Podcasts about visual pleasure

Laura Mulvey (1941-present) is a British film theorist, professor, filmmaker, feminist thinker, and writer. She is best known for her 1975 piece, “Visual Pleasure and Narrative Cinema”, which coined the term “the male gaze.” For Further Reading: Laura Mulvey’s Late Style Visual Pleasure and Narrative Cinema Film Theory 101 – Laura Mulvey: The Male Gaze Theory This month, we’re talking about Word Weavers — people who coined terms, popularized words, and even created entirely new languages. These activists, writers, artists, and scholars used language to shape ideas and give voice to experiences that once had no name. History classes can get a bad rap, and sometimes for good reason. When we were students, we couldn’t help wondering... where were all the ladies at? Why were so many incredible stories missing from the typical curriculum? Enter, Womanica. On this Wonder Media Network podcast we explore the lives of inspiring women in history you may not know about, but definitely should. Every weekday, listeners explore the trials, tragedies, and triumphs of groundbreaking women throughout history who have dramatically shaped the world around us. In each 5 minute episode, we’ll dive into the story behind one woman listeners may or may not know–but definitely should. These diverse women from across space and time are grouped into easily accessible and engaging monthly themes like Educators, Villains, Indigenous Storytellers, Activists, and many more. Womanica is hosted by WMN co-founder and award-winning journalist Jenny Kaplan. The bite-sized episodes pack painstakingly researched content into fun, entertaining, and addictive daily adventures. Womanica was created by Liz Kaplan and Jenny Kaplan, executive produced by Jenny Kaplan, and produced by Grace Lynch, Maddy Foley, Brittany Martinez, Edie Allard, Carmen Borca-Carrillo, Taylor Williamson, Sara Schleede, Paloma Moreno Jimenez, Luci Jones, Abbey Delk, Adrien Behn, Alyia Yates, Vanessa Handy, Melia Agudelo, and Joia Putnoi. Special thanks to Shira Atkins. Follow Wonder Media Network: Website Instagram Twitter See omnystudio.com/listener for privacy information.

Part two in our series: This time, revenge is served with a side of fire ants and yes, even more blood. Chloé Harper Gold (writer, critic) is back to analyze Coralie Fargeat's Revenge. This new French extremity film has us questioning if this female director successfully subverts the male gaze.  . "Visual Pleasure and Narrative Cinema" by Laura Mulvey https://www.amherst.edu/system/files/media/1021/Laura%20Mulvey%2C%20Visual%20Pleasure.pdf "Revenge and the Case Against Rape-Revenge Films" by Lena Wilson https://rue-morgue.com/beautiful-filth-i-spit-on-your-grave/https://slate.com/culture/2018/05/revenge-and-the-case-against-rape-revenge-films.html . Follow Chloé here: tiktok @chlo_ayyyy twitter.com/yochlo13 instagram.com/yochlo13 instagram.com/chloe_the_final_girl . Hit us up at: instagram.com/cadaverdogspod tiktok @cadaverdogspod

THIS WEEK on the GWA Podcast, @katy.hessel interviews is one of the world's most influential artists: Barbara Kruger. Hailed for her distinctive poster-style language, Kruger merges text and image to bring attention to urgent political concerns. Bold, loud and readily available, her tabloid-esque works confront everyday issues. And, evocative of advertising, have the ability to bring meaning to often meaningless signage.  Born in Newark, NJ, and educated at Syracuse then Parsons, where she was taught by the late great Diane Arbus, Kruger began as an art director for Condé Nast, where she shaped her visual language. As she has said, “I had the luxury of working with the best technology ... I became attached to sans serif type, especially Futura and Helvetica, which I chose because they could really cut through the grease.” Fast forward to the 1970s and 80s – a highly political moment in America: especially for the control over one's body – and Kruger is culminating text/images that speak to Laura Mulvey's landmark 1975 essay on the male gaze, “Visual Pleasure and Narrative Cinema", and that protest anti abortion laws. Her work defined a new type of art that directly addressed power and control, championing the rights we should have over our bodies, life and world.  Today, she is still at the forefront with her work – immersive and on the wall – that feels familiar due to its evocation of the machine we know as capitalism, that both drives us and that we drive. For those lucky enough to be in London, Kruger is very excitingly having her first institutional show in London in over 20 years, at Serpentine Galleries: Thinking of You. I Mean Me. I Mean You. Opening TODAY, until 17 March 2024. -- THIS EPISODE IS GENEROUSLY SUPPORTED BY THE LEVETT COLLECTION: https://www.instagram.com/famm.mougins // https://www.merrellpublishers.com/9781858947037 ENJOY!!! Follow us: Katy Hessel: @thegreatwomenartists / @katy.hessel Sound editing by Nada Smiljanic Music by Ben Wetherfield

In this episode, we look at a classic Hitchcock film, which has become a Halloween tradition for the two of us for the past many years. Joseph takes the opportunity of this film to look at voyeurism, cinema, and the male gaze, using it as a discussion point for Laura Mulvey's famous 1975 essay, "Visual Pleasure and Narrative Cinema". We also look at the news and have another exciting Letterboxd game.Resources:https://www.perlego.com/knowledge/study-guides/what-is-laura-mulveys-male-gaze-theory/https://collider.com/rear-window-alfred-hitchcock-femininity/https://variety.com/2023/film/features/marvel-jonathan-majors-problem-the-marvels-reshoots-kang-1235774940/https://www.indiewire.com/news/breaking-news/hunger-games-prequel-sag-interim-agreement-1234921598/https://www.indiewire.com/news/business/dan-gordon-wga-resignation-israel-interview-1234920556/https://www.indiewire.com/news/general-news/kino-lorber-streaming-service-kino-film-collection-1234921524/https://www.indiewire.com/news/breaking-news/sag-aftra-responds-latest-studio-offer-resume-negotiations-1234920257/Letterboxd:@cam klassen@joewest

We're tackling a big topic in our two part discussion on “the female gaze.” What is the female gaze and why does it matter? In this first episode, we establish some context for the term by getting into the history of the “gaze” as a concept, the psychoanalytic origins of the Male Gaze as theorized by Laura Mulvey, and how the oppositional gaze, as coined by bell hooks, makes space for alternative ways of looking and being looked at. You can listen to "E32 The Female Gaze (Part 2): Complication and Expansion" right now! A quick editorial note: We incorrectly mention that polo originated in China. Sources consider what would be modern day Iran as the location of origin for the game. As two people who study, analyze, and have a literal podcast about media, we stand in solidarity with the WAG and SAG-AFTRA strikes. Without the labor of the writers and actors currently on strike–along with their counterparts in other industries/countries, who also deserve fair wages and labor protections– none of the works we discuss here or in other episodes would exist. Lit discussed this episode: Mobile Suit Gundam: The Witch From Mercury, Vincenzo, The Story of Ming Lan Bonus reading (aka works cited & consulted): Bowers, Susan R. “Medusa and the Female Gaze.” NWSA Journal, vol. 2, no. 2, 1990, pp. 217-235.   Benson-Allott, Caetlin. “No Such Think Not Yet: Questioning Television's Female Gaze.” Film Quarterly, vol. 71, no. 2, 2017, pp. 65-71. DOI: https://doi.org/10.1525/FQ.2017.71.2.65. Forster, Stefani. “Yes, there's such a thing as a ‘female gaze.' But it's not what you think.” Medium. !2 Jun 2018. Accessed 13 February 2020. https://medium.com/truly-social/yes-theres-such-a-thing-as-a-female-gaze-but-it-s-not-what-you-think-d27be6fc2fed. Dyhouse, Carol. Heartthrobs: A History of Women and Desire. Oxford University Press, 2017. Hemmann, Kathryn. "Queering the Media Mix: The Female Gaze in Japanese Fan Comics." Transformative Works and Cultures, no 20, 2015. https://doi.org/10.3983/twc.2015.0628. hooks, bell. "The Oppositional Gaze: Black Female Spectators." Black Looks: Race and Representation, Routledge, 2014. Mulvey, Laura. “Visual Pleasure and Narrative Cinema.” Visual and Other Pleasures, Indiana University Press, 1989. Don't forget to subscribe to Sex. Love. Literature! You can find us on Instagram and Threads @SexLoveLit. The SLL Theme music is “Pluck It Up” by Dan Henig. What's Sparking Joy BGM is "Candy-Coloured Sky" by Catmosphere | https://soundcloud.com/ctmsphr; Released by Paper Crane Collective; Music promoted by https://www.free-stock-music.com; Creative Commons Attribution 3.0 Unported License;  https://creativecommons.org/licenses/by/3.0/deed.en_US

