Week 4: Bodies, Gender, and Sexuality
In watching the many short silent films at the end of the last class, I noticed the recurring connections between human bodies and machinery. Acting and camera tricks came together to create the stories. For example, “Mary’s Mishap” (the woman blows herself up by lighting a fire with a large amount of paraffin oil) combines over-the-top highly visual acting with camera effects. Therefore, early cinema seemed to offer the prospect of a technological form of entertainment in which the actors too were props. This differs from theatre in that the actors became secondary to / on the same level as the machinery and inanimate props.
The mechanization of the body is also commented on in the seemingly very self-aware film “An Interesting Story.” At the end, a man is run over by a steam roller, flattened, and brought back to 3D life by bicycle pumps. The body responds to mechanical tools as if it were inorganic or non-living material itself.
What surprised me is how it seemed that people could actually be afraid of human-machine interchangeability. The anecdote in Doane’s “Technology’s Body” about the woman who was reluctant to have her picture taken for fear it would be painful is very much in line with the pattern of early cinema. The relationship between real life and cinema, and the relationship between people and machines, seem to be brought together in this time period.
My question is how commonly these anecdotal stories actually took place. In other words, was the average person actually so concerned about modernism, industrialism, and these newfangled moving pictures?
January 23rd, 2008 at 3:19 pm
I haven’t finished reading all of all of the articles but something about Doane’s article struck me with regards to a conversation I have been having recently about a bunch of new films by a prominent Canadian filmmaker that have not been ‘released’ yet, but were causing me some grief as a woman, a feminist, a cell phone user and a film student. The films are short films made with cell phone cameras. They are being made for one the biggest cell phone companies in Canada. This filmmaker traveled all over the world (from British Columbia to Czechoslovakia) and recorded women (mostly beautiful, mostly young- though not all) looking directly into the camera and declaring their love and adoration for whoever would watch the film. They are going to be available for cell phone subscribers (I assume mostly men) for downloading onto their phones, The ‘intent’ is for business traveller’s who may not have someone at home waiting for them, and missing them to be able to receive this “message” of love.
I am somewhat mortified by these films. Yet, I am having a hard time convincing any one I know (men and woman- all of whom would consider themselves ‘feminists’) that these films are problematic for women. I should also note that none of the films that I have seen are “salacious” or overtly “sexual” in nature- it is usually one shot of a woman sitting on a bed in a hotel room saying things like “I miss you so much. Every moment I am alone without you I am in pain.” Stuff like that.
When Doane (who’s article I have not finished yet) is speaking of “technology as prosthesis” for the “deficiency of the “eye” there is an implication of a broader anxiety or fear of technology. Much like the way that early colonialists would gender (’feminize’) the imperial unknown- are these films meant for cell phones (and the early cinema that we are studying) a way to conquer the anxieties felt from the cell phone itself. Anne MClintock associates this imperials effort with a “stragedy of containment,” not so much about male ego, but rather connected psychoanalytically to a deep sense of paranoia stemming from boundary loss and fear of the unknown (or other).
What do people think of these cell phone movies that I mentioned? Are the ways the ‘gendered’ scenarios in early cinema at all related to ways that new technology is ‘gendered’? What are the broader social implications of using now common objects (like cell phones) as a way to naturalize female ’space’ (as private, passive, exotic), if any?
January 24th, 2008 at 1:04 am
There was a certain point in Lucy Fischer’s article that stood out to me. She mentions that the sexual paradigm, of male magician and female subject, “suggests that sexual-role playing is itself an isssue in the rhetoric of magic.” She makes the inference that maybe the magician is not just preforming and act but is actually describing or simulating attitudes towards women.
This is a very interesting idea because if you look back into the early films that we watched at the end of class last week, we can see these social attitudes towards woman being displayed. For example, the women who had their skirts nailed to the fence, shows us so much more then just that. the women are shown with their frivilous talking while the boys take control of the situation. This is much like the relationship that the magician and the female assistant show. There are many more examples if you look closely but I will not go into them all.
This can be transferred to modern cinema as well that portrays the attitudes towards women today and how this has changed (or not) from the time of early cinema. My question is to ask everyone what they think of this idea? Does it have any validity or could it be said about almost any form of entertainment?
