by stefanie.weber -

#04 Literature Research 3

Wen, Jiqing u.a.: Visual Background Recommendation for Dance Performances Using Dancer-Shared Images. In: IEEE International Conference on Internet of Things (iThings) and IEEE Green Computing and Communications (GreenCom) and IEEE Cyber, Physical and Social Computing (CPSCom) and IEEE Smart Data (SmartData) 2016, S. 521-527, <https://doi.org/10.1109/iThings-GreenCom-CPSCom-SmartData.2016.120>

Survey: The document is a research paper titled „Visual Background Recommendation for Dance Performances Using Dancer-Shared Images.“ It discusses a system designed to recommend visual backgrounds for dance performances. The methodology focuses on using image content and social network data to predict dancers‘ preferences for stage backgrounds. The paper is a nice contribution to the intersection of arts and technology. The authors provide a detailed methodology grounded in content-based recommendation techniques, leveraging CNNs for feature extraction and preference modeling. The study demonstrates the effectiveness of the system through experiments on a Pinterest dataset, validating the hypothesis that images related to the same dance style share similar visual content.

Question: How does the proposed system work? What methodologies are used to analyze and recommend background images? How effective is the system compared to existing methods? What are the main contributions and limitations of this research?

Read:

  • Dance as narrative art, background essential for storytelling
  • Problem of information overload when choosing images.
  • System benefits amateur dancers using social platforms like Pinterest
  • Similarity Hypothesis: Images of same dance style share visual content.
  • Three Steps:
    • Predict top K images based on dancer preferences.
    • Remove dancer(s) to extract pure background images.
    • Recommend suitable backgrounds.
  • Data Source: Pinterest; over 12,000 images, six styles tested (ballet, street dance, tango, etc.).
  • Dancers preference using shared content

The Experiments and Results of them:

  • Comparison of methods:
  • Proposed system vs. Color-based and Nearest Neighbor methods.
  • Proposed system achieves 6x precision improvement.
  • Visualization: Confusion matrix and t-SNE clustering validate style-based similarity.
  • Effective Recommendations: Predict dancer preferences with precision
  • Limitations:
    • Pure background extraction not complete.
    • Social network influences (friends‘ preferences) not incorporated.

Recite:

Introduction: The paper addresses the difficulty dancers face in selecting stage backgrounds and proposes an automated recommendation system using social platform data.

Related Works: It reviews dance technologies and recommendation systems, highlighting the limitations of existing methods like collaborative filtering.

Similarity Hypothesis: Images of the same dance style share similar features, validated using CNNs and Pinterest data.

Methodology: The system extracts image features, builds dancer profiles, and recommends top K images that match their preferences.

Experiments: Testing on 437,000 Pinterest images shows the system outperforms color-based and nearest neighbor methods in precision.

Discussion: The system is effective but lacks pure background extraction and social interaction analysis.

Conclusion: This is the first system for recommending dance stage backgrounds, providing a strong basis for further research.

Some general Keywords:

  • Dance styles
  • content-based recommendation
  • projection mapping
  • background images

Review: The system is innovative in applying machine learning to a niche artistic domain. Its main contribution is proving the viability of content-based recommendations for dance stage designs. However, further development is needed to refine background extraction and incorporate social network dynamics. Overall, the article is a well-executed study that sets a foundation for further exploration into integrating artistic preferences with machine learning for practical applications in stage design.

Are the authors experts? Yes, the authors of this article are experts in their respective fields. They are affiliated with the HKUST-NIE Social Media Lab at the Hong Kong University of Science & Technology, which specializes in social media and computing technologies. Their work is also published in a reputable venue, the IEEE International Conference on Internet of Things (iThings), which underscores their credibility and expertise in this area. (https://ieeexplore.ieee.org/document/7917148/authors#authors)

How would you rate the structure of the text, the quality of the content, the style? The structure is systematic, beginning with an introduction to the problem and followed by a discussion of related works, methodology, experiments, and conclusions. The experimental results substantiate the superiority of the proposed method compared to baseline approaches, such as color-based and nearest-neighbor methods. However, some limitations, such as the lack of pure background extraction and the absence of social interaction data, are acknowledged in the discussion, with suggestions for future work.

Is the book/article useful for your purpose? If yes, which chapter % aspects? If not, why not? What is missing, what is inadequate? The article provides valuable insights into aligning visuals with dance styles and leveraging technology for visual storytelling, which are directly applicable to the projection mapping and thematic differentiation in my master thesis’ topic. However, for narrative development and cinematic techniques like color grading, additional sources focusing on film direction and storytelling are necessary and itself is not that useful for this perspective.

by lea.haas -

Road to M. A. 5: Medusa and female rage

Gen Z is unapologetic and has salvaged many things women have previously been shamed for, especially angst. This generation has taken female anger and frustration under its wing and wears these emotions with pride, using female rage edits on platforms like tiktok and instagram as a form of expression. 

