Phillip Barker presentation in Nat Taylor March 13, 12:30
March 13 class will be divided into two parts The second half of class will be a presentation by Phillip Barker in Nat Taylor from 12:30
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March 11th, 2008 at 11:26 pm
After reading these articles I really don’t have much to say except that I think I really need to see birth of a nation to understand a lot of what is discussed in Linda Williams article. I think that the points made here will come into the light once I see the screening of the film in class.
As for the other articles, I found it interesting to read about the paradigms of the public sphere and its division into public and private domains. It is peculiar to see such an artificial distinction made by the production of the new (unlike bourgeois) public sphere.
March 12th, 2008 at 9:37 pm
I like the way that Hansen is interested in critiquing the historiography of film. It is as though she is trying to bridge the gap- in terms of spectatorship- between film history and film theory, which she implies is often presented in film studies as though the two were mutually incompatible. In the first article, Hansen very interestingly shows us the connection between the production of early cinema in relation to the audience. A self-conscious awareness of the film spectator- and their realities and/or desires- became part of the project of the consumerist goals of the producers and exhibitors. Part of this capitalist project by Hansen’s account, was to form a homogenous audience in which the spectator (who prior to 1914 consisted of a proletarian audience of immigrants and women) would become part of the melting pot of the myths that were the American way. The article elaborates saying, that after 1914 exhibitors, who cared very little about the democracy of the audience ,tried to make movies high art for the working class- those who had the money. I think this is part of the article succeeds in bridging that gap between history and theory because she is connecting the actual practices in the space of the spectator with the way in which film was made.
Narrative cinema is meant to be seen as a result of a capitalist endeavors- yet it is the cinema space according to Hansen and that can offer an “alternative civic sphere” for those otherwise disenfranchised by the dominant paradigms. I feel like in Hansen’s articles we can see a link between the movement towards narrative cinema, like Griffith’s Birth of a Nation and the spectator. We can the spectator as a discursive subject because films were used in a way to appeal to or eliminate or shape the belief systems of those subjects.
Hansen is arguing against a specific theorist- Habermas- whoes theories were about mass media’s manufacturing of a public sphere, opinion and consensus. Hansen argues along side with Negt and Kulde that there is not just one public sphere which belongs to the bourgeoise- including a proletarian sphere by the very nature of the public space- a social space “apart from the domestic work spheres” and the interaction or active spectatorship of the person in theatre with the screen.
In the next article she elaborates on this relationship between the producer of knowledge, the language of cinema and the spectator with an emphasis on the female spectators. She disappoints me when she decides to talk about the female spectator in terms of how they reacted to the sexualized bodies of men on screen- the boxers (the accidental reaction) and Valentino (narrative cinema’s determined anticipation of the female spectator) because I think she is sort of herself playing into the dominant ideology- like the female subject is only motivated by men and sex. In any case, she again brings up the question of our own agency as spectators and whether or not we are passive duped into following the troupes of narrative cinema or whether there is some internal discourse in which we have power.
I am torn on this debate. This past term I have been really in a place opposite to where I have been before. I’m sort of in that Kluge mode where I’m all about evaluating media in terms of self-reflection and with that there is a certain denial about the institutional forces at play with me in cinema.
Like all histories and theories though, there is not one solution or emphirical truth there is the on going debate that is constantly in flux- which is how it should be.
March 12th, 2008 at 10:04 pm
I forgot to pose a question. I think there are many, but I am interested in whether people believe in the trend towards narrative cinema and a consumer based landscape as being truly related to one and other. I sometimes actually want to know- and excuse my ignorance if the answer is obvious- who is the guy who turned film into an exploitable commodity and the spectator as an exploitable ‘oblivious’ market consumer. I feel like other areas of study regarding mass exploitation that eventually leads to the formation of dominant ideologies being supported- actually name names. It feels like some of the changes made to the structure of cinema came from places similar to imperialist exploits. If we are going to continue to argue that the production of film has been in support of capitalist ideology- then the real study of film history should be revealing the ideas and beliefs that shaped those guys.
March 13th, 2008 at 12:46 am
Hey all, just a quick thought.
I thought Hansen nicely sums up what constitutes the public sphere when she says: “…it was the interaction between the films on screen and the ‘film in the head of the spectator’ that allows individual experience to be articulated and thus organized in a participatory, social and public mode” (325).
Basically, the public sphere is always a negotiation. Between the producer and the consumer. In terms of film, it it the negotiation between audience assumptions and producer’s imperatives — both of which are affected by culture, politics and economics.
Sometimes I wonder, what comes first, the chicken or the egg? Do we expect certain things from film as individuals, or are our expectations crafted for us by producers? OR, is it the gray area’s in between both those things? Then what about early cinema? If it was so early in its development, did audiences have expectations? And were those expectations primarily in reference to the film or the sphere/experience? I’m sure it existed much in the same way today, just different time and different context. I would be interesting to break that down.
See you tomorrow!
ADAMO
March 13th, 2008 at 9:28 am
Hey all, Adamo here again.