This is the second episode of our two part discussion on the Female Gaze. Since we laid some groundwork and gave some context in part one, this time around, we dive right in. In thinking through “the female gaze,” we ask questions of whom we presume is looking and who is being looked at. We also think about how the gaze becomes more complicated in our modern media context, especially when we move beyond binary, heteronormative understandings of gender and sexuality. We definitely recommend checking out "E31 The Female Gaze (Part 1): The Origins of the Gaze" before listening to this one. As two people who study, analyze, and have a literal podcast about media, we stand in solidarity with the WAG and SAG-AFTRA strikes. Without the labor of the writers and actors currently on strike–along with their counterparts in other industries/countries, who also deserve fair wages and labor protections– none of the works we discuss here or in other episodes would exist. Lit discussed this episode: Get Up EP by NewJeans, Spicy by Aespa, Her Private Life, See You in My 19th Life, My Love Story with Yamada-Kun at Level 999; The Song of the Lioness Quartet, The Immortals Quartet, The Lunar Chronicles, A League of Their Own (TV Series), Bonus reading (aka works cited & consulted): Bowers, Susan R. “Medusa and the Female Gaze.” NWSA Journal, vol. 2, no. 2, 1990, pp. 217-235.   Benson-Allott, Caetlin. “No Such Think Not Yet: Questioning Television's Female Gaze.” Film Quarterly, vol. 71, no. 2, 2017, pp. 65-71. DOI: https://doi.org/10.1525/FQ.2017.71.2.65. Forster, Stefani. “Yes, there's such a thing as a ‘female gaze.' But it's not what you think.” Medium. !2 Jun 2018. Accessed 13 February 2020. https://medium.com/truly-social/yes-theres-such-a-thing-as-a-female-gaze-but-it-s-not-what-you-think-d27be6fc2fed. Dyhouse, Carol. Heartthrobs: A History of Women and Desire. Oxford University Press, 2017. Hemmann, Kathryn. "Queering the Media Mix: The Female Gaze in Japanese Fan Comics." Transformative Works and Cultures, no 20, 2015. ⁠https://doi.org/10.3983/twc.2015.0628⁠. hooks, bell. "The Oppositional Gaze: Black Female Spectators." Black Looks: Race and Representation, Routledge, 2014. Mulvey, Laura. “Visual Pleasure and Narrative Cinema.” Visual and Other Pleasures, Indiana University Press, 1989. Phillips, Leah. Female Heroes in Young Adult Fantasy Fiction: Reframing Myths of Adolescent Girlhood. Bloomsbury Publishing, 2023. Wilton, Tamsin. Sexual (Dis)Orientation: Gender, Sex, Desire and Self-Fashioning, Palgrave Macmillian UK, 2004. Don't forget to subscribe to Sex. Love. Literature! You can find us on Instagram and Threads @SexLoveLit. The SLL Theme music is “Pluck It Up” by Dan Henig. What's Sparking Joy BGM is "Candy-Coloured Sky" by Catmosphere | https://soundcloud.com/ctmsphr; Released by Paper Crane Collective; Music promoted by https://www.free-stock-music.com; Creative Commons Attribution 3.0 Unported License;  https://creativecommons.org/licenses/by/3.0/deed.en_US

Watch/Listen to this and all episodes ad free by joining the ITBR Patreon for only $5 a month! ⁠⁠⁠patreon.com/ivorytowerboilerroom⁠⁠⁠ Manuel Betancourt, a Los Angeles-based queer Colombian writer and film critic joins Andrew in the ITBR to talk all things Hunks Heartthrobs and Desiring Men! Andrew asks Manuel why he decided to write "The Male Gazed: On Hunks, Heartthrobs, and What Pop Culture Taught Me About (Desiring) Men" which is a memoir-in-essays that is both a coming of age and coming out journey. Manuel reveals that while some were enjoying Mario Lopez's performance in "Saved by the Bell," he was both enjoying and lusting after Mario! Just like his desire for Mario Lopez, Manuel and Andrew discuss their queer male interest in Antonio Banderas, Ricky Martin, wrestling singlets, Muscle Beach, and even jockstraps! Andrew then asks Manuel how Laura Mulvey's essay "Visual Pleasure and Narrative Cinema" which discusses how the male gaze objectifies women connects to Manuel's theory about the queer male gaze? Be sure to get your hands or ears on Manuel's "The Male Gazed" here: https://mbetancourtcom.wordpress.com/ You can follow Manuel on Instagram, @bmanuel and on X (formerly Twitter), @bmanuel. Head to Broadview Press, an independent academic publisher, for all your humanities related books. Use code ivorytower for 20% off your⁠⁠⁠⁠ broadviewpress.com ⁠⁠⁠⁠order. To subscribe to The Gay and Lesbian Review visit ⁠⁠⁠⁠glreview.org⁠⁠⁠⁠. Click Subscribe, and enter promo code ITBR to receive a free copy with any print or digital subscription. Order from ⁠⁠⁠⁠@mandeemadeit⁠⁠⁠⁠, mention ITBR, and with your first order you'll receive a free personalized gift! Follow That Ol' Gay Classic Cinema on Instagram, ⁠⁠⁠⁠@thatolgayclassiccinema⁠⁠⁠⁠. Follow ITBR on IG, ⁠⁠⁠⁠@ivorytowerboilerroom⁠⁠⁠⁠, TikTok, ⁠⁠⁠⁠@ivorytowerboilerroom⁠⁠⁠⁠, and Twitter, ⁠⁠⁠⁠@IvoryBoilerRoom⁠⁠⁠⁠! Thanks to the ITBR team! ⁠⁠⁠⁠Andrew Rimby⁠⁠⁠⁠ (Host/Director), ⁠⁠⁠⁠Mary DiPipi⁠⁠⁠⁠ (Chief Contributor), and our Fall 23 interns (Jonathan and Sara) --- Send in a voice message: https://podcasters.spotify.com/pod/show/ivorytowerboilerroom/message Support this podcast: https://podcasters.spotify.com/pod/show/ivorytowerboilerroom/support

