by lea.haas -

Road to M.A. 3: Literature pt2.

Book 3

Donnenberg, Wilbirg: Frauen und Wahnsinn im Film. Filmschau  17. Bis 30. April 1998; Symposion 18. Und 19. April 1998. Wien: Sixpack 1998

Overview:

The book Frauen und Wahnsinn im Film (Women and Madness in Film), written by Wilbirg Donnenberg, was part of a symposium held in April 1998 in Vienna. The text explores the representation of women and madness in film, addressing how mental illness and psychological distress are portrayed, particularly in relation to female characters.

Questions:

  1. How does Donnenberg analyze the portrayal of women and madness in film?
  2. How does the book connect representations of madness to broader social and cultural issues, particularly gender?
  3. Does the book offer any critical perspective on the historical treatment of women in cinema, especially in relation to mental health?
  4. Is there an intersectional approach in the analysis of women and madness in these films?

Read:

Donnenberg provides an insightful exploration of the portrayal of women in a psychological or mentally disturbed state in cinema. She examines films from various periods and genres, considering how mental illness is framed within gendered narratives. She critiques the way women’s mental health issues are often depicted in a sensationalized or stereotypical manner, sometimes reinforcing negative cultural perceptions of women’s psychological experiences.

The book also delves into the socio-cultural implications of portraying women in this way. The selection of films referenced in the text includes both famous and obscure titles. While these films vary in style and genre, the common thread is how they use mental illness as a lens through which to examine women’s roles in society.

Recite:

Donnenberg’s analysis emphasizes that the portrayal of women and madness in film is not just a question of individual psychological pathology, but also a reflection of cultural and societal anxieties about women’s roles.

The book provides an in-depth look at how these portrayals have evolved over time, from early film depictions of women as the ‘madwoman in the attic’ to more contemporary portrayals that engage with themes of agency and self-determination. Donnenberg’s critical eye is also focused on how feminist theory has influenced and challenged these portrayals.

Review:

The text is logically structured, moving from an analysis of early film representations of women and madness to more recent developments in cinema. The book’s structure is straightforward, with a clear division between the theoretical discussion and film examples. However, the book could benefit from a more explicit discussion of its theoretical framework. Her insights are valuable, particularly for those interested in the intersection of gender, mental illness, and film. However, the text could have delved deeper into the socio-cultural impact of these representations, particularly in the context of modern feminist discourse. The style of writing is academic and critical, suitable for a scholarly audience, but might be inaccessible to readers without a background in film theory or feminist studies. It’s filled with a lot of analysis.

Wilbirg Donnenberg is an expert in the field of film studies, particularly in the areas of gender, representation, and the intersection of mental illness and cinema. Her academic background and focus on feminist theory suggest a deep understanding of how films portray gender and mental health. However, her expertise might be more specifically rooted in feminist film criticism and the portrayal of women in cinema rather than in a broader spectrum of film theory.

The structure of Wilbirg Donnenberg’s text, „Frauen und Wahnsinn im Film,“ appears to follow a scholarly format that emphasizes critical analysis and the exploration of themes related to gender and mental illness in cinema.

The quality of the content is likely high.

In terms of style, it’s formal and analytical, clearly aimed at an academic audience. The language might be overwhelming at times, using specialized terminology from film theory and feminist studies.

Is it useful for me?

This book is not very useful for my research purposes, but still Donnenberg’s analysis is valuable in understanding how societal views on women and mental health are reflected in cinema.

Source 4

Laura Mulvey and The Male and Female Gaze

by lea.haas -

#09 Shifting Gazes

By approaching film with an open mind, you can enrich your cinematic experience and gain a deeper appreciation for the diversity of storytelling within the medium. Shifting your gaze and approaching film in a more open way involves adopting a mindset that embraces diverse perspectives, genres, and styles.

Explore films outside your comfort zone, including genres or cultures you are less familiar with. Consider international films to gain insights into different storytelling traditions. Independent and art house films often provide unique and unconventional narratives, showcasing a different side of cinema. Attending film festivals exposes you to a variety of cinematic experiences, including independent and international works that may not have had mainstream success.

