Spectatorship

Wednesday 14 May 2014

How does Spectatorship effect Fandom.

How does spectatorship effect fandom.

There are many parts that can effect fandom with the use of spectatorship with fandom the emotional response to a film can be different from a normal audience member they will not be able to connect with the characters, as people in the fandom groups of the films can relate more to the characters. The gender as well can effect the fandom of the film as men and women see things differently. The characters identification also plays a part in the effect against fandom as the audience members might find it hard to identify with the characters. Also in the film an audience fandom group members watch the sequels and prequels to the film as they may of had an experience, relating to the characters.

Wednesday 7 May 2014

Star Wars

The fan club for the stars wars, is called the starwars.com. Here is a picture of all of the different fan sites there are:

The people said that the May 4th is a Star Wars day meaning, May the 4th be with you.
Here is a video a fan made for Star Wars day.
https://vimeo.com/94097979

Star Wait, doc – fans wait 6 weeks in line for a Star Wars film to be released in Hollywood

Here is a video a fan has made decimated to Star Wars.
http://m.youtube.com/watch?v=p1gq2aRUi74

They also have a Star Wars fan club badge which fans buy to support the Star Wars fan club. They are generally men, they are geeks who hang around with men but they are not gay. They also have a lot of Lego which is a collects item for Star Wars fans.

Since 1977, the Star Wars fiction has taken on a life of its own.
Its fandom has given Wars an almost unrivalled cultural influence that goes beyond the borders of traditional movie-goers or fictions fanbases.
Some go further and incorporate the Jedi philosophy from the Star Wars universe into their lives.
Jedi as a religion started with the UK's Jedi census phenomenon where, starting in 2001, people wrote “Jedi” in government census forms.
In England and Wales, 390,127 people identified themselves as Jedi in 2001.
Ten years later, the number had fallen to 176,632, in seventh place in the survey.
As a result, several Jedi-related cults have seen the light of day with overlapping philosophies inspired by the movies.
The Church of Jediism states on its website:“We believe that we are all connected by the force, not just people but plants and animals too.
"It’s what binds us, so when we die we believe that much like your body goes into the soil to fertilize and make way for life, your soul and spirit give into the universe joining the flow of the force which joins us all.”
Star Wars’ influence continues to spread, more than 35 years after the release of the first movie.
May 4th is not the only day in May dedicated to the Star Wars universe.
Star Wars is also celebrated on May 25th, dubbed by many fans International Day of the Jedi, as it is the birthday of the release of Episode IV in 1977.
There is a Star Wars fan club Facebook site there is one all already the world. Here is one in Tunsia.

In 2015, Lucasfilm and Disney will release a new vision for Star Wars, beginning with Episode VII. But the fun starts now! Join us on Star Wars Fanpedia to geek out about the latest news from a galaxy far, far away. Here a message on the Star Wars fanpedia website.

The film itself lets people dream, and connect with the characters, also it helps the audience members think about

Star Wars

Wednesday 23 April 2014

How far does a spectators gender affect their viewing experience in cintemporary cinema

How far does a spectators gender affect

their viewing experience in contemporary cinema?

Introduction

Gender does affect a persons viewing of a film, when watching films they are sometimes genderised with the way they are portrayed. The four critical approaches are psychoanalysis,mirror stage,male gaze and spectatorship. in this essay i will comparing and analyzing two films Black swan and Clockwork Orange.

Paragraph 1

When looking at psychoanalysis in the black swan it is very strong with most parental influences on Nina. Nina’s mother in black swan is very protective over her daughter and only wants the best for her. In the film Nina was self harming, she started to scratch her back with her nails, when her mother was helping her get undressed she saw it and dragged Nina in to the bathroom, she then cut Nina’s nails. The messages of this are that her mother has got a hold over Nina treating her like a child. Another big part in Nina’s life is that she doesn't have a father figure. Girls are generally a daddies girls, so according to freudian theory is that a girl will always try to find a man like her father. he also says that a girl will want to sleep with her father. So when watching the black swan you will see the Nina looks to her dance director as her father using him to help her through. Also when looking at the deeper meaning of Nina’s character as she is a virgin this stops her from letting go when her director kisses her, the freudian theory backs up this argument. When watching these parts in the black swan you could say that it doesn't attract a male audience, especially not fathers of daughters.