In this author interview, I speak with Suzanne Ferriss whose first book about Sofia Coppola The Cinema of Sofia Coppola: Fashion, Culture, Celebrity was published in February 2021 and she edited The Bloomsbury Handbook to Sofia Coppola, which was published in early 2023. She joins me today to talk about her latest book, Lost in Translation from BFI Film Classics about Coppola's film that celebrates its 20th anniversary this year. Listen to hear about Suzanne's approach to writing about Coppola's work, the wealth of films she recommends, and thoughts on who might be a good fit to cast in Lost in Translation if it were made today.  Books mentioned in this episode include:The Virgin Suicides by Jeffrey EugenidesThe Bloomsbury Handbook to Sofia Coppola edited by Suzanne FerrissSofia Coppola: The Politics of Visual Pleasure by Anna Backman RogersSofia Coppola: A Cinema of Girlhood by Fiona HandysideThe Ministry for the Future by Kim Stanley RobinsonThe Overstory by Richard PowersInterior Chinatown by Charles YuThe Sympathizer by Viet Thanh NguyenGood for a Girl: A Woman Running in a Man's World by Lauren FleshmanFilms mentioned in this episode include:Virgin Suicides directed by Sofia CoppolaAn Affair to Remember directed by Leo McCareyManny & Lo directed by Lisa KruegerGirl with a Pearl Earring directed by Peter WebberAsteroid City directed by Wes AndersonGroundhog Day directed by Harold RamisRushmore directed by Wes AndersonOn the Rocks directed by Sofia CoppolaPast Lives directed by Celine SongRear Window directed by Alfred HitchcockParasite directed by Bong Joon-hoSomewhere directed by Sofia CoppolaThe Thin Man directed by W. S. Van DykeParty Girl directed by Daisy von Scherler MayerSilver Linings Playbook directed by David O. RussellPsycho directed by Alfred HitchcockGrand Budapest Hotel directed by Wes AndersonThe Shining directed by Stanley KubrickJohn Kacere on Wikipedia, inspiration for the opening shot of Lost in Translation.Video for Shawn Mendes's sons "Lost in Japan", inspired by Lost in Translation.

In this special audio documentary episode of The Cinematologists Podcast, we draw upon the fascinating research in an AHRC funded project Demons of the Mind: Psychiatry and Cinema in the long 1960s. Exploring the complex interrelations between cinema and the psy-sciences during a unique period of material collaboration, we cover the dimensions of mutual influence between filmmakers and psychiatric professions in a number of contexts - the depiction of psychological themes in case history adaptations, relationships between doctors and patients, changing ideas around causes and treatments of conditions, the context of censorship, and the very social perception of mental illness. We also focuses on the rationale for collaborations between filmmakers and psy-professionals, their ideological and moral parameters, and the formal characteristics of films influenced by psychiatry in various ways.  The episode, written, narrated and edit by Dario and featuring contributions from research investigators Dr Tim Snelson of the University of East Anglia and Dr William R. Macauley of the University of Manchester, weaves together the core arguments and findings from the project with indicative clips from a range of films that were the focus of enquiry. After the main edit, Dario discusses with Neil the making of the podcast, thinking through both the technical elements of editing this type of podcast and the decision-making process when adapting such in-depth research to the audio form. Dr. Tim Snelson is an associate professor in media history at the University of East Anglia (UK). His research addressing the relationship between media and social history has been published in journals including Media History, History of Human Sciences, Cultural Studies and The Historical Journal of Film, Radio and Television. He has explored wartime cycles of psychological horror and crime films in a book titled Phantom Ladies: Hollywood Horror and the Home Front (Rutgers University Press, 2015). https://orcid.org/0000-0002-8282-2432 Dr. William R. Macauley is a lecturer at the University of Manchester and senior research associate at the Science Museum, London. He has an academic background and extensive research experience in psychology and the history of science, technology, and medicine. His work has been published in scholarly books and journals including History of the Human Sciences, Journal of British Cinema and Television, History of Technology, and the Journal of Sonic Studies. https://orcid.org/0000-0002-1748-9610 Book to accompany the research project: Tim Snelson , William R. Macauley  and David A. Kirby, Demons of the Mind: Psychiatry and Cinema in the Long 1960s (forthcoming Edinburgh University Press, 2024).   Bibliography Baudry, Jean-Louis, and Alan Williams. “Ideological Effects of the Basic Cinematographic Apparatus.” Film Quarterly, vol. 28, no. 2, 1974, pp. 39–47.  Laing, R.D. 1960. The Divided Self: An Existential Study in Sanity and Madness. (2010 edition) Penguin Modern Classics. Laing, R.D. 1970. Sanity, Madness and the Family: Families of Schizophrenics. Penguin Books Ltd Metz, Christian, and Alfred Guzzetti. “The Fiction Film and Its Spectator: A Metapsychological Study.” New Literary History, vol. 8, no. 1, 1976, pp. 75–105.  Mulvey, Laura. 1975. "Visual Pleasure and Narrative Cinema." Screen, vol. 16, no. 3, pp. 6-18   Filmography Secrets of a Soul (1926, G. W. Pabst)  Calling Dr Death (1943, Reginald Le Borg) Shock (1946, Alfred L. Werker) Dark Mirror (1946, Robert Siodmak) Possessed (1947, Curtis Bernhardt) The Snake Pit (1948, Anatole Litvak) The Three Faces of Eve (1957, Nunnally Johnson) Psycho (1960, Alfred Hitchcock) The Caretakers (1963, Hal Bartlett) The Collector (1965, William Wyler) Repulsion (1965, Roman Polanski) In Two Minds (TV, 1967, Ken Loach) One Flew Over the Cuckoo's Nest (1975, Miloš Foreman) Silence of the Lambs (1991, Jonathan Demme) Good Will Hunting (1997, Gus Van Sant) Girl, Interrupted (1999, James Mangold) Joker (2019, Todd Philips)   Addition music via Artlist.io A.J. Nutter - Winds of Design Alon Peretz - While the Town Was Sleeping Norvik - Waterbed   You can listen to The Cinematologists for free, wherever you listen to podcasts: click here to follow. Or visit www.cinematologists.com We also produce an extensive monthly newsletter and bonus/extended content that is available on our Patreon page: https://www.patreon.com/cinematologists. You can become a member for only £2. We really appreciate any reviews you might write (please send us what you have written and we'll mention it) and sharing on Social Media is the lifeblood of the podcast so please do that if you enjoy the show. _____ Music Credits: ‘Theme from The Cinematologists' Written and produced by Gwenno Saunders. Mixed by Rhys Edwards. Drums, bass & guitar by Rhys Edwards. All synths by Gwenno Saunders. Published by Downtown Music Publishing  

Daf Yummy épisode 819. Nazir 45 : Visual Pleasure and Narrative Cinema. La femme objet. by Myriam Ackermann Sommer

Women. "Best Revival of a Podcast: Showgays" is a podcast in The Ampliverse. Instagram / Twitter and share your thoughts with us about the movie! Email us any thoughts and takes and we may read it on the next episode at showgaysmoviemusical@gmail.com Don't forget to check out the Ampliverse Bookshop for further reading! References Saraghina in Otto e Mezzo Cantore, Francesca, and Giulia Muggeo. “Federico Fellini and the Debate in Italian Feminist Magazines (1973–80).” Journal of Italian Cinema & Media Studies, vol. 9, no. 1, 2021, pp. 45–62., https://doi.org/10.1386/jicms_00050_1 Mulvey, L. “Visual Pleasure and Narrative Cinema.” Screen, vol. 16, no. 3, 1975, pp. 6–18., https://doi.org/10.1093/screen/16.3.6 --- Send in a voice message: https://anchor.fm/showgays/message