Reading diverse film reviews can provide insights from different perspectives. Understanding the filmmaker’s intentions and the context in which a film was made enhances appreciation for the artistry and storytelling. Engaging in film discussions, whether in clubs, online forums, or discussion groups, allows you to share thoughts and hear different perspectives, opening your mind to new interpretations.

Embrace experimental and non-linear storytelling, as some films break away from traditional narrative conventions. Learning about film history provides context for how different styles and techniques have evolved, contributing to a deeper understanding of cinema’s evolution. Supporting diverse filmmakers by seeking out and endorsing films from underrepresented creators contributes to a more inclusive and varied film landscape.

Approach film with openness to reevaluation. A film that didn’t resonate initially may take on new meaning upon rewatching or with a fresh perspective. By adopting this open-minded approach, you can enrich your cinematic experience and gain a deeper appreciation for the diversity of storytelling within the medium.

Cultivate an awareness of the socio-cultural context in which films are produced. Recognize that films are not created in a vacuum and often reflect or respond to the societal, political, and cultural issues of their time. This perspective can add layers of meaning to the stories being told.

by lea.haas -

#05 Villain Arc

The villain arc in film is a compelling narrative journey that explores the development, motivations, and actions of the antagonist within a story. Here’s how it often unfolds:

1. Introduction and Motivation: Villains are introduced with distinct motives or circumstances that lead them down a darker path. These motivations can stem from personal trauma, a desire for power, revenge, ideology, or even a warped sense of justice.

2. Humanization and Complexity: Well-crafted villain arcs often humanize the antagonist, showing their vulnerabilities, struggles, or the events that shaped their perspective. This complexity adds depth and makes them more relatable or understandable to the audience.

3. Conflict and Opposition: Villains become the primary source of conflict, providing opposition to the protagonist’s goals. Their actions create tension, driving the story forward and challenging the hero both physically and emotionally.

4. Evolution and Development: Throughout the narrative, the villain undergoes changes. They may experience internal conflicts, moments of doubt, or realizations about their actions. This evolution can lead to shifts in their motives or ideologies.

5. Climax and Resolution: The villain arc reaches its peak during the climax, where their actions and motivations collide with the hero’s. This often results in a showdown or confrontation that tests both characters. The resolution of the villain arc can vary—ranging from redemption, defeat, or their own undoing due to their flaws or actions.

6. Impact on the Protagonist: The villain arc deeply impacts the protagonist’s journey. The antagonist’s actions force the hero to grow, adapt, or confront their own weaknesses, leading to character development.

A well-crafted villain arc challenges the audience’s perceptions and generates emotional investment. It explores the shades of gray in morality and humanizes characters who are often seen as purely evil. Some films even offer redemption arcs for villains, showcasing their potential for change or growth.

Ultimately, a compelling villain arc enriches the storytelling experience, providing depth, tension, and a dynamic counterbalance to the hero’s journey.

by lea.haas -

#04 Female Rage

The narrative of female rage in film has evolved significantly throughout history, reflecting changing societal attitudes towards gender, power, and expression. In earlier cinematic narratives, female anger was often subdued or expressed through subtleties due to prevailing cultural norms and censorship.

  • Early Cinema (1920s-1950s): Female characters were typically confined to specific roles, and their anger was often portrayed as repressed or channeled into quieter forms of resistance. For instance, characters like Scarlett O’Hara in „Gone with the Wind“ or Joan Crawford’s Mildred Pierce depicted rage simmering beneath the surface due to societal constraints.
  • 1960s-1970s: This era saw some shifts as films like „Bonnie and Clyde“ or „Thelma & Louise“ showcased women pushing back against societal norms and expressing anger more openly. These narratives explored female rage as a response to oppression or injustice.
  • 1980s-1990s: Films like „Fatal Attraction“ and „Basic Instinct“ sometimes depicted female rage through the lens of mental instability or as a dangerous force, often tying anger to a negative portrayal of female characters.
  • Contemporary Cinema: The portrayal of female rage in recent years has become more diverse and nuanced. Films like „Mad Max: Fury Road“ and „The Hunger Games“ franchise present strong female protagonists who express rage as a response to systemic oppression and personal trauma. These narratives delve into complex emotions and showcase women’s resilience and strength.

