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Film-Spectator Relations - Coggle Diagram

- - - - "The Marvel/Netflix-Ization of art"
      - A few paragraphs later, the essay goes on to compare the actual differences between Chrysler and GM being nothing more than just a label meant to confuse the consumer. It caught my attention because this is a very palatable example. It means to confuse the people unfamiliar with the inner workings of the vehicles, similar to art and film being abstract to the untrained audience. It's also interesting because art is built around manipulation, many forms of it being visual. The complexity of the workings makes it easy to convince the unfamiliar that it is operating beyond their understanding.
      - [CONNECTION] I couldn't help but feel as if Mulvey and Horkheimer/Adorno weren't something onto the same ideas about the repetitious manner of film. I feel as though Mulvey really explained why there was a need to break the norm.
    - - What question I have in regards to this essay is that it seems almost pompous in it's belief that theater is better equipped to deal with the prejudice of Capitalisms even though theater has been used as propaganda for years. I do agree that the argument of art existing in the system will always be apart of it. But that doesn't mean people don't try to find ways to work around it. This comes off as condescending in it's regards to theater in compared to film. I am specifically speaking about this quote, not the full works.
  - - - The random thing that caught my attention was this concept of being different from the human eye. It reminded me of the expansion into CGI. The initial creations were spent trying to mimic reality, yet the farther it goes, the more it's seemingly been designed to surpass the human imagination and senses.
      - https://youtu.be/a8Gx8wiNbs8?si=6KPQaKDoPpB-GHvz
      - [CONNECTION] Of all the moments of these reading the aspect of breaking norm is just become important. When Donald Crafton discussed the idea of the gag taking focus from the plot, I believe that Vertov would be able to achieve a similar moment with the use of camera work. The Camera has the ability like the gag to exist away from the plot.
    - - The real question i have regarding this piece is what it's mainly trying to say? I feel like I understand this concept that is being talk about but I feel as if I'm missing something regarding the whole essay.
- - - - Something that caught my attention but I actually felt aware of was the idea of narrative and visual spectacle of early films. I think it's easy to just always view films as means of telling a specific story, but the idea that film doesn't actually require plot or narrative, especially these older silent films. The visual pleasure was the draw itself
    - - This may seem random, but something that popped into my mind was films and TV such as "Jackass". They're not narrative-driven and are almost exactly like slapstick comedy and gags. Would this form of media be considered a sight gag?
      - [CONNECTION] For out of his as Jean may seem at points, I really do think the idea of Apparatus is very important. While watching Playtime I couldn't help but wonder if the conditions in which I watched the film contributed to my distaste for the film. Gags aren't just Visual, but Audio. As Crafton discusses this nature, I wonder if because since I wasn't in the required space, I could never disassociate enough from plot to gag to enjoy Playtime.
- - - - What I believe I learned was how the idea of cinema is working in a similar function to the stimulation demonstrated from the ability to dream. That film shares many of the aspects that dreams do when allowing the viewer to develop : and interpret ideas and constructs, pulling their own beliefs into the screen before them
      - The questions I have is in regard to when Baudry discusses the effects of the darkness when watching film. Does he believe this proves his theory of comparing them to dreams, where would the realm of VR fall into this equation? There are some films being produced in VR, which would seem more surreal and dream like, yet darkness isn't apparent in these VR films. Immersion is, furthermore, would these become even more abstract? If you are in a theater watching a film from a distant perspective, you are aware that you aren't in control. VR would be dreamlike, you would feel absorbed in the film, but the viewer would have no actual control.
        
        https://www.youtube.com/watch?v=cSp1dM2Vj48
- - - - This is kind of random, but something this made me think about was the emotional and scene callbacks in TV sitcoms and dramas. Almost as if they are not only trying to perform the function of causing the viewer to to respond emotional, but to also relive it in a presence tense, as if pulling a memory from similar aspects of life. Porn, on the other hand, also can induce a similar function for sexually active adults, a vivid reminder of previous pleasure.
        
        https://www.youtube.com/watch?v=Ms1uYc28pD4
      - What really got me interested with this piece is the idea of melodramas being considered almost emotional pornography. It really does feel accurate as in all these different pieces almost always induce a physical response
  - - - While reading this I couldn't help but really think about how melodramas really are just as similar to the others in the body genre. The phrase "tingling of the spine" made me think about how the emotional reactions to melodramas almost cause a physical response, like heart break. And it seems as though those films also solely exist to cause a physical reponse.
      - The paper brings it up, but I always found the idea of the first Friday the 13th killer being the mother an interesting take on the slasher genre. Compared to something like Misery, Jason's mother might have well been a man. Then, I thought about Butler and the idea of drag. In the slasher genre, the male serial killer has almost become apart of the identity and gender. It was almost as if the film was blurring, unintentionally, gender roles by having her be the killer and the act of killing the form of drag portrayed.
        
        https://youtu.be/aDrOvFtzyPQ?si=VGvKdnW2kvyO62v0
- - - - I believe I have a basic idea of what the essay is about. The idea that by viewing the lack of representation of black individuals on mainstream media helped them believe they were complacent and they were lesser? Also that any representation was something, cause expectations were low?
      - The essay discuses the impact of how a person of color is portrayed and that white viewers accepted black as long as they weren't black, the film would have to be "coded black" for them to even realize color. For me an example that comes into my head is the actor Will Smith, growing up in the 90s, his prevalient sucess seemed to be built around he was "black for the white audience". He seemed to be put into rolls that helped ease white viewers.
- - - - When Sobchack mentions the conscious picking things up before the viewer it reminded me of Montage by Eisenstien. The idea of incorporating a meaning through visual means causing an internal reaction even if the watcher is unaware.
      - Not quite grasping aspects of this paper. Is she trying to argue that the bodies natural responses are not being discussed enough? I understand the idea of the body reacting and having physicality from experiences, but I'm not sure I get why she is saying that it's not being discussed?
  - - - One thing this piece made me think of, though maybe not directly connected is the use of queer seeming characters as villians. Mainly in regards to Disney cartoons. They seemed to have been created to detour young viewers into avoiding those character types, but reversely had the opposite effect
    - - Mixing this idea of Disgust and Shock with elements of Butler feels exactly how they created the Xenomorph from Alien. The means of death and impregnation caused by the creature, along with the "penetrating" way of killing, was meant to stimulate the innate fear men feel at the idea of being a woman. If this death wasn't so shocking and disgusting I don't think it would have been as meaningful, or impressive.