Abstract: Alper Yesiltas' reimagining of Michael Jackson went viral and was even chosen as an image for the September Journal of Michael Jackson Academic Studies newsletter, described as ‘thought-provoking'. In this episode, we follow MJ academic and recovering PhD scholar, Geneva S. Thomas through her excellent thread of tweets that explore the impact reimaginings of Michael Jackson have and what they do to his legacy. Karin and Elizabeth have a thorough discussion about respect and what it does to Michael Jackson's legacy with guests Geneva S. Thomson and Nina Fonoroff. REFERENCE AS: Merx, Karin, and Elizabeth Amisu. “Episode 63 –Re-imagining Michael Jackson” Podcast, Michael Jackson's Dream Lives On: An Academic Conversation 9, no. 1 (2022). Published electronically 21/11/2022. https://sya.rqu.mybluehost.me/website_94cbf058/episode-63 The Journal of Michael Jackson Academic Studies asks that you acknowledge The Journal of Michael Jackson Academic Studies as the source of our Content; if you use material from The Journal of Michael Jackson Academic Studies online, we request that you link directly to the stable URL provided. If you use our content offline, we ask that you credit the source as follows: “Courtesy of The Journal of Michael Jackson Academic Studies.” Episode 63– Re-imagining Michael JacksonBy Karin Merx & Elizabeth Amisu and guests Geneva S Thomson and Nina Fonoroff Karin Merx BMus, MA, is editor of The Journal of Michael Jackson Academic Studies, and author of  ‘A festive parade of highlights. La Grande Parade as evaluation of the museum policy of Edy De Wilde at the Stedelijk Museum Amsterdam'. Find out more about Karin here. Elizabeth Amisu, PGCE, MA, is the editor of The Journal of Michael Jackson Academic Studies and author of The Dangerous Philosophies of Michael Jackson: His Music, His Persona, and His Artistic Afterlife. Find out more about Elizabeth here. References: Laura Mulvey, 'Visual Pleasure in American Cinema', Screen, vol 16, issue 3 (1975) pp. 6-18. Maya Angelou, We Had Him, 7-7-2009. (read during the private funeral of Michael Jackson.) Willa Stillwater, M Poetica (Self Published PhD thesis, 2001) Sherrow O. Pinder, Michael Jackson and the Quandary of a Black Identity (Sunny Press, 2021).

Abstract: Alper Yesiltas' reimagining of Michael Jackson went viral and was even chosen as an image for the September Journal of Michael Jackson Academic Studies newsletter, described as ‘thought-provoking'. In this episode, we follow MJ academic and recovering PhD scholar, Geneva S. Thomas through her excellent thread of tweets that explore the impact reimaginings of Michael Jackson have and what they do to his legacy. Karin and Elizabeth have a thorough discussion about respect and what it does to Michael Jackson's legacy with guests Geneva S. Thomson and Nina Fonoroff. REFERENCE AS: Merx, Karin, and Elizabeth Amisu. “Episode 63 –Re-imagining Michael Jackson” Podcast, Michael Jackson's Dream Lives On: An Academic Conversation 9, no. 1 (2022). Published electronically 21/11/2022. https://michaeljacksonstudies.org/episode-63 The Journal of Michael Jackson Academic Studies asks that you acknowledge The Journal of Michael Jackson Academic Studies as the source of our Content; if you use material from The Journal of Michael Jackson Academic Studies online, we request that you link directly to the stable URL provided. If you use our content offline, we ask that you credit the source as follows: “Courtesy of The Journal of Michael Jackson Academic Studies.” Episode 63– Re-imagining Michael JacksonBy Karin Merx & Elizabeth Amisu and guests Geneva S Thomson and Nina Fonoroff Karin Merx BMus, MA, is editor of The Journal of Michael Jackson Academic Studies, and author of  ‘A festive parade of highlights. La Grande Parade as evaluation of the museum policy of Edy De Wilde at the Stedelijk Museum Amsterdam'. Find out more about Karin here. Elizabeth Amisu, PGCE, MA, is the editor of The Journal of Michael Jackson Academic Studies and author of The Dangerous Philosophies of Michael Jackson: His Music, His Persona, and His Artistic Afterlife. Find out more about Elizabeth here. References: Laura Mulvey, 'Visual Pleasure in American Cinema', Screen, vol 16, issue 3 (1975) pp. 6-18. Maya Angelou, We Had Him, 7-7-2009. (read during the private funeral of Michael Jackson.) Willa Stillwater, M Poetica (Self Published PhD thesis, 2001) Sherrow O. Pinder, Michael Jackson and the Quandary of a Black Identity (Sunny Press, 2021).

In this very special episode, Dhruv and Amartya welcome High on Films writer Ahendrila Goswami to talk about some essential feminist film theory and then apply it to two special films that they feel establish a different form of looking compared to mainstream cinema - Shoojit Sircar & Juhi Chaturvedi's "Piku," & Mira Nair and Sooni Taraporevala's adaptation of Jhumpa Lahiri's "The Namesake." To listen to an extended discussion of Laura Mulvey's seminal essay, "Visual Pleasure and Narrative Cinema," and the conceptual use of this "gaze" in these two films specifically, check out the full episode! "Visual Pleasure and Narrative Cinema": https://www.amherst.edu/system/files/media/1021/Laura%2520Mulvey,%2520Visual%2520Pleasure.pdf Ahendrila's Essays referenced in this episode: 1. Creating an Ashoke Ganguli of his Own: Irrfan Khan in "The Namesake" (2006): https://www.highonfilms.com/irrfan-khan-in-the-namesake/ 2. Exploring the Paradox of Freedom in "Great Freedom" (2021): https://www.highonfilms.com/great-freedom-2021-essay/ 3. Shardul Thakur Comes Out of the Closet: A Nuanced Portrayal of Queerness in "Badhaai Do" (2022): https://www.highonfilms.com/badhaai-do-2022-queer-analysis/. Time Codes: [00:00 - 06:24] - Intro [06:25 - 31:18] - Film Theory; Contemporary Examples of Male Gaze. [31:19 - 01:08:18] - Piku [01:08:19 - 01:47:48] - The Namesake [01:47:49 - 01:53:21] - Outro Follow our Instagram page: https://instagram.com/queenisdead.filmpodcast Do hit 'Follow' on Spotify if you haven't already to help the podcast reach more people! You can also follow Ahendrila: https://twitter.com/ahendrila_g Follow us on Letterboxd at: Ahendrila - https://letterboxd.com/ahendrila/ Amartya - https://letterboxd.com/amartya/ Dhruv - https://letterboxd.com/aterminalcinema/ --- Support this podcast: https://anchor.fm/queenisdead/support

Welcome to The Road to Avatar: A podcast exploring the world of Pandora, James Cameron and beyond. In this episode join host Shaun Alexander (@salexanderfilm) and special guest (@DrGaine) as we explore the way Gender is portrayed in the films of James Cameron. In this episode, we reference a whole host of film work which you should check out: Rupert Read. “Avatar: A Call to Save the Future.” Radical Anthropology 4 (November 2010): 35-40. Vincent M. Gaine. “The Emergence of Feminine Humanity from a Technologised Masculinity in the Films of James Cameron”, Journal of Technology, Theology and Religion, 2011 Laura Mulvey. Visual Pleasure and Narrative Cinema. Screen, Volume 16, Issue 3, Autumn 1975, Pages 6–18. CALLING THE SHOTS: Counting the women in key production roles in British films https://womencallingtheshots.com/ Follow us on Twitter: @AvatarPod Have a question or want to join us for an episode? Email us at: sivakoavatarpodcast@gmail.com Intro and Outro created by: JuliiusH

Teen horror-comedy meets avant garde neo-noir as we discuss Fran Kuzui's Buffy the Vampire Slayer and Bette Gordon's Variety, two very different, reputedly-feminist interventions into genre. Who is a better screenwriter -- Kathy Acker or Joss Whedon? We explore this important question and more. S2E3 Episode Transcript HERE Links and Further Reading Chicago review: David Kehr on how “Buffy is, like, so campy, you know?” New York Times: Janet Maslin hates Variety New York Times: Janet Maslin likes Buffy a little more Another Gaze: Rebecca Liu on Screening Female Desire: Bette Gordon's Variety 35 Years On CUNY Queens: Kevin L. Ferguson on On Variety: The Avant-Garde Between Pornography and Narrative Gay Community News: Cindy Patton on A Question of Variety: New Forms for Women in Movies IndieWire: Liz Shannon Miller on how Luke Perry in Buffy the Vampire Slayer helped Redefine the Male Love Interest Going Rampant: Feminist Review: Buffy the Vampire Slayer Buffy the Vampire Slayer original film script by Joss Whedon Laura Mulvey on Visual Pleasure and Narrative Cinema Subscribe to our Patreon We're also on twitter, instagram and have a website Sean on twitter and IG Nicole on twitter and IG All music in the episode is by Kevin MacLeod Link: https://incompetech.filmmusic.io/song/4552-twisted License: http://creativecommons.org/licenses/by/4.0/ --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/thecelluloidmirror/message