Throughout these periods, the narrative of female rage in film has shifted from subdued or villainized portrayals to more empowered and multifaceted representations. These narratives often explore the reasons behind the anger, addressing issues such as gender inequality, abuse, or societal expectations, providing a platform for nuanced storytelling and challenging traditional gender roles. The evolution of these narratives reflects a broader cultural shift towards acknowledging and validating women’s experiences, including their anger, as an integral part of their stories.

by lea.haas -

#03 Written by a woman.

CAUTION: It’s crucial to note that these distinctions are broad generalizations, and many writers defy these expectations. Moreover, the most compelling storytelling often comes from authors who can authentically portray diverse perspectives, regardless of gender.

Explanation

Written by a Women: Women authors often bring a unique perspective to their work, emphasizing emotions, relationships, and character development. They may delve into nuanced explorations of female experiences, offering insights into the complexities of identity, societal expectations, and relationships. Female writers might pay special attention to the interior lives of characters, providing a deep emotional resonance to their stories.

For example, a scene written by a woman might intricately explore the emotions and thoughts of a female protagonist as she navigates a challenging situation. The narrative might emphasize the importance of female friendships, shedding light on the character’s inner strength and resilience.

Written by a Man: Male authors may, on the other hand, approach storytelling with different thematic focuses. Their narratives might center on action, external conflicts, or societal structures. Male writers might explore themes related to masculinity, fatherhood, or the dynamics of power and authority. Their writing style might be more direct or action-oriented.

For instance, a scene written by a man might emphasize the external challenges faced by a male protagonist. The narrative might highlight the character’s journey through physical trials, testing his strength and courage. Themes of camaraderie or competition might also play a significant role in the storytelling.

Bibliography
  • https://publicseminar.org/essays/what-does-it-mean-to-be-written-by-a-woman/
  • https://mashable.com/article/written-by-a-woman-men-writing-women-meme
  • https://genius.com/Mae-muller-written-by-a-woman-lyrics
by lea.haas -

#02 Found my topic?

BREAKING THE MALE GAZE?
THE FEMALE GAZE ON THE MALE GAZE.

After receiving feedback and mentoring, I’ve decided to continue working on the topic of the ‚Male Gaze‘ in film. Given that I encounter it daily and desire more female perspectives in the realm of film, I find it a compelling area to explore further. The exploration of the „Male Gaze“ in film from a female perspective can contribute to understanding and potentially changing the representation of women in the medium. It could also help raise awareness of gender inequality in the film industry.

A lot of different aspects

Exploring the „Male Gaze“ in film from a female perspective involves critically examining how women are portrayed on screen and the impact of this representation on the audience. There are a lot of aspects that I could dive further into like:

  • Historical Context: Explore the historical evolution of the „Male Gaze“ in cinema. How has the representation of women changed over time? Are there specific eras or movements that have influenced these portrayals?
  • Impact on Audience Perception: Investigate how the „Male Gaze“ affects the way audiences perceive women. Consider the psychological and sociocultural implications of repeatedly presenting women through a male-oriented lens.
  • Female Filmmakers and Perspectives: Highlight the work of female filmmakers who challenge or subvert traditional gender portrayals in film. Analyze how their perspectives contribute to a more nuanced and diverse representation of women.
  • Intersectionality: Explore how factors like race, ethnicity, sexuality, and age intersect with the „Male Gaze“ and influence the portrayal of women in film. Consider the experiences of women from different backgrounds.
  • Industry Practices: Examine the behind-the-scenes aspects of the film industry. How do casting decisions, writing, directing, and production contribute to the perpetuation or challenging of the „Male Gaze“?
  • Audience Reception: Investigate how audiences, particularly women, respond to and engage with films that either conform to or challenge the „Male Gaze.“ Do certain portrayals empower or reinforce harmful stereotypes?
  • Changing Trends: Explore contemporary films and movements that actively work against the „Male Gaze.“ Identify examples where the narrative empowers female characters and provides a more authentic representation.
  • Influence on Culture: Consider the broader cultural impact of the „Male Gaze“ in film. How does it contribute to societal norms and expectations regarding gender roles and relationships?
Bibliography
by lea.haas -

#01 Finding the right topic

FIRST TOPIC: The „Male Gaze“ in Film

The term „Male Gaze“ was first described in the 1970s by film critic Laura Mulvey. It refers to a representation of women dominated by the male perspective. In this portrayal, women are often depicted as passive figures without significant value or personality, placed alongside an active male protagonist. Visually, the female character is frequently reduced to her appearance.