Creators and consumers of these edits are proudly reclaiming insanity, obsession and being unhinged.

Women snap, and they get it. 

It is evident that madness and hiding your raw emotions are outdated concepts. With many seeking solace in these unhinged and frustrated women, the next step is to let this seep into society. Allowing women to express their true feelings, maybe not to the extent that are depicted in cinema, is on the checklist for Gen Z’s crusade. 

A wider acceptance and acknowledgement of women’s mental health and ill thoughts can only surely have a positive impact. Cinema has depicted women in this light for decades, but now, instead of it being suppressive, it is empowering. Many can relate and feel consoled. 

Female Rage in Mythology: Medusa

Medusa’s myth serves as a striking analogy for the suppression and weaponization of female rage. Blamed for her beauty and punished for her assault, Medusa’s story encapsulates a culture that demonizes women’s anger, independence, and sexuality. Her transformation into a monster symbolizes society’s attempt to silence and control powerful women by framing their strength as a threat.

This narrative resonates deeply with modern experiences, where women’s rage is often dismissed or vilified. Medusa’s punishment reflects the double bind women face today: expressing anger risks being labeled as dangerous or hysterical, while suppressing it reinforces societal expectations of passivity. In either case, female rage is deemed unacceptable, a challenge to the patriarchal order that must be subdued.

A feminist reinterpretation reclaims Medusa’s power, suggesting Athena’s actions were not a punishment but a gift. Stripped of the beauty that made her vulnerable, Medusa’s rage was externalized into a force of protection, turning her anger into a weapon against male entitlement. Her gaze became a metaphorical stand against those who sought to harm or control her.

Medusa’s story also highlights the endurance of the “angry woman” stereotype, often used to discredit female leaders. Figures like Hillary Clinton, Angela Merkel, and Theresa May have been compared to Medusa, their authority reduced to monstrous imagery that reinforces patriarchal fears of women’s power. This demonization of female rage underscores the enduring discomfort with women who challenge societal norms.

Ultimately, Medusa embodies both the struggle and the potential of female rage. Her story speaks to the transformative power of anger when channeled into resistance and resilience. From a monster to a symbol of protection, Medusa’s legacy reminds us of the strength found in confronting and reclaiming what society seeks to suppress.

sources: https://www.tupeloquarterly.com/editors-feature/her-rage-a-conversation-about-womens-anger-in-greek-myth-and-drama-by-andrea-applebee/

by lea.haas -

#1 Impuls: to be woman & the crazy bitch

As I was looking for inspiration one day I came across this video. These types of videos are not a new way of editing or portraying female rage/ female experiences. These „Fan edits“ are video clips that are edited together in a video with an underlying message. In this case: the portrayal of what it means to a woman. These Fan often consist of recognisable dialogues from movies, as well as music that deals with the topic in its lyrics. If you scroll through tiktok and searhc female rage, you will stumble upon many videos that consist of these features. Dialogues from „Barbie“, „Black swan“, „Hidden Figures“ are often used to portray these feelings. There even is a whole genre that fits into these categories. Songs like „Labour“ by Paris Paloma or „Abbey“ by Mitski are often used for these edits.

Scolling through the comments under this video showed once more that this is not a individual phenomenon. Girls are raised in the patriarchy to become a woman. The idea of a woman in the patriarchy is an idea that no one can live up to. Therefore women often do not feel good enough.

Anya Taylor Joy is one of the many actors who spoke up about female age on set and film. She recons a scene in „The menu“ where she slaps her partner. This was not in the script – The script said that she sits silently while a tear is running down her face, even though her partner betrayed her and that would mean that she dies. More actors open up about their real feelings on set and let that also fit into their character on screen. Expressing emotions how they would feel is a way to change these norms and the scene.

THE CRAZY BITCH

One of the many trends on Tiktok as I said alfready id the rise of female rage. One of the starting points for this trend was a scene in the movie “Pearl” where the character played by Mia Goth gets rejected at an audition. Instead of claiming the rejection and leaving the stage she screams “Please! I’m a star!!!!!”. The edits of women in film in distress are flooding social media, espacially tiktok. They’re a series of clips compiled into a video where female characters are screaming venom through their tears. As the name suggests, they’re full of rage.

Often these emotional outbursts are a response to male characters or injustice.