Tim & Tay talk Park Chan-Wook's The Handmaiden with special guest and self-described "psychotic fan" Hayley Rose Malouin. Tune in for a chat about queer media, cinematic eroticism and more.  SynopsisBased on the novel Fingersmith by Sarah Waters, The Handmaiden tells the story of a pickpocket and a con man attempting to swindle a wealthy Japanese woman out of her inheritance through seduction and subterfuge. Directed by Park Chan-wook, The Handmaiden was released May 14, 2016, and stars Kim Tae-ri, Kim Min-hee, Ha Jung-woo, and Cho Jin-woong.The Handmaiden is available to rent on Google Play or stream on Hoopla. Scene [Theatrical—51:32-103:05] / [Extended—1:00:24-1:14:40]As Uncle Kouzuki leaves for a week to visit his gold mine, the plan for Lady Hideko and Count Fujiwara to elope to Japan commences. After the secret marriage ceremony, the relationship between Lady Hideko and Sook-Hee is seemingly strained by the secrecy they must abide by. When it comes time to leave Lady Hideko at a mental hospital, it is in fact Sook-Hee who is betrayed at the last minute and is confined to the hospital in her place.Links3:50 - Indecent Proposal (Lyne, 1993)4:00 - Basic Instinct (Verhoeven, 1992)7:50 - Kim Tae-ri's award11:50 - New Yorker article15:10 - "Bury Your Gays" trope18:50 - Visual Pleasure and Narrative Cinema21:00 - Blue Is The Warmest Color (2013, Kechiche)24:40 - Sarah Waters in The Guardian49:30 - "Comedy wide, tragedy close"1:28:00 - Dark Passage (Daves, 1947)RecommendationsTim: Deep Water (Lyne, 2022)Tay: The Ballad of Little Jo (Greenwald, 1993)Hayley: Different for Girls (Spence, 1996)—available on HooplaAll links are verified at the time of publication and based on availability in Canada.Next episode: Moneyball  (Miller, 2011)—available to stream on Netflix

Eva and Emma talk about the male gaze, from its origins in feminist film criticism to how the concept gets used today. They also discuss what is often left out from the discourses around the male gaze... (hint: it's capitalism) and also get interrupted by Emma's lovey, loud cat! Follow us on social media: Instagram Twitter Facebook Support us on Patreon We are a proud member of the Harbinger Media Network READING LIST: Big Mama, tiktok Issues in Feminist Film Criticism (includes 'Visual Pleasure and Narrative Cinema' and 'Women and Representation') Janell Hobson, 'Viewing in the Dark: Toward a Black Feminist Approach to Film' Caroline Evans and Lorraine Gamman, 'The Gaze Revisited, or Reviewing Queer Viewing' John Berger, 'Ways of Seeing' show and book Laura Mulvey, 'Afterthoughts on ‘Visual Pleasure and Narrative Cinema'' Guerrilla Girls, archive San Francisco Museum of Modern Art, 'The Female Gaze' video series Molly Moss, 'thoughts on a queer gaze' Eliza McDonough, 'Radical Queer Gazes'

Eva and Emma talk about the male gaze, from its origins in feminist film criticism to how the concept gets used today. They also discuss what is often left out from the discourses around the male gaze... (hint: it's capitalism) and also get interrupted by Emma's lovey, loud cat! Follow us on social media: Instagram Twitter Facebook Support us on Patreon We are a proud member of the Harbinger Media Network READING LIST: Big Mama, tiktok Issues in Feminist Film Criticism (includes 'Visual Pleasure and Narrative Cinema' and 'Women and Representation') Janell Hobson, 'Viewing in the Dark: Toward a Black Feminist Approach to Film' Caroline Evans and Lorraine Gamman, 'The Gaze Revisited, or Reviewing Queer Viewing' John Berger, 'Ways of Seeing' show and book Laura Mulvey, 'Afterthoughts on ‘Visual Pleasure and Narrative Cinema'' Guerrilla Girls, archive San Francisco Museum of Modern Art, 'The Female Gaze' video series Molly Moss, 'thoughts on a queer gaze' Eliza McDonough, 'Radical Queer Gazes'

For this special episode, film and video art professor Sid Branca joins me for a nearly 2 and a half hour rigorous discussion on the concept of the "Male Gaze." We use Laura Mulvey's famous essay "Visual Pleasure and Narrative Cinema" and take it to task. The first part is available for free, but you'll need to sign up for my Patreon for the rest: patreon.com/girlsgutsgiallo.

Get ready for a very wholesome airing of grievances. Laura and Kim bring on a brand-new team member, MFA student Julia Elizabeth Evans, to settle the centuries-old (probably) rivalry between film studies and film production. Is the author really dead, as this podcast has been saying for months now? Let's see what an author thinks.   Some cool links for further inquiry: Roland Barthes, The Death of the Author: https://sites.tufts.edu/english292b/files/2012/01/Barthes-The-Death-of-the-Author.pdf   T.J. Demos, Beyond the World's End: Arts of Living at the Crossing: https://books.google.com/books?hl=en&lr=&id=UnH0DwAAQBAJ&oi=fnd&pg=PT5&dq=tj+demos+beyond+the+end+of+the+world&ots=zRTBDwZOdi&sig=dK3itlCSaYLVCxnpWKRCjQ2MeXM#v=onepage&q&f=false   Laura Mulvey, "Visual Pleasure and Narrative Cinema": http://johnniewilcox.com/courses/20051/postmodernism/files/articles/20050131mulvey.pdf   Marc Siegel, "The Intimate Spaces of Wong Kar-wai": https://books.google.com/books?hl=en&lr=&id=Bmihe5fRwV4C&oi=fnd&pg=PP13&dq=marc+siegel+at+full+speed&ots=bHHyrZl2iS&sig=5ephdhHON1bSsh-VxfQoAdxoN2U#v=onepage&q=marc%20siegel%20at%20full%20speed&f=false   The IATSE strike: https://iatse.net/by-a-nearly-unanimous-margin-iatse-members-in-tv-and-film-production-vote-to-authorize-a-nationwide-strike/   https://www.juliaelizabethevans.com/

In this episode, I present Laura Mulvey's short essay, "Visual Pleasure and Narrative Cinema." If you want to support me, you can do that with these links: Patreon: https://www.patreon.com/theoryandphilosophy paypal.me/theoryphilosophy Twitter: @DavidGuignion IG: @theory_and_philosophy

This weeks episode is all about perspective. Jocelyn, Alyssa, and Branden share their perspectives on sex, growth along with the male and female gaze. They explore these topics with openness and a willing to see the other side of things. Join them as always at 5pm every Monday.Male & Female Gaze - male gaze coined by film theorist Laura Mulvey in her essay “Visual Pleasure and Narrative Cinema.”Male: seeing a person in the male view (ex: Jessica Rabbit / Megan Fox - transformers) hyper sexualized, often objectifying womenFemale - focuses on fine details, small gesturesEx: Loki vs. Thor, Harley Quinn in suicide squad vs. Birds of prey @allisonsipe_autho"As the theory originates in film, the idea is that a piece of media has three potential male spectators: the filmmaker, the male characters in it and the viewer watching the film. The same goes for literature and any other form of storytelling.Even her trauma isn't solely her own, but perhaps a pivotal moment for the male protagonist's plotline" - sarah gudenau https://studybreaks.com/thoughts/female-gaze-male-gaze/ Instagram: tablestalks.podcastInstagram: jocelynstacia.coInstagram: alyssalynne12Instagram: waliedarus