Male Gaze is not confined to just films and TV shows; it’s also present in video games, advertisements, social media, and television. This phenomenon persists because there are still significantly more men than women in key roles in the film and television industry, allowing this perspective to prevail. The Male Gaze relies on stereotypical portrayals of men and women, offering viewers limited opportunities for identification due to a lack of diversity in character traits.

It’s essential to understand that the act of looking (Gaze) itself is the consumption of products, and 85% of characters in Hollywood are male. We are compelled to consume the male gaze, whether we like it or not, and it often fails to fully incorporate other sexualities and identities. Non-male characters are used to reinforce a mediocre plot in the name of male power.

An interesting comparison is Margo Robbie’s transformation as Harley Quinn and the subtle changes in costume design when Cathy Yan took over the franchise. Over the course of several films, Harley Quinn evolved from creating the fantasy of a mentally unstable, infantilized villain in extremely short shorts to a character leaving an abusive relationship, finding sisterhood, and saving a woman in distress.

SECOND TOPIC: A24 and the modern horror in film

A24, the American independent entertainment company founded in 2012, has played a groundbreaking role in modern horror films. Known for distributing and sometimes producing influential TV shows and movies like Lady Bird, Moonlight, and Everything Everywhere All At Once, A24 has left a significant mark in the horror genre. Films like Hereditary, Midsommar, and Beau Is Afraid by Ari Aster showcase the company’s pioneering work in modern horror.

In modern horror, the genre serves as a platform to convey important messages and provoke thoughtful reflection. A24’s horror films, including The Witch, The Lighthouse, It Comes at Night, X, and Pearl, go beyond conventional scares. They combine supernatural elements with twisted horror narratives, exploring themes like blind faith, cults, and societal obsessions.

A notable aspect of A24’s horror films is the fusion of supernatural elements with the characters‘ emotional depth. For example, Midsommar and Hereditary delve into human beliefs and cults, intertwining the supernatural with the characters‘ experiences. The protagonists may seem morally ambiguous, yet their struggles are relatable, connecting with audiences on a deeper level.

The effectiveness of these characters lies in the actors‘ ability to visually portray emotions such as grief, trauma, loss, and rejection. By depicting these emotions, A24’s horror films bring the genre to the forefront, creating movies that use human emotions to evoke fear in the audience. This approach has elevated A24 to the forefront of modern horror, prompting viewers to engage with the genre in a more profound and emotionally resonant way.

THIRD TOPIC: The 4th wall in film

The imaginary boundary between the events of a film or theater stage and the audience is known as the „Fourth Wall.“ When actors break this boundary, it’s referred to as breaking the Fourth Wall. In instances where plays, TV shows, and films break the fourth wall, they acknowledge the audience’s existence and directly address it. This action blurs the fictional world with the literal reality of the medium: a group of actors performing in front of a live audience or a camera. Actors can step out of their imaginary reality and address the audience watching them, breaking the fourth wall. While most films and TV shows never break the fourth wall, when the imaginary barrier falls, and a character speaks to the real audience, the filmmaker typically has a specific purpose in mind.

To provide a commentary on the scene, actors may turn towards the camera to comment on events in the story. As this direct address often appears absurd, this technique is prevalent in comedy. Breaking the fourth wall pulls the audience out of a fictional world and may clash with the seriousness of most dramas, thrillers, and action films.

Another way to break the fourth wall is by having a character speak an internal monologue, offering insight into their inner thoughts. While this can break the audience’s suspension of disbelief, narrative films seldom attempt this. However, in documentary films, documentary subjects—or even the filmmakers themselves—can address the camera and speak for themselves.

Some directors, inspired by Bertolt Brecht, aim to highlight the artificiality of the film itself. Actors breaking the fourth wall can acknowledge that they are part of a fiction, drawing attention to the symbiotic relationship between the actor and the audience and effectively engaging the audience in the artwork.

Bibliography

First Topic:

Second Topic:

Third Topic: