Drafts by Lila Gaudêncio
In Visual Pleasure and Narrative Cinema, Laura Mulvey (1999) analyses female representation in Ho... more In Visual Pleasure and Narrative Cinema, Laura Mulvey (1999) analyses female representation in Hollywood classics stating their sexual objectification as spectacle by psychoanalysis. “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” (Mulvey, 1999, p. 383). The theory, another branch derived the Greek myth of Oedipal, fundaments the conceptualization of women in relation to the viewer in the cultural practices of looking and seeing.
While based on a Western myth and on Western theory, it is peculiar to recognize how applicable this method would be on a Chinese film made in the same time period as the ones the British feminist film theorist analysed. Interesting enough, while film in New China was considerably influenced by the ideology of Classical Hollywood cinema – and Soviet socialist film as well –, “the only remaining blueprint for film was the political schema that the new authority prescribed and the dynamic new state’s orthodox ideological discourse” (Dai, 2002, p. 101).
The he-hare's feet go hop and skip, the she-hare's eyes are muddled and fuddled. Two hares runnin... more The he-hare's feet go hop and skip, the she-hare's eyes are muddled and fuddled. Two hares running side by side close to the ground; How can they tell if I am he or she?" The end of the Ballad of Mulan, the sixth century poem based on the legendary Chinese figure of the woman who impersonates a man and joins the army, illustrates the false sense of binary gender notions and their symbolic representations.
Twentieth Century photographer Ansel Adams once said "you don't take a photograph, you make it". ... more Twentieth Century photographer Ansel Adams once said "you don't take a photograph, you make it". While the meaning of the American's notion of full awareness regarding all the elements in this literal image slightly contradicts Roland reference to man's interventions in the image, such as framing, focus and lighting -all effectively in the plane of connotation -, and how intervention within the object is not possible, practices of manipulation in the first decades after the invention of photograph prove interesting analysis of this myth.
Thesis Chapters by Lila Gaudêncio
Quando reconsideramos o valor cultural do dinheiro, especificamente em termos de ele ser um objet... more Quando reconsideramos o valor cultural do dinheiro, especificamente em termos de ele ser um objeto circulante no espaço público, entendemos que processos de interação e apropriação são iminentes – tanto por sujeitos-autores quanto por artistas propositores. Como, portanto, que a arte manuseia o papel-moeda como dispositivo? E como ela pode ressignificar um discurso oficial através da imagem, circulando dispositivos de forma que estruturas de poder são deslocadas minimamente? Ao lidar com a cédula como território público a ser ocupado, o trabalho dispara um questionamento sobre brasilidades suspensas pela oficialidade nacional. Pelo delito, propõe-se (re)apropriar desse microespaço do papel-moeda a fim de rearranjar o discurso oficial; adequando-o à memória popular.
{Pensar o dinheiro como microcosmos e fragmentos das relações de poder entre o Estado e as pessoas, entre a tecnocracia e o imaginário popular, entre as armadilhas identitárias oficiais e as potências criativas coletivas.}
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Drafts by Lila Gaudêncio
While based on a Western myth and on Western theory, it is peculiar to recognize how applicable this method would be on a Chinese film made in the same time period as the ones the British feminist film theorist analysed. Interesting enough, while film in New China was considerably influenced by the ideology of Classical Hollywood cinema – and Soviet socialist film as well –, “the only remaining blueprint for film was the political schema that the new authority prescribed and the dynamic new state’s orthodox ideological discourse” (Dai, 2002, p. 101).
Thesis Chapters by Lila Gaudêncio
{Pensar o dinheiro como microcosmos e fragmentos das relações de poder entre o Estado e as pessoas, entre a tecnocracia e o imaginário popular, entre as armadilhas identitárias oficiais e as potências criativas coletivas.}
While based on a Western myth and on Western theory, it is peculiar to recognize how applicable this method would be on a Chinese film made in the same time period as the ones the British feminist film theorist analysed. Interesting enough, while film in New China was considerably influenced by the ideology of Classical Hollywood cinema – and Soviet socialist film as well –, “the only remaining blueprint for film was the political schema that the new authority prescribed and the dynamic new state’s orthodox ideological discourse” (Dai, 2002, p. 101).
{Pensar o dinheiro como microcosmos e fragmentos das relações de poder entre o Estado e as pessoas, entre a tecnocracia e o imaginário popular, entre as armadilhas identitárias oficiais e as potências criativas coletivas.}