January 24th, 2008 at 4:51 am
What’s fascinating about Doanes article is that we were discussing this very notion of body and technology in the Soviet Montage films of Zdiga Vertov, and essentially what I argued is that a lot of early cinema, post war cinema and contemporary cinema have been periods where technology, industry and the body are mediated through numerous films, where gender in particular plays an imporant role (i will be discussing this more in my presentation next week). Essentially what I argued is that early cinema was in a sense early cyborg theory, in that they were either utopian or dystopian, meaning either technology was going to take over because machines are superiorand therefore the merging of the two would benefit society, or since God created us and we destroyed God, we would create machinery which would eventually destroy us. Besides the fact that technology and industry were in full thrust during the early 20th century, we cannot forget that cinema come from mechanical techology, and that is simply makes sense to activity deal with that which brings your art to life within the artwork itself.
Doane’s focus on the body and its relation to techonolgy and the intersticial nature of their connection was a common anxiety in the early 20th century and how the superiority of technology could surpass our limited senses and how we used our humanity to lull this anxiety in order to make it more acceptable (the same can almost be said about pornography essentially starting the internet, whereby the allure of uninhibited and free seuxal material distracted individuals from the problmeatic nature of this new method of communication and how the internet now, is almost a technical part of our body and life AKA this Blog). Doane does not find a solution to her question, inscribing instead an ambivalent conclusion which is most appropraite seeing as how this is a question that I believe simply cannot be defined.
With respect to the other two articles, we see how industry and the developement of modernity and urbanity comes to represent inself aesthetically and “narratively” in early cinema as industry lead to wide ubran migration in search of modern opportunities and luxuries. Technology, even the stenographa nd typewriter, have changed the lives of individuals including women and this modernity and sexual freedom and the anxiety of the “others” vice and the melding of “multiples” is something Balindes points out very well in her article.
Fischers article was by far the most entertaining and informative (i cna’t wait to ruin magic for my friends with my newly incessant bitching about sexism and subversive sexuality in something as seemingly as trivial as magi shows). Her arguements are quite fascinating and I can’t help but feel that this notion of techno-magic is something we come to find in Cronenberg’s cinema and a myriad of others, and another good example would be the Bionic woman or even the new Terminator series.
As a final note, R.I.P Heath Ledger
January 24th, 2008 at 9:38 am
Just a quick observation. Its very interesting to me, that even with early cinema, theorists like Doane discuss the ways in which technology handicaps us — makes us dependent on technology’s extradinary capabilities, and less dependent on our own senses. However, even more interestingly, this dependence grants us the ability to look closer — to capture moments that are invisible to the naked eye. So i guess my question is, is it worth it? Is it worth it to increasingly handicap ourselves with technology for the very benefits of technology? Despite the answer, its seems its too late to turn back.
January 28th, 2008 at 5:01 pm
***read at own risk: it’s long, and shamefully off-topic from the discussion of early cinema!***
In response to Adamo, I never thought of it as handicapping us until you said it like that. But now that I have, it makes me think in a slightly different light about Doane’s article. Mostly, it makes millions of questions rush into my head –always a fun time!
Personally, I still prefer the idea Doane described: us being enhanced by technology… technology as an add-on to our physical and mental parts of us. But, by default, being enhanced means we are somehow “less-than,” hense the slightly more negative notion of technology “handicapping” us (but only by comparison TO technology… as in, technology doesn’t take anything away FROM us, but it re-defines the notions we have about ourselves as complete individuals as lacking).
At the same time, I wonder in what senses we actually do physically become at least somewhat handicapped by our dependence on technology. Are there things we will never develop a skill for, or learn to do, because we created a machine to do it for us that we “can’t live without,” and how much could that theoretically change our path of evolution?
Does our capability and capacity for learning, re-inventing, and changing the world around us, and adapting to those changes, suggest a progression in us involving an integration of technology (as in, are we possibly handicapping AND advancing ourselves simultaneously through technology? Could we be somewhat de-humanizing ourselves in the physical sense as we overly-technologize ourselves? Are we handicapping ourselves in the sense that we cut out from our life aspects of the physicality of our existence, allowing machines to do what we no longer care to do, while we psychologically/mentally invest ourselves and progress in other ways?)
