#10 Inhaltsverzeichnis?

Hier mein vorübergehendes Inhaltsverzeichnis für meine Masterarbeit mit dem vorläufigen Titel „Framing Motion. Die Kunst der Tanzvideografie“.

Inhaltsverzeichnis

  1. Einleitung
    • Problemstellung
    • Zielsetzung und Fragestellung
    • Methodisches Vorgehen
  • Theoretischer Rahmen
    • Tanz und Film: Ein Spannungsfeld zwischen Linearität und Nicht-Linearität
    • Immersives Storytelling: Definition und Anwendungsmöglichkeiten
    • Farbgestaltung und Bildkomposition: Theorien und Praxis
    • Montage und Rhythmus: Die Verbindung von Bewegung und Schnitt
  • Stand der Forschung
    • Analyse bestehender Tanzfilme
    • Best-Practice-Beispiele und deren Besonderheiten
      • Step Up Filme
      • Black Swan
      • Dirty Dancing
  • Konzeption des Tanzfilms
    • Entwicklung der Shotlist und des StoryboardsFarbkonzept und Stilisierung
    • Integration von Tanzstilen
      • Möglichkeiten
      • Herausforderungen
  • Umsetzung
    • Vorbereitung und Drehplanung
    • Produktion: Kameraarbeit und Choreografie
    • Postproduktion
      • Schnitt
      • Color Grading
  • Analyse und Reflexion
    • Wirkung der filmischen Mittel auf die Wahrnehmung von Tanz
    • Vergleich mit bestehenden Tanzfilmen
    • Erkenntnisse und Ausblick
  • Fazit
  • Literaturverzeichnis

Bisheriges Literaturverzeichnis:

Hier liste ich jegliche Literatur an, die ich zum jetzigen Zeitpunkt auch in mein Exposé für das Masterarbeits-Thema gebe. Heißt diese Literatur wird die Basis der Arbeit oder sicher erwähnt werden. Jedoch habe ich viel mehr Literatur zur Recherche gefunden und auch welche ich in der finalen wissenschaftlichen Arbeit benutzen möchte, jedoch wäre es zu viel hier mein aktuelles Literaturverzeichnis komplett aufzulisten.


Arendell, Telory/Barnes, Ruth: Dance’s Duet with the Camera. Motion Pictures. London: Springer 2016

Brannigan, Erin: Dancefilm. Choreography and the Moving Image. New York: Oxford Univ. Press 2011

Flatt, Kate: Movement Direction. Developing Physical Narrative for Performance. UK: Crowood Press 2022

Haine, Charles: Color Grading 101. Getting Started Color Grading for Editors, Cinematographers, Directors, and Aspiring Colorists. New York/London: Routledge 2019

Hurkman, Alexis Van: Color Correction Look Book. Creative Grading Techniques for Film and Video. San Francisco: Peach Pit 2013

Katz, Steven D.: Film Directing, Cinematic Motion. A Workshop for Staging Scenes. 2. Aufl. Kalifornien: Michael Wiese 1998

Köhler, Kristina: Der tänzerische Film. Frühe Filmkultur und moderner Tanz. Marburg: Schüren 2018

Mitoma, Judith: Envisioning dance on film and video. New York/London: Routledge 2002

Rosiny, Claudia (14.02.2018): Videotanz. Kennzeichen und Konzepte eines intermedialen Genres und seiner filmhistorischen Vorläufer. URL: https://nachdemfilm.de/issues/text/videotanz (zuletzt abgerufen am 05.12.2024)

Rosiny, Claudia: Tanz Film. Intermediale Beziehungen zwischen Mediengeschichte und moderner Tanzästhetik. Bielefeld: transcript 2013, E-Book

Spain, Louise: Dance on Camera. A Guide to Dance Films and Videos. USA: Scarecrow Press 1998

Wikipedia. Die freie Ezyklopädie (10.12.2023), s.v. Tanzfilm, https://de.wikipedia.org/w/index.php?title=Tanzfilm&oldid=240070512 (zuletzt aufgerufen am 04.11.2024)

IMPULSE #2: Datenbankrecherche

Die Recherche relevanter Literatur ist ein zentraler Bestandteil wissenschaftlichen Arbeitens – und gleichzeitig eine Herausforderung, die Sorgfalt und Systematik erfordert. Für mein Masterthema habe ich verschiedene Quellen analysiert, um eine fundierte Grundlage für meine Arbeit zu schaffen. Dabei habe ich ein E-Book, ein über die Fernleihe bestelltes analoges Buch sowie Artikel aus internationalen Fachzeitschriften ausgewertet. Zudem habe ich Wikipedia genutzt, um einen ersten Überblick über mein Thema zu gewinnen. In diesem Blogbeitrag möchte ich meine Ergebnisse und Erkenntnisse mit euch teilen.