In this first episode of this podcast on mediated intimacies, I talk with Susana Tosca, associate professor at Roskilde University in Denmark. We talk about otome games, Japanese video games in which women can date a pool of handsome men. What are otome games exactly, and why do we play them, and how can we study them in the field of game studies? You'll find Susana's answers in this episode! Games: Angelique (Ruby Party, 1994) Hakuoki (Idea Factory, 2008) Psychedelica of the Black Butterfly (Idea Factory, 2018) Nine Hours, Nine Persons, Nine Doors (Chunsoft, 2010) Shall We Date? series Books and articles: Reading the Romance (Radway, 1984) Transmedial worlds in everyday life (Tosca and Klastrup, 2019) Appropriating the Shinsengumi: Hakuoki Fan Fiction as Transmedial/Transcultural Exploration (Tosca, 2021) Visual Pleasure and Narrative Cinema (Mulvey, 1975) --on the male gaze in cinema

Anuja Pradhan and Alev Kuruoglu talk about gender and representation issues in TV production - and in the writer's rooms. Shows like The Queen's Gambit and Indian Matchmaking are put under the microscope. Consumer sociologist Carly Drake joins along the way.Notes and reading tips:“The Male Gaze”It was Laura Mulvey who came up with this term, in in the essay “Visual Pleasure and Narrative Cinema” (Published in 1975, in the journal Screen - reprinted in the collection “Visual and Other Pleasures” in 1989) The following are some sources if you would like to better understand engagement with and academic trajectories of this term:Sassatelli, R. (2011). Interview with Laura Mulvey: Gender, gaze and technology in film culture. Theory, Culture & Society, 28(5), 123-143.Cooper, B. (2000). “Chick flicks” as feminist texts: The appropriation of the male gaze in Thelma & Louise. Women's Studies in Communication, 23(3), 277-306.Oliver, K. (2017). The male gaze is more relevant, and more dangerous, than ever. New Review of Film and Television Studies, 15(4), 451-455.Benson-Allott, C. (2017). On Platforms: No Such Thing Not Yet: Questioning Television's Female Gaze. Film Quarterly, 71(2), 65-71.Jones, A. (Ed.). (2003). The feminism and visual culture reader. Psychology Press.Indian Feminist Scholars:Mohanty, C.T. (1988) Under Western Eyes: Feminist scholarship and colonial discourses. Feminist Review. 30. 61-88.Mohanty, C.T. (2003) “Under Western Eyes” revisited: Feminist solidarity through anticapitalist struggles. Signs. 28 (2). 499-535.John, M. (2014) Feminist vocabularies in time and space: Perspectives from India. Economic and Political Weekly. 49(22). 121-130.Gender and TV:hooks, b. (2003). The oppositional gaze: Black female spectators. The feminism and visual culture reader, 94-105.Nygaard, T., Lagerwey, J. (2020) Horrible White People: Gender, genre, and television's precarious whiteness. United States: NYU Press.Tuncay Zayer, L., Sredl , K., Parmentier,M. & Coleman, C. (2012) Consumption and gender identity in popular media: Discourses of domesticity, authenticity, and sexuality. Consumption Markets & Culture, 15:4, 333-357.Kandelwal, M. (2009) Arranging Love: Interrogating the vantage point in cross‐border feminism. Signs. 34(3). 583-609.Cavender, G., Bond-Maupin, L. And Jurik, N. C. (1999) ‘The construction of gender in reality crime TV', Gender & Society, 13(5), pp. 643–663. doi: 10.1177/089124399013005005.D'Acci, Julie. 1994. Defining women: Television and the case of “Cagney and Lacey.” Chapel Hill: University of North Carolina Press.Green, S. (2019) Fantasy, gender and power in Jessica Jones, Continuum, 33:2, 173-184, DOI: 10.1080/10304312.2019.1569383General TV:Fiske, John. 1987. Television culture. New York: Routledge Kegan Paul.

In 1975, Laura Mulvey wrote what would become a highly influential analysis of how cinema reproduces patriarchy. She coined the term "male gaze" and argued that the cinema goer is manipulated by being forced to connect to the cinema experience through the prism of heterosexual male desire. We also talk about Frozen, The Royal Tenenbaums and more trucks. 

No RdMCast desta semana abordamos de uma só vez dois grandes clássicos do horror: o livro de Stephen King, Carrie, a Estranha (1974), e o filme homônimo de 1976. Ao longo de uma profunda e instigante análise, destrinchamos os elementos relacionados ao bullying, a menstruação e o percebido perigo da sexualidade feminina, bem como a religiosidade fervorosa de Margaret White e suas bases. Ao mesmo tempo criticando e amando o filme de Brian de Palma, falamos ainda da continuação cara de pau de 1999 e seus CDs voadores, além dos remakes sem propósito de 2002 e 2013. * ARTE DA VITRINE: Estúdio Grim SEJA UM(A) APOIADOR(A) * Apoie o RdM a produzir mais conteúdo e ganhe recompensas exclusivas! * Acesse: https://apoia.se/rdm * Conheça a Sala dos Apoiadores: http://republicadomedo.com.br/sala-dos-apoiadores/] ESTÚDIO GRIM – Design para conteúdo digital * Portfólio: https://www.behance.net/estudiogrim * Instagram @estudiogrim * designgrim@gmail.com PODCAST EDITADO POR * Ilha Flutuante: https://www.ilhaflutuante.com.br/ CITADOS NO PROGRAMA * “Carrie, a Estranha” (1974 – Stephen King) * “Carrie, a Estranha” (1976) * “A Maldição de Carrie” (1999) * “Carrie, a Estranha” (2002) * “Carrie, a Estranha” (2013) Recomendações de textos sobre o olhar masculino da câmera: * “KAPLAN, E. Ann. A Mulher e O Cinema: Os dois lados da câmera. Rio de Janeiro: Rocco, 1995 * MULVEY, Laura. Visual Pleasure and Narrative Cinema. In: Film Theory and Criticism: Introductory Readings. New York: Oxford UP, 1999. Sobre Carrie Dissertação da Gabi – O Corpo Feminino no Cinema de Horror: Gênero e Sexualidade nos filmes Carrie, Halloween e Sexta-Feira 13 (1970 – 1980). Disponível aqui: https://www.academia.edu/27959027/O_Corpo_Feminino_no_Cinema_de_Horror_G%C3%AAnero_e_Sexualidade_nos_filmes_Carrie_Halloween_e_Sexta_Feira_13_1970_1980_ Se Eles Apenas Soubessem que Ela Tinha o Poder: a Monstruosidade Feminina em Carrie, a Estranha (1976). Disponível aqui: https://www.academia.edu/31428759/Se_Eles_Apenas_Soubessem_que_Ela_Tinha_o_Poder_a_Monstruosidade_Feminina_em_Carrie_a_Estranha_1976_ Entre O Anormal e O Monstruoso: Notas Sobre O Livro Carrie De Stephen King (1974) E O Filme Homônimo De Brian De Palma (1976). Disponível aqui: http://www.dialogarts.uerj.br/admin/arquivos_tfc_literatura/vozes_insolitas.pdf OUÇA O RDMCAST NO SPOTIFY! * Acesse: https://spoti.fi/2DWoFCX GRUPO ABERTO NO TELEGRAM * Link direto: http://bit.ly/2Ao6dOd Tem algo para nos contar? Envie um e-mail! Learn more about your ad choices. Visit podcastchoices.com/adchoices