Paragraph 2

In black swan you will notice a lot of mirrors through out the film. This is what they call a mirror stage, when you as a person sees yourself differently to somebody else seeing you. In black swan the directors office has got mirrors in it making him a man who isn’t really confident with the way put look at him as he needs mirrors to help him. Nina looks in mirrors all the time a good example is that she is called a whore on a mirror when she is given the part of the swan queen. Message here is that people see her a whore but she doesn't she herself as his. In relation to audience experiences is that this is complete your own. It will affect male and women differently as they both have different views and will proceed things differently.

Paragraph 3

When the dances are in changing rooms this is a male gaze part as there are no men, this is where men would like to see women. This would affect audience viewing as most women are not really bothered when they see women in changing room. When Nina bits the directors lips this is a sexual action. This would affect the men in the audience when watching his. Women may think she is asking for it and that she shouldn't do it.

Paragraph 4

I can relate to the black Swan Nina when her mother is very protective and pushes Nina in to being the black swan. It is like her mum is living her threw her daughters success in dancing as she didn’t make it. Emotionally I can connect as the stress you are under to preform having your parents constantly pushing you to preform. I feel i can align with Nina as well as she tries to prefect her dancing to make it prefect, i am like that i wont stop until it is prefect. In relation to gender I do think that this is more of a women's film, they can relate to the bitchiness of the other dances. I think that men will find it hard to pick up some of the deeper meaning i have made in my essay, a small minority of men may understand the film such as daddies with daughters they can relate to the way that a girl always needs her dad around.

Conclusion

In conclusion to my points i have made men will not understand this film as women will. There are more parts the film that women will understand and they will be able to connect with. Gender itself doesn’t affect the film, both sexes can watch the film and interrupt there own messages.

Blackswan grid

Wednesday 26 March 2014

Black swan Notes

That led, for instance, to Jean-Louis Baudry's brilliant analogy of the film spectator as someone regressing to the "Mirror Stage" described by Lacan).

Frequently led to observe her own movements in several mirrors in order to refine her technique, Nina Sayers (Natalie Portman) appears in the film's first minute seated before multiple reflections in the living room of her small apartment -- and it doesn't take long until, in the subway, she's once again seen in front of her reflection while noticing a girl that, in the adjacent car, looks like a copy of herself (but wrapped in black clothes that contrast with the whiteness of her own costumes).

Aronofsky establishes the visual logic that will govern the narrative: the contrast between white and black, and of course, the broken nature of the protagonist.

Repressed by the belief that absolute discipline will bring the technical precision that will turn her into a great dancer, the girl leaves out any pleasure that ballet can offer, mechanically repeating the steps designed by her director (Vincent Cassel) without ever feeling free enough to enrich them with the spontaneity that he wishes to witness in her as performance.

on the black wings tattooed on Lily's back and the ease with which she seduces everyone around her. Thereafter, Nina begins to use Lily as a representation of her own possible failure, creating an alter ego who, having the face of Lily, appears as a sort of Tyler Durden in slippers and black leotard.

This new side of Nina seems to detach from her more withdrawn half - something that Aronofsky originally illustrates with admirable subtlety when showing the ballerina's reflexes moving with a very slight delay until they're completely free from the original dancer, although they still remain stuck on the other side of the mirror (i.e.: in her mind) for a long time.

And, indeed, the metamorphosis is absolute: if Nina initially danced in a cold, repressed way as Odile, in the end her fantastic dance brings her completely surrendered to the character - and Portman (and her dance double) offers an unforgettable performance by illustrating the difference to the viewer, and even her heavy, fatigued, breathing emerges as an almost sexual moaning.

Nina and Lily "Durden" are fighting for the body and the consciousness of the protagonist. Pay attention to the memorable shot in which Aronofsky seems to briefly merge the two girls in a game of reflections in Nina's apartment until Lily moves and gets separated from the other.

The weapon she uses? A sharp piece of glass. Extracted from a mirror. Freud would have experienced an orgasm with this outcome.

Rightly so. Sometimes as a partner: spontaneous and joyful, Lily immediately presents herself as a reflection of the protagonist, having a similar physical type, but behaving in a manner that is the opposite of Portman's character - something that is reflected not only in the colors of their clothes, but also in the fact that Mila Kunis is a tanned answer to the very white Natalie Portman.