Unfortunately this morning i woke up with a horrible cold (i was feeling it coming on late last night as i posted my blog). As a result i wont be able to see the Phillip Baker presentation. Was hoping someone could perhaps give me a brief synopsis and rundown of the presentation, and send it to adamor@yorku.ca. That would be great!
thanks and enjoy
adamo
March 13th, 2008 at 9:41 am
Two things that really jumped out at me were the evidence of early “audience reception theory” and the development of genre.
Since films were developed to reach a target market, the filmmakers had to consider who would be watching and how. Whether they were right or not about how people would interpret films and if they really were “giving the people what they want” is almost beside the question. What I saw happening was the start of filmmakers asking that question, which still determines how films (allegedly) are made today.
It seems we’re getting to the era of early cinema that marked the transition between the cinema of attractions (both technological and the exoticism of the subject matter) and the modern-day genre-based films.
March 15th, 2008 at 10:19 am
I would like to address Nadia’s question regarding film as an “exploitable commodity and the spectator as an exploitable ‘oblivious’ market consumer.” It’s an interesting question and I don’t have a precise answer, but I certainly don’t think that there was likely one guy, or even an elite few, who were behind it all, like some sort of massive plot to anesthetize the public. It seems far more likely that the people who funded films kept track of which ones made money and simply made more of them. This seems even more likely when we consider the fact that many of the earliest filmmakers weren’t artists, but business people. Thomas Edison being a prime example. I don’t think one can blame the commodification of the American film industry only on those who made the films. Some blame must be put on the consumers. The consumers decide which films make money, the industry supplies what the consumers demand. I’m quite confident that Edison’s interest in the cinema was almost entirely motivated by greed and personal gain. As can be seen from the many lawsuits he filed in an attempt to monopolize the cinema. He didn’t monopolize the cinema because he was not the only one to ruthlessly exploit it. The movies were approached with the same desire for wealth that all other industries are motivated by in a capitalist system. These business people were able to exploit the cinema because audiences demanded the kinds of films that were easily replicated. One might argue this sells the audiences short, but humans are an habitual animal. We keep paying to see the same movies over and over again.
March 15th, 2008 at 6:07 pm
Linda Williams, well know for her work on the body and cinema, makes a very interesing point about female sexuality and the desire for otherness.
Indeed Williams is right to note that the oppression of black men was a subliminal supress of white woman. During the early 20th centruy, we saw in Wesern genre how 2 different forms of masculinity were being forged, 1 urban East, 1 very non-urban West, and the Black Man as the wild sexual being must becontained, not only because the white men fears them, but because the white woman may desire them. To have man as lustful roughian and to have female desire for lust sans l’amour would take power away from man and back into the hands of women, and that is a big no no.
Interestingly enough, it was post-WW1 that the issue of the “star” began to come into effect, and trade journals began to develope and the actor began a property to be used by studios in order to sell films and Hansen has written quite abit about this with respect to Valentino and his exotic otherness.
What I found fascinating was Valentino’s otherness being place in an other space and how this space othered him again. The fantasy element of female subjectivity was previously discussed in the serial queen melodramas and what see here is the ability again is the ability and the space for female subjectvity and sexuality to be experienced, whereby woman, like the novel during the Victorian era, were to become the central consumers of moving image entertainment.
However what Hansen failed to mention was the notion of queer spectatorship. What would be fascinating would be to see if any evidence of a male following, even if secretive, of Valentino had developed.
March 17th, 2008 at 2:27 am
This is in response to Nadia’s question about who were the people who saw film as a commodity and whether film history ever spoke about them. Firstly I guess you have the Lumiere brother’s and Edison. Edison really got that film could be used for advertising and for helping his other products.
In reality, Film was a marketing/product WAR in the beginning. Just in Toronto alone according to Robert Gutteridge, (though some of the newspapers may have typos and therefore misled Gutteridge) there was the Kinematograph, Kinetoscope, Vitascope, Animatograph, Motograph, Magniscope, Triograph, Two Cinematographies, Veriscope, Bioscope, Biograph and the Mutoscope all competing for attention. So the cinema of attractions was alway I supposed implied to be commercial.
It was also brought in by traveling businessmen who went into areas specifically to coerce money from people. And also, the camera was a colonial import in many countries, which came along with much commercial cargo to lands for the purpose of market enslavement.
So maybe the question becomes, when did cinema change from being a spectacle and a consumer product, to a serious art form, which we expect so much of now?
(I have no idea if that answered your question. The important thing is I used the blog right? right?)
March 23rd, 2008 at 6:56 pm
I feel that all films whether HW commercial films, foreign art films, etc. are commodities. For instance today if there is a festival, tv market, theatre or whatever, it will find it’s way to an audience in exchange for money. Doesn’t mean that they aren’t other things such as art, historical artifact, communication, etc. But the way Hansen introduced women entering the public sphere as consumers is, in fact, just an example of how other potential audiences may enter /use the theatre as public space and ultimately create other new markets. Although this may sound negative to accuse films of being a commodity, films did change and catered more to female interests (although continuing to restrict female agency). Perhaps it is the evolving audience and new spectators that helped diversify approaches to aesthetic and story throughout history?
Sharon’s point of Griffith’s editing and how binaries and categories were set up exemplifying the rescue of a whole nation as opposed to just a romantic couple as in other films helps me understand the impact it must of had on audiences at the time and why, besides it’s technical development, it holds its place in history.
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