De male gaze is een bekend fenomeen in feministische kritiek dat gebruikt wordt om de weergave van vrouwen in film en andere visuele media te analyseren. Het concept is geïntroduceerd door Laura Mulvey in 1975 en wordt nog steeds gebruikt om aan te geven hoe vrouwen worden gereduceerd in visuele media. In deze aflevering onderzoeken we hoe dit concept kan worden omgedraaid tot een vrouwelijke blik en wat daar dan de kenmerken van zouden zijn. Te gast is Lieke, recentelijk gepromoveerd mediëvist. Verwijzingen Intro - Laura Mulvey (1975). “Visual Pleasure and Narrative Cinema”. Screen 16 (3): 6-18. - Berger, John. Geciteerd in: https://finallyfeminism101.wordpress.com/2007/08/26/faq-what-is-the-%E2%80%9Cmale-gaze%E2%80%9D/ - Jean-Paul Sartre, L'Être et le néant : Essai d'ontologie phénoménologique, 1943. Merel Magic Mike (2012), dir. Steven SoderberghMagic Mike XXL (2015), dir. Gregory JacobsVolkskrant artikel:  https://www.volkskrant.nl/cultuur-media/de-hot-priest-uit-fleabag-en-andere-sexy-personages-die-vrouwen-doen-watertanden~b26de96f/  info-kader "female gaze" (waarin trouwens ook Lieke's film wordt genoemd). Natalie Perfetti-Oates: Chick Flicks and the Straight Female Gaze: Sexual Objectification and Sex Negativity in “New Moon”, “Forgetting Sarah Marshall”, “Magic Mike”, and “Fool's Gold” http://genderforum.org/absolute-erotic-issue-51-2015/Crazy, Stupid, Love (2011), dir. Glenn Ficarra and John Requa; "The Big Move" scene: https://www.youtube.com/watch?v=9vSKyFA5F9YLittle Women (2019), dir. Greta Gerwig. Wessel Virginia Woolf. A Room of One's Own. 1929. Lieke Portrait de la jeune fille en feu. (2019). Regie en script Céline Sciamma. Overige verwijzingen Margaret Atwood - Siren Song. 1974.Pat Barker - The Silence of the Girls. 2018. (Hervertelling van de Iliad vanuit het perspectief vn Briseis))Bechdel test. https://bechdeltest.com/Coca Cola Light reclame: https://www.youtube.com/watch?v=ot9NvIavZIcCarol Ann Duffy - The World's Wife. 2000. De collectie gedichten waarin vrouwelijke karakters uit de kunstgeschiedenis een stem krijgen.Madeline Miller - Circe. 2018. (Herinterpretatie van Circe bekend uit onder andere de Odyssee)Mythe van Orpheus en Eurydice. https://nl.wikipedia.org/wiki/Orpheus_en_EurydiceChrista Wolf - Cassandra Ook te vinden op YouTube en Spotify.

This week on The Spectator Film Podcast… The Gorgon (1965) 10/4/19 Featuring: Austin, Maxx Commentary track begins at 15:06 — Notes — We watched the Indicator Hammer Volume One Box Set edition of The Gorgon for the show this week. Indicator seems to put a lot of resources into every release, and their box sets are fantastic – this box set is no exception. This release of The Gorgon looks amazing and also includes lots of supplemental materials, including its own insightful commentary track by Samm Deighan and Kat Ellinger. Terence Fisher by Peter Hutchings — An engaging and insightful book on the director of many of Hammer’s greatest movies, Terence Fisher. Peter Hutchings is a wonderful writer, and this book fits right in with a lot of his other writing. There’s a brief section here discussing The Gorgon, and Hutchings does a good job situating the film within the rest of Fisher’s work. A New Heritage of Horror: The English Gothic Cinema by David Pirie — This study by David Pirie was one of the foremost academic examinations of the gothic tradition in British filmmaking. The book isn’t exclusively dedicated to Hammer, but Pirie still discusses Hammer films extensively, while also dedicating an entire chapter to Terence Fisher. Recommended for anyone looking to learn some more about Hammer. The Medusa Reader Edited by Marjorie Garber & Nancy J. Vickers — We didn’t wind up relying on any material from this book for this episode, but it’s worth mentioning. It’s a terrific resource for anyone looking to learn more about the way Medusa’s been continuously re-interpreted and appropriated by different people, a process that’s continued for thousands of years. The Monstrous-Feminine: Film, Feminism, Psychoanalysis by Barbara Creed — A vital book for anyone interested in learning how gender operates within the horror genre, in specifically psychoanalytic terms. The psychoanalytic framework of Creed’s examination allows her to provide both insightful commentary on numerous horror films and re-examine the psychoanalytic concepts themselves – it’s a wonderful book. We didn’t reference any specific passage during our episode, but Medusa re-appears consistently throughout the book and clearly serves as one of the most significant images of monstrous femininity. Men, Women, and Chainsaws: Gender in the Modern Horror Film by Carol J. Clover — One of the most substantial books discussing the horror genre. We’ve referenced it numerous times, and it certainly applies to our discussion of The Gorgon as well. The second chapter especially, “Opening Up,” can provide a lot of insight into how The Gorgon utilizes gender within its possession narrative and treatment of Clara. We’ll include a brief passage below: “Whereas the female story traces a circle (she becomes again what she was when the film began), the excesses of its middle disappearing without a physical or psychic trace (Regan is explicitly amnesiac, Linda implicitly so), the male story is linear (he is at the end radically different from what he was at the beginning), public (he and the world know he has changed), and apparently permanent. In other words, hers is an ABA story of restoration in which she emerges unaware of what has transpired, whereas his is an ABC story of revision or conversion in which he emerges a “new man” fully cognizant of what has befallen not only himself but her as well. At the same time, his C is very much like her A. The man he becomes is a man who not only accepts the feminine against which he railed at the outset but even, up to a point, shares it. If he does not accept and share it, as in Don’t Look Now, he dies” (98-99) “Visual Pleasure in Narrative Cinema” by Laura Mulvey — Here’s a link to a PDF version of the essay. Goes without saying that this is one of the most significant essays in film studies, and it was incredibly useful for our discussion of The Gorgon this week. We’ll include some of the relevant passages below: “The first, scopophilic, arises from pleasure in using another person as an object of sexual stimulation through sight. The second, developed through narcissism and the constitution of the ego, comes from identification with the image seen. Thus, in film terms, one implies a separation of the erotic identity of the subject from the object on the screen (active scopophilia), the other demands identification of the ego with the object on screen through the spectator’s fascination with and recognition of his like.” “In a world ordered by sexual imbalance, pleasure in looking has been split between active/male and passive/female. The determining male gaze projects its phantasy on to the female figure which is styled accordingly. In their traditional exhibitionist role women are simultaneously looked at and displayed, with their appearance coded for strong visual and erotic impact so that they can be said to connote to-be-looked-at-ness. Woman displayed as sexual object is the leit-motif of erotic spectacle…The presence of woman is an indispensable element of spectacle in normal narrative film, yet her visual presence tends to work against the development of a story line, to freeze the flow of action in moments of erotic contemplation.” “Traditionally, the woman displayed has functioned on two levels: as erotic object for the characters within the screen story, and as erotic object for the spectator within the auditorium, with a shifting tension between the looks on either side of the screen. For instance, the device of the show-girl allows the two looks to be unified technically without any apparent break in the diegesis. A woman performs within the narrative, the gaze of the spectator and that of the male characters in the film are neatly combined without breaking narrative verisimilitude.” “An active/passive heterosexual division of labor has similarly controlled narrative structure. According to the principles of the ruling ideology and the physical structures that back it up, the male figure cannot bear the burden of sexual objectification. Man is reluctant to gaze at his exhibitionist like. Hence the split between spectacle and narrative supports the man’s role as the active one of forwarding the story, making things happen. The man controls the film phantasy and also emerges as the representative of power in a further sense: as the bearer of the look of the spectator, transferring it behind the screen to neutralize the extra-diegetic tendencies represented by woman as spectacle. This is made possible through the processes set in motion by structuring the film around a main controlling figure with whom the spectator can identify. As the spectator identifies with the main male protagonist, he projects his look on to that of his like, his screen surrogate, so that the power of the male protagonist as he controls events coincides with the active power of the erotic look, both giving a satisfying sense of omnipotence.”

