATCHING FILMSDiscussion Topic
report week 1: WATCHING FILMS
Oct 1
35 pts
• 09.28.21 slides.pdfAttachment
09.28.21 slides.pdf
2. THE FACE
2. THE FACE
• Elsaesser, Hagener, “Cinema as Mirror: the Face and Close-up.” (link to library e-copy)External
Tool
Elsaesser, Hagener, “Cinema as Mirror: the Face and Close-up.” (link to library e-copy)
• Balazs_The Close Up.pdfAttachment
Balazs_The Close Up.pdf
• Epstein_on certain characteristics of photogenie.pdfAttachment
Epstein_on certain characteristics of photogenie.pdf
• The Big Swallow (Williamson, 1901)External Url
The Big Swallow (Williamson, 1901) Links to an external site.
• Limite (Mário Peixoto, 1931)External Url
Limite (Mário Peixoto, 1931) Links to an external site.
• report week 2: THE FACEDiscussion Topic
report week 2: THE FACE
Oct 8
0 pts
• 10.05.21 slides.pdfAttachment
10.05.21 slides.pdf
• 10.07.21 slides.pdfAttachment
10.07.21 slides.pdf
3. FEMINIST FILM THEORY: IMAGE AND SOUND
3. FEMINIST FILM THEORY: IMAGE AND SOUND
• Doane_Voice and the Cinema.pdfAttachment
Doane_Voice and the Cinema.pdf
•
at-home screening for Oct 12: “Her” (Spike Jonze, 2013)External Url
at-home screening for Oct 12: “Her” (Spike Jonze, 2013) Links to an external site.
• mulvey_visualpleasure.pdfAttachment
mulvey_visualpleasure.pdf
• 110 10.12.21 slides.pdfAttachment
110 10.12.21 slides.pdf
• 110 10.14.21 slides.pdfAttachment
110 10.14.21 slides.pdf
• report week 3: FEMINIST FILM THEORY: IMAGE AND SOUNDDiscussion Topic
report week 3: FEMINIST FILM THEORY: IMAGE AND SOUND
Oct 15
35 pts
4. RACE ON SCREEN
4. RACE ON SCREEN
• Diawara_Black Spectatorship.pdfAttachment
Diawara_Black Spectatorship.pdf
• richard-dyer-white-1.pdfAttachment
richard-dyer-white-1.pdf
• at-home screening for Oct 21: Night of the Living Dead (George Romero, 1968)External Url
at-home screening for Oct 21: Night of the Living Dead (George Romero, 1968)
• report week 4: RACE ON SCREENDiscussion Topic
report week 4: RACE ON SCREEN
Oct 22
35 pts
• 110 10.19.21 slides.pdfAttachment
110 10.19.21 slides.pdf
• 110 10.21.21 slides.pdfAttachment
110 10.21.21 slides.pdf
5. RACE BEFORE THE SCREEN
5. RACE BEFORE THE SCREEN
• bell hooks – oppositional gaze.pdfAttachment
bell hooks – oppositional gaze.pdf
• at-home screening for Oct 26: Black Girl (Ousmane Sembene, 1966)External Url
at-home screening for Oct 26: Black Girl (Ousmane Sembene, 1966)
• in-class screening – K’bela (Yasmin Thayná, 2015)External Url
in-class screening – K’bela (Yasmin Thayná, 2015)
• Suparak_Asian Futures.pdfAttachment
Suparak_Asian Futures.pdf
• in-class screening: “Virtually Asian” (Astria Suparak, 2021)External Url
in-class screening: “Virtually Asian” (Astria Suparak, 2021) Links to an external site.
• report week 5: RACE BEFORE THE SCREENDiscussion Topic
report week 5: RACE BEFORE THE SCREEN
Oct 29
35 pts
•
110 10.26.21 slides.pdfAttachment
110 10.26.21 slides.pdf
• 110 10.28.21 slides.pdfAttachment
110 10.28.21 slides.pdf
6. FEELING, CONTAGION, PLEASURE
6. FEELING, CONTAGION, PLEASURE
• Linda Williams_Film Bodies.pdfAttachment
Linda Williams_Film Bodies.pdf
• Gaines_PoliticalMimesis.pdfAttachment
Gaines_PoliticalMimesis.pdf
• at-home screening for Nov 4: La Hora de Los Hornos (Fernando Solanas and Otavio Gettino,
1968)External Url
at-home screening for Nov 4: La Hora de Los Hornos (Fernando Solanas and Otavio Gettino,
1968) Links to an external site.
• report week 6: FEELING, CONTAGION, PLEASUREDiscussion Topic
report week 6: FEELING, CONTAGION, PLEASURE
Nov 5
35 pts
• 110 11.04.21 slides.pdfAttachment
110 11.04.21 slides.pdf
7. LIVED MEDIA
7. LIVED MEDIA
• Sobchack_Scene of the Screen.pdfAttachment
Sobchack_Scene of the Screen.pdf
• Le Jetée (Chris Marker, 1962)External Url
Le Jetée (Chris Marker, 1962) Links to an external site.
• report week 7: Lived MediaDiscussion Topic
report week 7: Lived Media
Nov 12
35 pts
• 110 11.09.21 slides.pdfAttachment
110 11.09.21 slides.pdf
8. TELEVISUAL MATERIALITIES
8. TELEVISUAL MATERIALITIES
• feuer-the-concept-of-live-television.pdfAttachment
feuer-the-concept-of-live-television.pdf
• Kendall_Binge-Watching Binge-Scrolling.pdfAttachment
Kendall_Binge-Watching Binge-Scrolling.pdf
• Horeck_Binge Healing.pdfAttachment
Horeck_Binge Healing.pdf
• report week 8: televisual materialitiesDiscussion Topic
report week 8: televisual materialities
Nov 19
35 pts
9. DIGITAL DREAMS
9. DIGITAL DREAMS
• MY BINGE: Nov 23 in-class writingAssignment
MY BINGE: Nov 23 in-class writing
Nov 23
0 pts
• chun_scenes of empowerment.pdfAttachment
chun_scenes of empowerment.pdf
• Watch (in-class) Nov 23: “Anthem” (MCI, 1997)External Url
Watch (in-class) Nov 23: “Anthem” (MCI, 1997) Links to an external site.
• report week 9: Digital DreamsDiscussion Topic
report week 9: Digital Dreams
Nov 28
35 pts
10. THE BODIES OF THE ALGORITHMS
10. THE BODIES OF THE ALGORITHMS
• Noble_Searching for Black Women.pdfAttachment
Noble_Searching for Black Women.pdf
• Watch for Dec 02: “Are we automating racism?”External Url
Watch for Dec 02: “Are we automating racism?” Links to an external site.
• Read for Dec 2: Facial recognition systems show rampant racial bias, government study finds
(CNN)External Url
Read for Dec 2: Facial recognition systems show rampant racial bias, government study finds
(CNN) Links to an external site.
• report week 10Discussion Topic
report week 10
Dec 3
35 pts
• FMS110 11.30.21 slides.pdfAttachment
FMS110 11.30.21 slides.pdf
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