170118 VU Kink The Gaze! (2010W)
Vom gerichteten zum geknickten Blick
Labels
Blocktermine im Hörsaal 41, Hauptgebäude, 1. Stock, Stiege 8 am Freitag 22.10. 16-20, Fr 5.11. 17:30-20; Fr 19.11., 26.11., 3.12. und 17.12. jeweils von 16-20 Uhr
Details
max. 70 participants
Language: German
Examination dates
Lecturers
Classes
Currently no class schedule is known.
Information
Aims, contents and method of the course
Assessment and permitted materials
2/3 of attendance are requested, more missed time can be compensated by adequate work fixed by special agreements.
The findings of the working groups will be presented in the plenum. If there is not enough time for all groups, the rest will send their findings by email.
The participants are invited to do the final exam in groups, too. Then the processes within the group have to be documented and completed by theoretical background information.
The findings of the working groups will be presented in the plenum. If there is not enough time for all groups, the rest will send their findings by email.
The participants are invited to do the final exam in groups, too. Then the processes within the group have to be documented and completed by theoretical background information.
Minimum requirements and assessment criteria
The students will get insight into the historicity of the codes of film and television. They will find out how those codes are influenced by the daily television and popular culture and how they influence it at the same time. The will identify how gender differences are constructed permanently. They are invited to bring all this together with their subjective daily experiences
Examination topics
A mixture of didactic methods will be used in order to meet the disposition of as many participants as possible. Each module's theory will be discussed for about 45 minutes using practical examples. Then working groups will have time for different tasks. Their findings will be presented and discussed in the plenum or delivered in written form by email. The processes within the working groups are an important aspect and will be part of the findings. Our final activity will be a round of feedback.
Reading list
Barthes, Roland (1985). Die helle Kammer. Bemerkung zur Photographie
Baudry, Jean-Louis (1993).;Ideologische Effekte erzeugt vom Basisapparat. In: Eikon (Internationale Zeitschrift für Photographie und Medienkunst) 5/1993: 34-43
Braun, Christina v.; Stephan; Inge (eds) (2000). Gender-Studien: eine Einführung
Bergstrom, Janet; Doane, Mary Anne (1989). The Female Spectator: Contents and Directions . In: camera obscura. A journal of Feminism and Film Theory/20-21. The Spectatrix. 5-27
Borzello, Frances (1998). Wie Frauen sich sehen. Selbstbildnisse aus fünf Jahrhunderten.
Eco, Umberto (1973). Das offene Kunstwerk
Fiske, John (1987). Television Culture
Foucault, Michel (1976). Überwachen und Strafen. Die Geburt des Gefängnisses
Goffman, Erving (1971). Interaktionsrituale. Über Verhalten in direkter Kommunikation
Jennings, Pamela (1996). ;Narrative Structures for New Media.Towards a New Definition. In: Leonardo Volume 29 Number 5 1996: 340-350
Laue, Monika (1996). Wahre Weibeskünste. Zur Problematik einer femininen Ästhetik in der zeitgenössischen Kunst: Von der Komplexität der Identität im Werk von Cindy Sherman
Lovell, Terry (1980). Pictures of Reality: Aesthetics, Politics, Pleasure
Müller, Eggo (1993). ;Pleasure and Resistance. John Fiskes Beitrag zur Populärkultur ;. In: montage/av (Zeitschrift für Theorie und Geschichte audiovisueller Kommunikation) 2/1/1993: 52-66
Mulvey, Laura (1975).Visual Pleasure and Narrative Cinema ;. In: Screen 16 (3). 6-18
Perthold, Sabine (ed.) (1990).Rote Küsse. Frauen-Film-Schaubuch
Prokop, Sabine (2010). Bevor Big Brother kam. Über das Fernsehen am Ende des 20. Jahrhunderts
Rushkoff, Douglas (1994). Media Virus! Hidden Agendas in Popular Culture
Schmidt, Arno (1993). Sitara und der Weg dorthin
Schaffer, Johanna (2008). Ambivalenzen der Sichtbarkeit. Über die visuellen Strukturen der Anerkennung
Schulze, Gerhard (ed) (1992). Die Erlebnis-Gesellschaft. Kultursoziologie der Gegenwart
Silverman, Kaja (1996). The Treshold of the Visible World
Baudry, Jean-Louis (1993).;Ideologische Effekte erzeugt vom Basisapparat. In: Eikon (Internationale Zeitschrift für Photographie und Medienkunst) 5/1993: 34-43
Braun, Christina v.; Stephan; Inge (eds) (2000). Gender-Studien: eine Einführung
Bergstrom, Janet; Doane, Mary Anne (1989). The Female Spectator: Contents and Directions . In: camera obscura. A journal of Feminism and Film Theory/20-21. The Spectatrix. 5-27
Borzello, Frances (1998). Wie Frauen sich sehen. Selbstbildnisse aus fünf Jahrhunderten.
Eco, Umberto (1973). Das offene Kunstwerk
Fiske, John (1987). Television Culture
Foucault, Michel (1976). Überwachen und Strafen. Die Geburt des Gefängnisses
Goffman, Erving (1971). Interaktionsrituale. Über Verhalten in direkter Kommunikation
Jennings, Pamela (1996). ;Narrative Structures for New Media.Towards a New Definition. In: Leonardo Volume 29 Number 5 1996: 340-350
Laue, Monika (1996). Wahre Weibeskünste. Zur Problematik einer femininen Ästhetik in der zeitgenössischen Kunst: Von der Komplexität der Identität im Werk von Cindy Sherman
Lovell, Terry (1980). Pictures of Reality: Aesthetics, Politics, Pleasure
Müller, Eggo (1993). ;Pleasure and Resistance. John Fiskes Beitrag zur Populärkultur ;. In: montage/av (Zeitschrift für Theorie und Geschichte audiovisueller Kommunikation) 2/1/1993: 52-66
Mulvey, Laura (1975).Visual Pleasure and Narrative Cinema ;. In: Screen 16 (3). 6-18
Perthold, Sabine (ed.) (1990).Rote Küsse. Frauen-Film-Schaubuch
Prokop, Sabine (2010). Bevor Big Brother kam. Über das Fernsehen am Ende des 20. Jahrhunderts
Rushkoff, Douglas (1994). Media Virus! Hidden Agendas in Popular Culture
Schmidt, Arno (1993). Sitara und der Weg dorthin
Schaffer, Johanna (2008). Ambivalenzen der Sichtbarkeit. Über die visuellen Strukturen der Anerkennung
Schulze, Gerhard (ed) (1992). Die Erlebnis-Gesellschaft. Kultursoziologie der Gegenwart
Silverman, Kaja (1996). The Treshold of the Visible World
Association in the course directory
Last modified: Mo 07.09.2020 15:36
To criticise these structures and realities via visual production you depend on the same repertory of forms that serves to constitute hegemonic meaning (cp. Schaffer 2008). Within academic theory it is not assumed as possible to get another way of looking through good intentions as it is impossible to "voluntarily direct the process whereby a visual detail comes to be resemanticized through its incorporation into our memory reserve" (Silverman 1996: 184). Artists have a high potential for convertibility and are experts for creation of new and different ways of "productive looking" which entails the opening of the unconscious to othernes. These new ways of "productive looking" might provide feasible tools and strategies to avoid using the traditional repertory of forms when criticizing hegemony via visual production" and help to avoid the hegemonic structures within visual production and communication in the aesthetics of popular culture.
The main question of"Kink the Gaze!" is whether the masculine principle of goal-orientation inscribed in the photographic apparatus has lost power because of digitalization.