These edits are followed by music like Lana Del Rey’s Pretty When I Cry, Mitski’s Liquid Smooth, Tchaikovsky’s Swan Lake. Music is one of the  key element in these edits that enhances the extreme emotions and blood-curdling screams. The most common films that appear in these edits are Pearl, X, Gone Girl, Jennifer’s Body, Don’t Worry Darling, and Thirteen – just to name a handful. 

The edits feature lines from these films that evoke strong emotions, such as: “It’s my life, you don’t get to take that from me,” “I work like a dog, day and night,” “Why are you leaving me if I didn’t do anything wrong? I don’t understand, I thought you liked me,” “What is wrong with me? What the fuck is going wrong inside my head,” “Where do you think I learned all this shit from?”

Extreme phrases like this would have once been shameful to relate to, yet now the comment sections are full of phrases like: “female rage is so powerful,” “she’s so me,” “I love women,” and “real.”

Sources: https://www.directhermag.co.uk/2024/05/31/female-rage-a-tiktok-trend-that-reclaimed-the-crazy-bitch-trope/

by lea.haas -

Road to M.A. 4: Redefining/Shifting Focus

In order to dive deeper into my master thesis topic, it was vital to reconsider the focus of my topic and gain different perspectives. Therefore, I went back to the beginning and asked myself what the original purpose of my master thesis was. In the beginning I wanted to gain awareness on the topic of female portrayal in film and how rage is portrayed in these characters. I picked on the topic of rage because, for me, it is one of the strongest emotions. There are tons of ways to express fury. While I was watching films or series, I noticed that the way of the female portrayal of rage differs from the male experience. The anger inside of a woman is more than tears streaming down her face and falling to the floor.

There is change in the media when it comes to acknowledging the existing and portray of female rage. This change comes with the influence of platforms like tiktok, Instagram. The younger generation stumbles upon films like „Girl, Interrupted“ or „Promising Young Women“ and interpret it with the way they were raised. In a time where you can openly speak about smashing the patriarchy and „what they do to practise micro feminism every day“, these generations are rethinking the female way of living and expressing emotions.

It is vital for female empowerment to be able to express such strong feeling and not feel as too loud, crazy, bitchy or unattractive. Female rage demonstrates the world what happens when women are pushed to the brink, not able to express themselves due to growing up in the patriarchy conventions. The author Emma Wallace compares this phenomenon with the result of an ongoing regression. Regarding to her, anger does not exist in a vacuum – it’s the result of circumstances that need to be worked on. This statement ties to the essay of the feminist philosopher Amia Srinivasan that she published in 2018. In this essay Srinivasan states that anger is not counterproductive, it is a response to injustice. Those people who express their anger are told to tone down their emotions in order to have a more productive discussion. Example for that is the phrase that every woman experiences in their lifetime: “Calm down”. Srinivasan calls this phenomenon the affective injustice. Furthermore, Wallace writes about the imbalance within the expressions of anger. The most examples on female rage that are celebrated display a white woman. “The more intersectional a woman’s identity, the more threatening her anger becomes to oppressors”, so Wallace. Wallace believes that the main point of female rage is that the anger is there for a reason and it should be listened to not downplayed.

These articles and perspectives were the reason why I wanted to shift my focus. Back to where the phenomenon of female rage comes from and it’s evolution, representation in film and media, and its influence on Gen Z (or more the influence of Gen Z on female Rage 🙂 ).

Sources: https://theconcordian.com/2024/03/whats-this-about-female-rage/

by helene.goedl -

IMPULSE #8 | Two YouTube Videos – Critical Voices on Digital Fashion 

Critical voices on the topic of “Digital Fashion” are numerous online. I recently watched two YouTube videos of creators voicing their skepticism on certain aspects of digital fashion.

YouTuber “Izzzyzz” offers a critical examination of the digital fashion industry, particularly focusing on the company DressX. Through a blend of humor, skepticism, and detailed analysis, she dissects the lofty promises of this burgeoning field, shedding light on its technological flaws, cultural implications, and environmental contradictions.

In recent years, the tech world has made bold forays into the fashion industry, promising a future where digital clothing would redefine how we dress, consume, and express ourselves. One company at the forefront of this movement, DressX, claims to revolutionize fashion through augmented reality (AR), virtual reality (VR), and artificial intelligence (AI). However, as explored by Izzzyzz, this vision may be more fanciful than feasible, marred by technological shortcomings, questionable environmental benefits, and cultural insensitivity.

Founded in 2020 by Ukrainian entrepreneurs Natalia Modenova and Daria Shapovalova, DressX markets itself as a digital fashion retailer, offering garments designed to be worn virtually—whether in metaverse environments like Roblox and Snapchat or through photos and videos using their Meta Closet app. This app allows users to map 3D-rendered clothing onto their images, ostensibly blending sustainability goals with tech innovation. On paper, the initiative sounds groundbreaking, yet in practice, its execution raises serious concerns.