Such a line of thought would suggest taking another look at Embodiment and Space. Part of me feels that while we are certainly physical beings, at the same time there is something different about my brain. By that, I mean that I feel like my brain could hold as much in it as I wanted it to, despite it being of limited size and potential. And maybe it can only hold so much (and not store as infinitely as I imagine it can). What’s weird, too, is that thoughts and such are physically stored in certain areas of the brain, but I take no conscious effort in recognizing where it goes and how its stored. No sense of chronology or ordering. Just a weird abyss of collected memories.
So, I feel like our ‘brain’ part of us (the part of us we feel is US and could not live without… as in, -I- am not in my arm, but in my brain) is very much technologically-centered, and this is proven all through history (kind of like the seeming infiniteness and lack of physicality of cyberspace). We seem born to learn and adopt technologies into our lives, almost as if we’re a little better than our bodies and yearn to make our lives different or easier for ourselves (yet, sometimes we really ache for simpler times, a more organic lifestyle, investing more in the creature-aspect of us as opposed to the thinker-aspects of us).
If there are concerns about our body becoming handicapped, or being conceived of as extremely primitive, and even quite possibly irrelevant (anyone remember that silly kids t.v. show that had a guy’s brain in a jar and it could talk and stuff?), how does technology fit in? Does it make us ignore a part of us that we’ve not given enough credit to, which thus instigates a feeling of fear or regret?
And our anxiety about technology: what about technology are we so anxious about, and is it a rational anxiety or something more instinctual and more “irrational” (as in, it’d be hard to fix or un-do the anxiety without extensive regression in our technological and evolutionary progresses)? And at what point did that happen, because I have trouble thinking that the adapting of… say… eating utensils or fishing nets would’ve caused the kind of anxiety we seem to recognize in the responses to some of today’s technology.
Generally, it all makes me think we’re more than slightly cursed: enjoying life’s simplicity and the joy of nature and living ‘naturally’ juxtaposed with a drive to explore, invent, create and generally depend on technology. So what can our invesitations of anxiety-towards-technology TEACH us in our present-day world that would help us refine the things we do and the paths we take so that (perhaps) we can find a more harmonious blend between the natural and technologically-intensive worlds we’ve created.
–Doesn’t remotely relate to cinema, but… yea… In terms of gender & sexuality, we’re still very physical beings. However, the relevance of gender & sexuality starts to get foggy in the cyber-world where you can be whatever and whoever, however you wish. The idea of there being a strict binary between male and female in terms of physical-appearance, behaviours and capabilities (as well as what I believe to be the general falsity of gender, atleast as we define it today —but it’s a whole other, ginormous discussion) has (sadly) not quite been irradicated in the world, but does technology provide for us a way to… call into question these false ideals about gender & sexuality?
With cinema, we can observe the regurgitation of cultural ideologies and discourses about gender & sexuality (and race, and classes, etc.), and witness how it evolves throughout eras by comparing (bodies of) films to each other. And sometimes, cinema allows people to push boundaries and present it to a large audience of people for assimilation, (or, atleast, consideration… but sometimes wide reject).
Being more conscious of the impact of cinema (partially by looking at early cinema, as well as later cinema), as well as having more knowledge than ever about gender and sexuality, can cinema be used to de-handicap some of us (with regard to gender inequality, or sexuality-based discrimination –’problems’ that general society has decided certain people ’suffer’ from) or, atleast, give the fantasy of liberation from these “not-actual-handicap handicaps?” And, if that is eaten-up by viewers, what potential does cinema have to transform our ideas of self and equality, as well as ideas of Other, on a grand scale?
Andrea
January 30th, 2008 at 10:16 pm
I don’t think that enhancing means that we are “less-than.” It provides an optional change to see something different- not necessarily better.
March 25th, 2008 at 7:04 pm
I got really jazzed by Doane’s article because it raised a lot of visual questions (in order for me to try and digest the theory). It made me think about how afterimage could reflect perception and memory as a bodily experience impacted by modernity, and I wonder what would this theory look like in practice? If we were to represent this in film and video today, how would it appear?
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