E-Book :

Analoges Buch:

Zeitschriftenartikel aus einer internationalen Fachzeitschrift:

Guter Wikipedia-Artikel:

Gut aufgrund: Struktur, Tiefgehende Erklärungen und Definitionen, Einsatz von Fachliteratur und Belegen, Einbindung von Beispielen und Modellen, Neutralität und Objektivität, Links und Weiterleitungen

Schlechter Wikipedia-Artikel:

Schlecht aufgrund: Fehlende Tiefe und Struktur, Belegqualität, Mangel an Originalforschung, Verlässlichkeit und Zitierfähigkeit


Literaturliste:

Regier, Stefanie, Holger Schunk, und Thomas Könecke, Hrsg. Marken und Medien: Führung von Medienmarken und Markenführung mit neuen und klassischen Medien. 1. Aufl. 2016. SpringerLink Bücher. Wiesbaden: Springer Gabler, 2016. https://doi.org/10.1007/978-3-658-06934-6.

Wasiq, Mohammad, Abu Bashar, Brighton Nyagadza, und Amar Johri. „Deciphering the Evolution of Metaverse – A Techno-Functional Perspective in Digital Marketing“. International Journal of Information Management Data Insights 4, Nr. 2 (November 2024): 100296. https://doi.org/10.1016/j.jjimei.2024.100296.

Wheeler, Alina, und Rob Meyerson. Designing brand identity: a comprehensive guide to the world of brands and branding. Sixth edition. Hoboken, New Jersey: Wiley, 2024.

Wikipedia. „Markenführung.“ Zuletzt bearbeitet am 30. Mai 2023, 16:45 Uhr. Zugriff am [08. November 2024]. https://de.wikipedia.org/wiki/Markenführung.

Wikipedia. „Rebranding.“ Zuletzt bearbeitet am 25. August 2024, 09:16 Uhr. Zugriff am [08. November 2024]. https://de.wikipedia.org/wiki/Rebranding.

Road to M.A. 2: Literature pt1.

Book 1

Goddard, Kevin. „Looks Maketh the Man“: The Female Gaze and the Construction of Masculinity. In: The Journal of Men’s Studies (2000)

Overview: The article explores how the concept of the female gaze redefines masculinity and its representation in media. Goddard examines how men are increasingly subject to objectification, traditionally reserved for women, and how this shift affects societal norms and expectations of masculinity.

Important Headlines/Chapters:

  • Introduction
  • Theoretical framework
  • Analysis of media examples
  • Implications on masculinity
  • Conclusion

Questions:

  1. What is Goddard’s main argument about the impact of the female gaze on masculinity ?
  2. How does the female gaze differ from the male gaze?
  3. What evidence does Goddard provide to show how men are perceived in media ?
  4. How does the female gaze affect gender roles in society?
  5. What conclusions does Goddard draw about the implications of these shifts in media ?

Read:

While reading the text I came across these anwers:

Goddard argues that the female gaze does not simply reverse the dynamics of the male gaze but instead introduces a nuanced perspective on masculinity.

  • He provides examples from advertisements and popular media.
  • The female gaze impacts men by placing new aesthetic pressures on them.
  • This shift has broader cultural implications, as it challenges the idea that only women are subjected to the pressures of physical appearance.

Recite:

The article delves into how the female gaze influences modern representations of masculinity. Goddard argues that the objectification of men in visual culture reflects changing gender dynamics, where both men and women are subject to aesthetic pressures. This shift challenges traditional gender norms by presenting masculinity as an idealized, consumable image.

Review:

  1. What is Goddard’s main argument about the female gaze?
    • The female gaze reconfigures masculinity by introducing new expectations of physical attractiveness and objectification.
  2. How does the female gaze differ from the male gaze?
    • While the male gaze is often about power and control, the female gaze focuses on aesthetics and desire without necessarily aiming to dominate.
  3. What examples does Goddard give?
    • Goddard discusses advertisements and film scenes where men are depicted as objects of desire, highlighting the shift in how masculinity is portrayed.
  4. What effect does this have on gender roles?
    • It complicates the concept of masculinity by introducing traditionally associated with femininity.
  5. What can be concluded?
    • The article concludes that both the male and female gazes contribute to the construction of social expectations around gender, indicating that objectification is not limited to women.

Kevin Goddard is considered an expert in the field, particularly in the areas of media studies, gender studies, and the sociology of masculinity.

Structure: The structure of Kevin Goddard’s article is clear and logical, with a well-organized flow that guides the reader through complex ideas. It begins with an introduction to the concept of the female gaze, followed by a detailed analysis of how masculinity is constructed and perceived in media.