One of DressX’s primary pitches is sustainability. By replacing physical garments with digital ones, the company aims to address overconsumption and waste in the fashion industry. Influencers, notorious for purchasing fast fashion in bulk to maintain fresh content, are a key target audience. However, the practical limitations of digital fashion—such as poorly rendered designs and awkward interactions with physical bodies—render it a hard sell. Furthermore, the company’s involvement in NFTs contradicts its sustainability ethos, as blockchain technologies are widely criticized for their substantial environmental impact.

Technological flaws also plague DressX’s offerings. The app’s functionality is often compared to basic Snapchat filters, with clothing options frequently clipping, shifting awkwardly, or looking amateurish. These failings are especially jarring considering the high cost of these virtual garments, which range from tens to hundreds of dollars. Even their flagship marketing content, aimed at showcasing the technology’s capabilities, features glaring imperfections that undermine their promise of a high-tech revolution.

Beyond technical inefficiencies, DressX’s broader implications raise cultural and ethical concerns. The app’s clothing frequently appears to favor slim, conventionally attractive bodies, reinforcing harmful beauty standards. Moreover, some of its marketing materials evoke problematic themes, such as the ability to change race or body type through virtual avatars, which risk trivializing significant social and cultural identities.

Despite these challenges, DressX has garnered attention from major brands and media outlets. Publications like Vogue and The New York Times have praised the company’s vision, while luxury labels like Fendi and Diesel have partnered with them to create digital garments. This acclaim has translated into financial success, with the company securing $15 million in funding in 2023. Yet, outside of the tech and fashion elite, consumer reception remains tepid at best. Online forums and social media comments often ridicule the product for its aesthetic shortcomings and inflated promises.

Izzzyzz’s critique highlights a recurring pattern in the tech industry: the promise of innovation often outpaces its practical application. Digital fashion might someday redefine how we engage with clothing, but DressX’s current iteration seems more like a tech gimmick than a revolutionary solution. While the concept of virtual clothing opens intriguing possibilities for creativity and sustainability, its realization requires far greater refinement and cultural sensitivity to truly resonate with the broader public.

Digital fashion remains a nascent field filled with potential and pitfalls. Companies like DressX are navigating uncharted waters, but the road to meaningful impact will require a commitment to addressing technological, environmental, and ethical shortcomings. Until then, the dream of replacing physical wardrobes with digital ones seems more like a speculative fantasy than a viable reality.

Another creator, fashion journalist Bliss Foster highlights in his somewhat critical video “The Problem with Digital Fashion” that he does not have a problem with digital fashion per se, but rather with how it is treated and talked about, as a part of a trend cycle and a technical fad. He acknowledges the value of digital fashion design itself, but also makes the argument that it should rather be treated as a separate discipline altogether. He exemplifies this by discussing a physical shirt that he owns and how all the material qualities and aspects of it are such integral parts of the design that it is impossible to reduce them away from fashion design. 

Sources

Bliss Foster. “The Problem With Digital Fashion,” April 4, 2022. Accessed January 5, 2025. https://www.youtube.com/watch?v=who1-kptZzo.

Izzzyzzz. “‘Digital Clothing’ Is the Newest Tech Scam,” November 15, 2024. Accessed January 5, 2025. https://www.youtube.com/watch?v=dWKrK91fk2U.

by helene.goedl -

IMPULSE #7 | Business of Fashion Masterclass: “The Opportunity in Digital Fashion and Avatars” 

The digital transformation is no longer a distant concept for the fashion industry; it is an immediate reality that is reshaping consumer behavior, brand strategies, and the very nature of creative expression. This was the focus of an online session hosted by the Business of Fashion (BoF) on 18.11.2021, which explored the rapidly expanding opportunities in digital fashion and avatars. Industry leaders from Burberry and Jimmy Choo joined the discussion, sharing insights on how their brands are navigating this evolving landscape and embracing new possibilities offered by digital assets.

The event revolved around the rise of digital assets and their implications for the fashion industry. These assets encompass a range of categories, including virtual garments, customizable avatars, gaming-related digital items, and non-fungible tokens (NFTs). Research conducted by BoF underscored the growing consumer interest in these areas, revealing that half of the U.S. population is considering purchasing digital assets within the next twelve months. This trend is being driven by advancements in blockchain technology, the meteoric rise of gaming platforms, and the societal shifts catalyzed by the pandemic, which blurred the boundaries between the physical and virtual worlds.

Representatives from Burberry and Jimmy Choo offered vivid examples of how luxury brands are engaging with digital assets. Burberry’s collaboration with Mythical Games, for instance, led to the creation of „Sharky B,“ a digital NFT character featured in the game Blankos Block Party. The brand emphasized the importance of authenticity and creativity in its approach, going so far as to involve its physical design teams in the crafting of this virtual product. This ensured that Sharky B retained the exclusivity and attention to detail associated with Burberry’s legacy, while also allowing the brand to connect with gaming communities in a meaningful way.

Jimmy Choo, on the other hand, took a different route, partnering with artist Eric Haze to release a series of NFTs tied to a capsule collection. Their project included a charity auction of a unique digital-physical hybrid sneaker and a set of collectible “mystery boxes” featuring virtual designs. This initiative allowed Jimmy Choo to test the waters of digital engagement, attracting new, digitally savvy audiences while exploring how its brand identity could translate into the virtual space.

The session also examined the opportunities and challenges that digital assets present to the fashion industry. Gaming emerged as a particularly promising avenue for brands to engage with consumers. With billions of players worldwide, games provide an immersive environment where fashion brands can integrate their offerings, whether through skins, exclusive collaborations, or virtual runways. Additionally, NFTs and digital fashion enable brands to create and nurture communities, redefining the traditional notions of loyalty and membership. For instance, NFTs offer the potential to establish exclusive clubs or communities where membership confers both digital and real-world benefits. This blending of virtual and physical experiences is becoming increasingly significant as consumers spend more time in online spaces.

However, the journey is not without challenges. The rapid evolution of technologies like blockchain creates complexity in platform selection and strategy development. Brands must balance the allure of short-term experimentation with the need to build sustainable, long-term consumer relationships. As panelists noted, the volatility of NFTs and the speculative nature of the market require brands to be strategic in their approach, ensuring that their digital initiatives are grounded in their core values and resonate authentically with their audiences.

A recurring theme in the discussion was the importance of partnerships. Both Burberry and Jimmy Choo emphasized the value of collaborating with the right partners to navigate the complexities of the digital ecosystem. Burberry worked closely with Mythical Games to ensure its NFT character integrated seamlessly into the gaming environment, while Jimmy Choo partnered with a platform specializing in blockchain and digital collectibles to launch its NFTs. Such collaborations allow brands to tap into specialized expertise, ensuring they show up authentically and effectively in these new spaces.

Looking ahead, panelists shared their predictions for the future of digital assets in fashion. Gaming was identified as a particularly fertile ground for innovation and consumer engagement. The integration of play-to-earn models, where players can own and trade in-game assets as NFTs, offers a new layer of interactivity and value creation. At the same time, the panelists cautioned against rigid thinking and emphasized the need for brands to remain adaptable. The digital space is evolving rapidly, and those who can think creatively and redefine traditional notions of luxury behavior will be best positioned to succeed.

Another area of optimism was the potential for NFTs to build lasting connections between brands and consumers. NFTs offer an unparalleled opportunity to create a sense of exclusivity and authenticity, fostering deeper engagement and loyalty. For instance, owning a brand’s NFT could grant access to exclusive events, limited-edition products, or even virtual worlds where consumers can further engage with the brand’s story.

The fashion industry is uniquely positioned to thrive in the digital realm. With its emphasis on storytelling, creativity, and identity, the industry can leverage digital assets to craft compelling narratives and help consumers curate their digital identities. As consumers increasingly value self-expression in virtual environments, brands that invest in innovation, authenticity, and meaningful partnerships will lead the way into this exciting new frontier.

Sources

The Business of Fashion. “The Opportunity in Digital Fashion and Avatars | #BoFMasterclass,” November 18, 2021. Accessed January 5, 2025. https://www.youtube.com/watch?v=1IpRFzcYqkU.


BoF INSIGHTS. “The Opportunity in Digital Fashion and Avatars.” Accessed January 5, 2025. https://insights.businessoffashion.com/products/the-opportunity-in-digital-fashion-and-avatars.

by helene.goedl -

IMPULSE #6 | Film: “Padmavaat” 

Recently, I watched the Indian movie „Padmavaat“. The film, which released in 2018 stirred up multiple controversies among some communities of the Indian public. Directed by acclaimed Indian director Sanjay Leela Bhansali, „Padmavaat“ is set in medieval Rajasthan. It revolves around the story of Queen Padmavati, who marries a noble king and lives a prosperous live. Soon, an ambitious Sultan hears of Padmavati’s beauty and forms an obsessive love for the Queen, sparking a plan to steal her away for himself.1 

Director Sanjay Leela Bhansali, who is known for his elaborate period dramas, had faced multiple instances of backlash from the Rajput community since the production of the film started. The controversy hinged mostly on grievances about the portrayal of Rani Padmavati, which were seen as insulting and misrepresenting. Protests even turned violent, with protesters vandalising sets and even attacking the director himself. After a rescheduling, the movie was finally released on 25 January 2018. 

One of the details of the movie which spurred backlash was the performance and costuming featured in the song. “Ghoomar”. Diegetic songs and choreographed dance numbers are a prominent aspect of Indian films and are featured in a large majority of films of all genres. On Twitter, critics argued that the song misrepresented the Rajput queen Padmavati, leading to claims of disrespect. Protests erupted in November 2017, with some asserting that Rajput queens never danced publicly. Women from the Rajput community joined the protests, voicing concerns that the depiction of the queen in revealing attire was inappropriate. They stated that a Rajput queen would neither perform before an audience nor expose her midriff.

The controversy also drew the attention of the Central Board of Film Certification. On 30 December 2017, the board requested edits to scenes showing Padukone’s midriff to present a more modest portrayal of Queen Padmavati. Instead of reshooting, director Sanjay Leela Bhansali used computer-generated imagery to implement the changes. A revised version of „Ghoomar“ was released on 20 January 2018, featuring Padukone’s midriff digitally covered.2 

The achievement of this digital clothing insertion is quite remarkable, since the dance number features complicated movements that not only pose an immense challenge for rendering a realistic movement and lighting of the fabric but are further complicated by the tracking the body of the actress Deepika Padukone. The original shot was not captured with tracking in mind, which must have made it extremely challenging for the CGI artists. Unfortunately, I was not able to find details on the process of how the digital clothes where inserted. It would have been a fascinating case study.

Why is this Topic Relevant for my Thesis?

The insertion of digital clothing to meet standards of modesty in different film industries around the world is quite a common practice. A different and more recent example apart from “Padmavaat” is the 2023 Hollywood film “Oppenheimer”, in which a nude scene featuring actress Florence Pugh was altered for some distribution markets by inserting a digital black dress.3

This censorship through digital clothes is one application of “digital fashion” that presents a very concrete real world use case. The implications of using these digital clothing insertions are worth discussing as a separate topic. Several aspects can be discussed, such as the validity of these modesty standards in the first place (which of course is a much larger and much more intricate topic). Alterations that are performed to the original vision of the costume designer by inserting these digital garments for censorship reasons are also an interesting discussion to have. I have not been able to find sources discussing whether the digital clothing designs were discussed with the costume designers of the respective movies. But the issue of whether or not they align with the original vision of the costume designer is questionable to say the least.

Images

Screenshot from the original music video version of the song „Ghoomar“ before digital clothing insertion.
Screenshot from the song „Ghoomar“ after digital clothing insertion. A piece of embroidered cloth was inserted on the midriff.

1 “Padmaavat (2018).”

2 “Padmaavat Before and After: Look How They Secretly Covered up Deepika Padukone’s Midriff in Ghoomar.”

3 Rubin, “Florence Pugh’s Nude Scene in ‘Oppenheimer’ Covered Up by CGI Black Dress in India and Middle East.”

Sources

IMDb. “Padmaavat (2018)” January 25, 2018. Accessed January 5, 2025. https://www.imdb.com/title/tt5935704/.

Hindustan Times. “Padmaavat Before and After: Look How They Secretly Covered up Deepika Padukone’s Midriff in Ghoomar,” January 20, 2018. https://www.hindustantimes.com/bollywood/ghoomar-before-and-after-look-how-they-secretly-covered-up-deepika-padukone-s-midriff-in-padmaavat-song/story-6wceiAO2DAu3u0GgmJhdAM.html.

Rubin, Rebecca. “Florence Pugh’s Nude Scene in ‘Oppenheimer’ Covered Up by CGI Black Dress in India and Middle East.” Variety, July 24, 2023. https://variety.com/2023/film/news/oppenheimer-florence-pugh-nudity-india-cgi-black-dress-1235678665/.

