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Film Spectator Relation - Coggle Diagram
Film Spectator Relation
Williams
Some of the most violent and terrifying moments of the horror film genre occur in moments when the female victim meets the psycho-killer-monster expectedly, before she is ready. The female victims who are not ready for the attack die. This surprising encounter, too early, often takes place in a moment of sexual anticipation when the female victim thinks she is about to meet her boyfriend or lover. (Williams 11)
Baudry
"A parallel between dream and cinema had often been noticed: common sense perceived it right away. The cinematographic projection is reminiscent of dream, would appear to be a kind of dream, really a dream, a parallelism often noticed by the dreamer when, about to describe his dream, he is compelled to say "It was like a movie..." (Baudry 698)
The connection between Williams' idea of horror film and film bodies is how it is represented by the camera and the use of the film shooting to really capture what the genre of the film is. Apparatus Theory ties into this because it describes how the environment and camera presents what the scene is trying to convey.
Eisenstein
The interaction of the two produces and determines Dynamism. (Not only in the sense of a space-time continuum, but also in the field of absolute thinking. I also regard the inception of new concepts and viewpoints in the conflict between customary conception and particular representation as dynamic—as a dynamization of the inertia of perception—as a dynamization of the “traditional view” into a new one.)
A connection can be made between the idea of Soviet Montage Theory and Apparatus theory because of the way the ideas are presented to the viewer based on the changing environment and clips from the film producer. The ideas of the connection between the clips are given to the viewer in context through what the camera shows via clips and the environment surrounding the clip and viewer.
In the movie Strike there were many moments of Soviet Montage Theory at work like what Eisenstein describes in his article. The biggest example would be at the end when they show clips of people dead on the ground and the slaughtering of a cow to show give the viewer the context to allow them to make the connection that these people were slaughtered in cold blood. Another example is when a man was scrambling around trying to put his family's possessions into the ground and the couple arguing trying to show the context that they were short on money and they had to sell their stuff to survive.
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Mulvey
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 onto 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.
Mulvey talks about the idea of feminism in film and how the male gaze and a female perspective fit into films especially ones where the central idea is feminism. This quote from Mulvey talks about how a male viewer can relate to and put himself into the position of the male protagonist because they share the same ideas and are able to connect to them better. I believe this can be flipped and be true for women as well in feminist movies because they are ideas that relate to women. The idea of omnipotence can be transferred because the film is directed towards women and features many women.
This film also connects to Apparatus Theory because it puts the view in the position of a listener when the radio DJ is talking in Born In Flames. It allows us to be in the shoes of who the film director is trying to target, which is women. It makes it seem like the DJ is talking directly to the viewer.
This image from Playtime really stuck out to me because it really emphasized what Crafton says about random scenes and skits that don't really fit in the main storyline but are there solely to serve a comedic purpose.
This image from Strike sticks out because it shows the context of what is going on while the workers are on strike. It first shows a clip of a baby crying because it does not have food and immediately follows it up with a dad that is unhappy with what is going on
This image from Videodrome sticks out to me because it really captures what the film producer is trying to demonstrate in this film. It shows how the character, Max, is being sucked into Videodrome and how he is easily manipulated by media. This relates to how Apparatus Theory shows that the environment, and film is able to manipulate itself into manipulating the viewer to seeing what they want the viewer to see.
Apparatus Theory- an idea on how the camera, environment, and targeted viewer affect the viewer and what they see and get from the film
Male Gaze- the idea that females in film are represented as sexual objects for the pleasure of the male audience
Soviet Montage Theory- putting 2 neutral clips or images together in a specific order and allowing the viewer to get the context from the 2 images
Little Shop Girls- a simplistic breakdown of a films process and what is going to happen foundationally throughout the film
Gags and Spectacles- a small clip or collection of images that serve no purpose toward the main story or plot but is to create a comedic relief
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Ideology- System of ideas and beliefs, especially one which forms the basis of economic or political theory and policy (less visible = more powerful)