This week on The Spectator Film Podcast… Tank Girl (1995) 6.13.19 Featuring: Austin, Maxx Commentary track starts at 35:50 — Notes — “Let’s Stop Calling Movies Feminist” by Anna Biller —- Here’s Anna Biller’s insightful blog post about our tendency to crown movies as “feminist”; we’re not only frequently wrong, but also convolute and trivialize the discussion of actual feminist cinema in doing so, diminishing it’s potency. As with our discussion of Legally Blonde (2001), we relied upon Biller’s criteria to frame a portion of our discussion on Tank Girl and better understand the film. We encourage you curious listeners to engage with Biller’s blog post directly, and listen to our Legally Blonde episode for additional discussion.  It’s also worth mentioning Anna’s Blog: Musings About Film and Culture has many other fascinating posts in which Anna discusses both her own work and film history at large. (Anna also seems to participate in the comments section frequently, which is pretty cool. Just sayin’…) Check out Criterion Channel’s Anna Biller Collection! Her two feature films – Viva (2007), The Love Witch (2016) – are available for streaming in addition to a number of short films she’s made over the past several decades. They won’t be around forever, so watch them while you can. ‘Post-Human Romance: Parody and Pastiche in “Making Mr. Right” and “Tank Girl”‘ by Marilyn Manners and R.L. Rutsky from Discourse — Here’s a link to the article we referenced throughout the episode, and the writers do a fantastic job of articulating how Tank Girl‘s perceived disorganization, lack of stakes, and poor structure actually work as virtues for the film. Locating online academic resources on Tank Girl may be slightly challenging, but this essay is an excellent place to start. We’ll include some relevant quotes below: “…Tank Girl is unique not only for having a female lead, but in its comedic, and self-parodic, approach to its subject matter and narrative. This difference is, moreover, very much connected to issues of style, a point foregrounded by the film's use of drawn, comic-book images – both stills and animated sequences – at numerous points in its narrative. The inclusion of these comic book images, which in themselves contribute to the film's sense of irreverent and exuberant playfulness, draws attention to the artifice of the filmmaking process and therefore serves to heighten the film's parodic attitude towards genre conventions and its own narrative. Thus, these images not only tend to privilege style and image over narrative continuity and realism, they also link this emphasis on style to a playful irreverence that refuses to take the male-dominated conventions of science-fiction – and cinematic narratives more generally – seriously” (123-24) “Tank Girl's foregrounding of style and surface is, indeed, inseparable from its parody of authority and seriousness. At a narrative level, the film seems to borrow familiar plot devices from mainstream science-fiction films only in order to make fun of them…For Kesslee, this competition is about control. Just as he tries to control the world's water, he also wants not to kill, but to control Rebecca, to force her to work for him…Yet, if the film thematizes the linkage of the female body to fluidity and of the man to the control of that fluidity (as we shall discuss further), it also formalizes these connections in its narrative, where the continuous, liner (male) narrative is constantly subverted, or diverted, by the currents of an irrepressible (female) style” (124-25) “The aesthetic style of Tank Girl, in other words, is not radical chic, but ‘radical pastiche'” (127). ‘Mapping the Music and Style of ‘Tank Girl” by Elizabeth Sankey from Vice — Here’s a neat article from Vice that touches on Tank Girl‘s relationship to various cultural objects and artists. ‘Lori Petty reflects on Tank Girl, Jennifer Lawrence, and that Game of Thrones coffee cup’ by Jerilyn Jordan from Detroit MetroTimes — Here’s a 2019 interview with Lori Petty where she offers lots of insightful thoughts reflecting on Tank Girl.  ‘The Director of “Tank Girl” is Now Behind-the-Scenes on the New “Doctor Who”‘ by Sarah Mirk from Bitchmedia — Here’s a terrific interview with Tank Girl‘s director, Rachel Talalay. She offers a lot of insight into her work directing today and her career path, as well as lots of thoughts on her experience with Tank Girl, specifically. ‘Tank Girl, Postfeminist Media Manifesto’ by Elyce Helford from Electronic Book Review — Here’s a very interesting article discussing Tank Girl from a perspective we didn’t address during our episode, specifically looking at Tank Girl as an alluring and hopeful, but ultimately misguided, post-feminist fantasy character that fails to address social reality. I haven’t found much else about Tank Girl discussing it in this manner, and it’s very thought-provoking. Give it a read! ‘Visual Pleasure and Narrative Cinema’ by Laura Mulvey — The renowned and indispensable essay that helped pioneer the concept of a gendered gaze in film. We didn’t frame our discussion in reference to this essay specifically, but there’s plenty to be gained by watching Tank Girl with this essay in mind.

This week on The Spectator Film Podcast… The Blair Witch Project (1999) 10.12.18 Featuring: Austin, Maxx — Notes — The Monstrous-Feminine: Film, Feminism, and Psychoanalysis by Barbara Creed — If you’re curious to learn more about the Abject/Abjection, seek this book out. Creed continues Clover’s excellent work discussing how gender can express itself in horror films. On the same note, Creed’s use of the term “Abject” relies a lot upon Powers of Horror: An Essay on Abjection by Julia Kristeva. Check it out. “Visual Pleasure and Narrative Cinema” by Laura Mulvey is one of the seminal essays in the history of film criticism, as is “When the Woman Looks” by Linda Williams. Regardless of your interest in The Blair Witch Project or the horror genre in general, these two essays are highly recommended – this is “must-read” material. Each essays does a tremendous job investigating the importance of vision/the gaze to film viewership, and its direct relationship to character agency. Concerning Heterotopias, we found a number of interesting and useful resources, although the most thorough appears to be heterotopiastudies.com. We emailed Peter Johnson, who runs the site, with some questions about heterotopias in reference to the horror genre; he provided me with several resources he thought might be beneficial: Chung, H. J.  (2018) Media Heterotopias Durham NC: Duke University Press  Chung, H. J.(2012)  ‘Media Heterotopia and Transnational Filmmaking: Mapping Real and Virtual Worlds'. Cinema 51 (4) 87-109.  Davies, A. (2008) ‘Guillermo del Toro’s Cronos: the Vampire as Embodied Heterotopia', Quarterly Review of Film and Video, 25 (5): 395-403. Here’s the link to a nice, lengthy blog post from slaphappylarry.com that might provide another useful entry point for understanding heterotopias. “The Invisible Monstrous-Feminine: The Blair Witch and Her Heterotopic Woods” by Erez Genish is an essay discussing The Blair Witch Project in reference to the idea of heterotopias; we didn’t quote the essay directly, but finding it is what encouraged us to investigate heterotopias in the first place. It’s worth a look! Hitchcock by Francois Truffaut is a fantastic read, from which we pulled a quote early in the episode. It’s not the most rigorous or reliable study of Hitchcock’s work, but it remains and incredibly enjoyable book. The Blair Witch Project by Peter Turner is a solid introduction into some of the critical discussions taking place regarding The Blair Witch Project, as well as providing some great information on the production of the film.

Dario returns to the School of Film and Television at Falmouth University to host a screening of Alex Garland's Sci-Fi drama Ex_Machina. He is joined on-stage by Dr Verena Von Eicken who selected the film and they discuss its potential to be read as a metaphorical critique of gendered power relations and the male gaze. Neil and Dario also discuss issues around the narrative structure of film, Alex Garland as a writer director and other recent examples of hard Sci-Fi such as Her (2013) and Under the Skin (2013). Show Notes:  Link to Laura Mulvey's seminal 1975 essay Visual Pleasure in Narrative Cinema Link to Donna Haraway's 1983 essay The Cyborg Manifesto