Quality of Content: The content is of high quality, demonstrating a deep engagement with both feminist theory and masculinity studies. Goddard effectively integrates theoretical perspectives with concrete examples, making the arguments compelling and well-supported. He draws on established scholars like Laura Mulvey while also contributing his own insights, adding value to ongoing academic discussions.

Style: The writing style is scholarly yet accessible, striking a balance between theoretical depth and readability. Goddard uses precise language, avoiding overly complex jargon, which helps to communicate ideas in a way that is understandable to readers who may not be specialists in gender studies. However, at times, the theoretical explanations may require a re-reading to fully grasp his point.  

Is it useful for me?

Yes, Kevin Goddard’s article, „Looks Maketh the Man: The Female Gaze and the Construction of Masculinity,“ is very useful for my purposes, particularly in exploring how gendered gazes function to shape societal perceptions of masculinity and power dynamics. The sections that delve into the female gaze and its impact on the portrayal of men in media are especially relevant for my research.

Additionally, while the article effectively discusses the construction of masculinity, it lacks a deeper analysis of intersectionality, such as how race, class, or sexuality might alter these representations.

Book 2

Malone, Alicia: The Female Gaze. Essential Movies Made by Women.Mango Publishing: Florida 2018, E-Book

Overview:

The book, published in 2018, offers an in-depth exploration of movies directed by women and how they embody the „female gaze“ in contrast to traditional cinematic portrayals shaped by the male gaze. Malone highlights key films made by women and discusses how they shape the portrayal of women, the male characters, and the entire narrative.

Question:

  1. What is the „female gaze“ in cinema, and how is it defined in the context of this book?
  2. How does the female gaze challenge traditional portrayals of women in film?
  3. How does the book connect the feminist movement to the evolution of film by women?

Read:

While reading the book, I focus on sections that explore key films and directors, noting how the book links the cultural and historical context of feminist movements with the films. The sections addressing the treatment of gender and the role of women in these films are particularly valuable for understanding how the female gaze differs from the traditional male gaze.

Recite:

  • The „female gaze“ is a concept where films directed by women bring new perspectives on narrative, power dynamics, and gender roles. The book highlights how women directors challenge stereotypical female roles and portray men in more nuanced ways.
  • Essential films discussed include works by directors like Kathryn Bigelow, Greta Gerwig, and Jane Campion, showcasing how their films provide alternative portrayals of women’s experiences.
  • The book argues that the emergence of female filmmakers and their unique storytelling approach has created space for a broader, more inclusive definition of masculinity, femininity, and sexuality.
  •  

Review:

The book is well-structured with a clear narrative that moves from the historical context of women’s involvement in film to analyzing specific films that exemplify the female gaze. It organizes the films into categories based on themes like female empowerment, complex masculinity, and romantic relationships.

Malone provides insightful commentary, but some sections could benefit from deeper theoretical analysis. While the inclusion of specific films is valuable, a more expansive exploration of intersectionality—particularly with race, class, and sexuality—would have enriched the discussion.

Malone’s writing style is accessible and engaging, making complex feminist film theory approachable for a broad audience. However, the tone sometimes feels more like a general overview rather than a academic critique.

Evaluation:

The book is useful for my thesis because it’s exploring how women directors challenge traditional gender roles and how these films offer new ways of looking at masculinity and femininity. It provides a good introduction to the female gaze in film.

Alicia Malone is a well-known film critic, author, and host, particularly recognized for her work in promoting women filmmakers and advocating for a more inclusive representation of gender in cinema. She has written several books on film and women in cinema, and she frequently appears as a presenter and commentator on film-related topics. While Malone may not have the academic credentials typically associated with „experts“ in the field, she is certainly an established authority in the world of film criticism.

The structure of The Female Gaze: Essential Movies Made by Women by Alicia Malone is clear, well-organized, and accessible. The chapters are arranged around a series of essays, and each section explores specific films or movements, providing both analysis and context. However, the book is more of a survey and celebration of films, rather than a deeply academic or theoretical examination of the female gaze.

Is it useful for me?

Yes, The Female Gaze: Essential Movies Made by Women by Alicia Malone is useful for my purposes. The book highlights the significant contributions of women filmmakers, which aligns with my interest in how female perspectives and narratives are represented in cinema.

It helps to contextualize and define what constitutes the female gaze as distinct from the male gaze, showing how women filmmakers challenge traditional gender dynamics and representation in cinema. The chapters that discuss the historical context of women in filmmaking, as well as the impact of feminist movements on cinema, are also quite relevant. However, while the book does a great job of introducing films and filmmakers, it lacks a deeper theoretical exploration of the „female gaze.“ It focuses more on film analysis and less on the cultural, social, or academic frameworks that underlie the concept.