by hanna.weichsler -

Geschlechterstereotype und das Unternehmertum

Unternehmertum als geschlechtsspezifischer Prozess

Unternehmertum wird als männliche Domäne gesehen. Der Unternehmer wird als „captain of industry“ und „trailblazer” beschrieben, was übersetzt so viel heißt wie „Industriekapitän“ und „Pionier“. Wird über eine Person nachgedacht, die ein erfolgreiches Unternehmen führt, halten sich männliche Stereotype hartnäckig. Ihnen werden maskuline Eigenschaften wie Risikobereitschaft und Ehrgeiz zugeschrieben, die sie zu geborenen Führungskräften machen. Dieser männliche Blick auf das Unternehmertum kann laut Ladge, Eddleston und Sugiyama ein Hauptgrund dafür sein, dass Frauen das Gefühl haben, dass sie nicht die notwendigen Fähigkeiten mitbringen, um ein erfolgreiches Unternehmen zu führen. Geschlechtsspezifische Sozialisationsprozesse können Grund für die Unterschiede zwischen weiblichen und männlichen Entrepreneurs sein. Die geschlechtsspezifische Sozialisation ermutigt Frauen und Männer dazu, Eigenschaften und Interessen zu haben, die mit ihrem Geschlecht in Verbindung gebracht werden. Die Kategorisierung in männlich und weiblich bringt Individuen dazu, Geschlechterstereotype zu entwickeln, um sich der eigenen Geschlechtergruppe zugehörig zu fühlen. Dazu zählen unter anderem Verhaltensweisen und Einstellungen, die „typisch weiblich“ bzw. „typisch männlich“ sind. Geschlechterstereotype sind präskriptiv und deskriptiv. Sie beschreiben wie Männer und Frauen tatsächlich sind und können gleichzeitig vorgeben, wie sie sein sollen.  In einer Studie von Eddleston und Powell aus dem Jahr 2008 zeigt, dass Frauen mit starker weiblicher Identität das Führen eines Unternehmens als Chance sehen, Ziele zu verfolgen die sozio-emotional sind. Frauen mit einer starken männlichen Identität streben in erster Linie nach geschäftlichem Erfolg. Die geschlechtsspezifische Identität spielt daher eine große Rolle, bei der Findung der eigenen unternehmerischen Identität und wie Frauen Unternehmertum definieren. 1

Verknüpfung der Geschlechtsidentität mit der unternehmerischen Identität

Die unternehmerische Identität gibt auf die Fragen „Wer sind wir?“ und „Was tun wir?“ eine Antwort. Der Austausch zwischen der eigenen Person und anderen ist Teil des Prozesses der Identitätsfindung. Beim Schaffen der eigenen Identität werden mehrere soziale Identitäten kombiniert, wobei die verschiedenen Identitäten unterschiedlich wichtig für das Selbstkonzept des Individuums sein können.  Die Forschung legt dar, dass Frauen dazu tendieren, erfolgreiche Unternehmen mit Eigenschaften in Verbindung zu bringen, die stereotyperweise Männern zugeschrieben werden. Entrepreneurship wird als unvereinbar mit der weiblichen Rolle wahrgenommen. Laut Ladge, Eddleston und Sugiyama wird das Selbstbild der Frauen durch die maskulinen Eigenschaften, die mit dem Unternehmertum in Verbindung gebracht werden, negativ beeinflusst. Geschlechterstereotype hindern Frauen daran, ihr volles Potenzial zu entfalten, wenn sie sich in Rollen wiederfinden, die als vermeintlich männlich gelten. Im Vergleich zu Männern nehmen sich Frauen in „männlichen“ Rollen mit weniger Selbstvertrauen und geringerem Status wahr. Personen mit Identitäten, die viele Eigenschaften aufweisen, die dem männlichen Geschlecht zugewiesen sind, haben stärkere unternehmerische Absichten als Personen mit „schwachen männlichen Identitäten“. Die Geschlechtsidentitätstheorie beschäftigt sich mit Eigenschaften und Verhaltensweisen, die mehr mit dem männlichen bzw. dem weiblichen Geschlecht assoziiert wird. Somit kann die Geschlechtsidentität einer Unternehmerin das Ausmaß beeinflussen, inwieweit sie sich selbst als Unternehmerin sieht. Welche Rolle eine Frau in der Gesellschaft als angemessen wahrnimmt, wird durch die Geschlechtsidentität beeinflusst. Frauen, die durch ihre Sozialisation eine stark weibliche Identität entwickelt haben, werden sich in Rollen wohler fühlen, die mit der gesellschaftlichen Erwartung an Frauen übereinstimmt. Wenn Frauen eine Identität aufweisen, die stark männlich ist, werden sie sich in Rollen sicherer fühlen, die weniger den gesellschaftlichen Erwartungen an Frauen entsprechen. Es kann zur Inkongruenz zwischen der weiblichen Geschlechtsidentität und dem Unternehmertum kommen. Laut Ladge, Eddleston und Sugiyama kann das ein Grund dafür sein, weshalb Frauen das Unternehmenswachstum beschränken. 2

Unternehmerische Identität

Die Identität ist treibende Kraft für eine erfolgreiche Karriere. Für Karriereentscheidungen ist es wichtig ein klares Gefühl dafür zu haben, wer man ist und was die eigenen Werte sind. Wie viel Zeit und Energie in eine Rolle gesteckt werden, hängt von der eigenen Identität ab. Ladge, Eddleston und Sugiyama sprechen von Individuen mit starker Arbeitsidentität, die all ihre Ressourcen in ihren Beruf stecken und daher eine höhere Chance auf beruflichen Erfolg haben.  Neben der potenziellen Inkongruenz zwischen der weiblichen Identität und der unternehmerischen Identität kann auch das Imposter-Syndrom Frauen daran hindern ihr volles Potenzial zu entfalten. Außerdem beeinflussen Geschlechterstereotype wie Frauen und Männer Kompetenzen und den Wert ihres Status in bestimmten Kontexten wahrnehmen. Wenn Frauen traditionell männliche Rollen einnehmen, wird dies abgewertet und nicht ernst genommen. Das Unternehmertum wird immer noch als männliche Domäne gesehen, in welcher Frauen ihre eigene unternehmerische Legitimität anzweifeln. Sowohl Frauen mit stark weiblichen Identitäten als auch Frauen mit stark männlichen Identitäten können negativ vom Imposter-Syndrom beeinflusst werden. Neben der Unvereinbarkeit mit der Rolle als Unternehmerin kann das Imposter-Syndrom jedoch besonders bei Frauen mit starker weiblicher Identität, Selbstzweifel und Ängste noch weiter verstärken. Das Imposter-Syndrom kann es Frauen zusätzlich erschweren, sich selbst als Unternehmerin zu sehen. 3

1 vgl. Ladge/Eddleston/Sugiyama 2019, S. 617f

2 vgl. Ladge/Eddleston/Sugiyama 2019, S. 618

3 vgl. Ladge/Eddleston/Sugiyama 2019, S. 618f

Literaturverzeichnis:

Ladge, Jamie/Eddleston, Kimberly/Sugiyama,Keimei: Am I an entrepreneur? How imposter fears hinder women entrepreneurs’ business growth. In: Business Horizons 62,5 (2019), S.615-624

by antonia.muszi -

Frauen. Fußball. Podcast. – IMPULS #5

Ich höre den Podcast „Frauen. Fußball. Podcast“ von Nina Potzel und Miriam Sinno. Präsentiert wird der Podcast von FUMS (ein Fußball Magazin). Diese Folge wird die Profifußballerin Bianca Schmidt interviewt. Sie spielt aktuell als Abwehrspielerin bei 1. FFC Turbine Potsdam und ist Ex-Nationalspielerin für Deutschland. Es interessiert mich besonders wie die Interviewfragen gestellt werden, da ich das auch für meinen Dokumentarfilm nutzen kann.

Hier sind ein paar Beispiele für Interviewfragen:

  • „Siehst du bei dem neuen Trainer eine Entwicklung der Leistung?“
  • „War es schwierig wieder reinzukommen, nachdem du erst entschieden hattest aufzuhören?“

Der Podcast ist interessant aufgebaut, und geht sehr ins Detail. Es kann auf jeden Fall was mitgenommen werden.

Podcast
by antonia.muszi -

FC Bayern – Behind the Legend – IMPULS #4

Ich habe die Dokumentarfilmserie FC Bayern – Behind the Legend geschaut. Es geht um den Fußballclub FC Bayern München beginnend mit der erfolgreichsten Saison in der Geschichte des Vereins. Mir gefällt wie die erste Folge aufgebaut wurde. Es wurde mit einer spannenden Szene aus der Mitte der Geschichte, die Fragen offen lässt begonnen, und dann gehen sie an den Anfang und stellen sie sich die Frage „Was macht eigentlich den FC Bayern München aus?“

Sie verwenden Text-Einblendungen, um zu beschreiben wo man gerade ist, oder wer gegen wen spielt. Das ist eine gute Idee, und sollte ich mir für meinen Dokumentarfilm überlegen.

Bei den Interviews sitzen die Spieler häufig vor einem roten Vorhang. Das sieht auch nicht schlecht aus, werde ich aber in meinem Dokumentarfilm anders machen. Es wird auch von der Seite gefilmt. Ich werde auf jeden Fall auch zwei Kameras aufstellen bei den Interviews.

Mir hat ein Shot besonders gut gefallen. Die Kamera ist hinter dem Tor platziert und es wird genau auf die Kamera geschossen, sodass der Ball genau auf sie zu fliegt. Es wird häufig die Stadt München gezeigt, ihre Straßen und öffentliche Fußballplätze. Ich frage mich, ob es eine gute Idee ist das auch für meinen Dokumentarfilm zu machen.

Es werden auch häufig alte Bilder oder Videos gezeigt, zum Beispiel aus der Kindheit der Protagonisten. Ich werden meine Protagonistinnen fragen, ob sie welche für mich haben.

Es ist eine sehr gute Dokumentarserie und ich konnte mir einiges für meinen Dokumentarfilm abschauen.