Change 1. Spectatorship & The Gaze
Dominant male perspective (psychoanalysis and mirror stage, male gaze) to a greater variety of interpretations, recognition of oppositional gazes from male dominated (contemporary last 10 years)
1970s (UK INDEPENDENT) Clockwork Orange - RAPE, VIOLENCE, CONTROL
Male POV, male Gaze
No black characters
Female characters are victims of rape and murder
Homosexual teacher is a threat and perverted
Alignment is with a teenage sociopath, rapist, murderer, but tortured and controlled by the state behaviour control leads to contemplating suicide. Pity? Freedom of the individual?
2010's
(US INDIE) Black Swan - has psychoanalysis, mirror stage and male gaze (dominant view) but also open to female and queer gaze.
Your own film has oppositional Gaze. (CHECK IF IT IS INDEPENDENT)
FOREIGN 'HYPED' FILM
Change 2. Watching film individual basis (internet piracy streaming online distribution of film) lesser so in cinema and therefore together
Audience can change how you view - watch it in episodic instalments, or 'Binge viewing' of franchises
You pay for it in a cinema you have more investment in the film...
Pleasure: Intellectual Interpretation
- no longer such a social event emotional/outrage reactions from others 'a shared experience': talk about it, share opinions argue about beliefs & interpretations (FACTORs - experience) - take this away left you...
Emotional: Reactions & Factors (experiences)
- lesser impact Comedy & Horror (laugh & scream together),
DOES THIS MAKE YOU MORE DESENSITISED TO EMOTIONAL IMPACT?
WHAT DOES A DIRECTOR HAVE TO DO TO RAMP UP THE EMOTIONAL IMPACT TO THE FRAGMENTED AUDIENCE?
- Alignment with the character, a stronger relationship with them...FILTH, (additional sequels & reboots) Kubrick did it - good thing: Sophisticated (a return art form - techniques that directors used in the 'golden age' 1970s Blockbusters spectacle FORMULAIC the same) CAN NOT RELY ON SPECTACLE because not on the big screen.
POV - handheld camera PARANORMAL ACTIVITY - alone, by yourself (setting in a more isolated and secluded way that relate to where you are watching it) IMMERSION
GOOD THING!
- Provocative & Disturbing, Controversy & Sensationalisation (girl wearing least amount of clothes for attention?)
Densensitised
SPECTACLE not provocative ideas, but VISUALS. Less intellectually pleasurable, is this lazy filmmaking? Is there a meaningful narrative behind the Hyped
HUMAN CENTIPEDE
Change 3. Greater Diversity of film being watched?
More diversity in what the audience watch: foreign cinema, independent cinema, 'cine literate' greater understanding and appreciation of diversity of cultures and film experiences (not just diet of Hollywood)
HYPE OVER CRAFT?
FOREIGN FILMS = NATIONAL CINEMA - are our expectations that they have MORE TO SAY?
NYMPHOMANIAC - LARS VON TRIER
Unsimulated sex scenes THEY ACTUALLY ARE HAVING SEX !
Shia Lebouf shagging in a film for real. Controversial - people want to see this aspect
Career - TRANSFORMERS - to be fair (porn doubles - but still...) Artist
INITIMATE - 'suited to the solo spectator'
| Nymphomaniac | |
|---|---|
Volume 1 theatrical release poster
| |
| Directed by | Lars von Trier |
| Produced by | Marie Cecilie Gade Louise Vesth |
| Starring | Charlotte Gainsbourg Stellan Skarsgård Stacy Martin Shia LaBeouf Christian Slater Jamie Bell Uma Thurman Willem Dafoe Mia GothSophie Kennedy Clark Connie Nielsen Michaël PasJean-Marc Barr Udo Kier |
| Cinematography | Manuel Alberto Claro |
| Editing by | Volume I: Morten HøjbjergBoth volumes: Molly Marlene Stensgaard |
| Studio | Zentropa Entertainments Heimatfilm Film i Väst Artificial Eye Les Films du Losange |
| Distributed by | France: Les Films du LosangeGermany: Concorde FilmverleihUnited States: Magnolia Pictures |
| Release dates |
|
| Running time | Volume I: 117 minutes[1] 145 minutes (Uncut)[2] Volume II: 124 minutes[3] |
| Country | Denmark Belgium France Germany[4] |
| Language | English |
| Budget | $4.7 million ($2.35 million per film) |
| Box office | Volume I: $12,161,483[5] Volume II: $4,093,644[6] Both volumes: $16,255,127 |
In October 2013, a series of posters were released, each depicting the film's characters during the moment of orgasm.[22] Along with the appetizers and the character posters, five theatrical posters (three for the complete feature and one for each volume) and an international trailer featuring some of the explicit sexual scenes, were released.[citation needed]
Plot
| The Girl with the Dragon Tattoo | |
|---|---|
Swedish release poster
| |
| Directed by | Niels Arden Oplev |
| Produced by | Søren Stærmose |
| Screenplay by | Nikolaj Arcel Rasmus Heisterberg |
| Based on | The Girl with the Dragon Tattoo by Stieg Larsson |
| Starring | Michael Nyqvist Noomi Rapace |
| Music by | Jacob Groth |
| Cinematography | Eric Kress Jens Fischer |
| Editing by | Anne Østerud |
| Studio | Yellow Bird Music Box Films Alliance Films LumiereGAGA |
| Distributed by | Nordisk Film |
| Release dates |
|
| Running time | 152 minutes |
| Country | Sweden[1] |
| Language | Swedish |
| Budget | $13 million[2] |
| Box office | $104,384,415[2] |
Spectatorship: Emotional? Intellectual? Spectacle - the rape scene?
Interpretations: Male Gaze, Queer Gaze, Female Gaze?
- Spectacle: 3D & IMAX, BLOCKBUSTERS
AVATAR
Change 4: Fandoms & the relationship/experience of the film
LOTR: A marked change from something considered 'sad', 'obsessive' or 'geeky' becoming accepted into the mainstream. Could celebrate their fandom.
Film experience has moved beyond the text to the collaberation, community and identification process surrounding the text.
1970's - 2010's: internet allows relationship with the audience: similar arguments to the Music Industry in AS Media Studies.
1960's Star Trek & Star Wars, the internet has facilitated the sharing and collaberation of fandom around the text.
Must have relationship with them to have the shared experience, community
Dress up
Identification (mirror stage, fantasy) and appropriation of characters, re-imagined for a queer audience
Fan made fiction surrounding the marketing and distribution of the film.
- Fiske defines three fan "reactions" to their text of choice:
- 1) semiotic productivity is when fans use their object of fandom to create social meaning in theirown lives (ex. a fan who gains confidence watching his or her favorite character on TV).
2) enunciative productivity is when fans express their fandom to the outside world through speech or appearance (ex. fans wearing their favorite team's jerseys).
3) textual productivity is when fans create texts based on their object of fandom (ex. fan fiction).
fanatic loyalty
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