OUGD501 - Jameson and Hutcheon

Jameson

Post modernism is a parody of modernism

are negative compared to his evaluation of parody as he believes 'the producers of culture have nowhere to turn but to the past' and that 'Pastiche is blank parody'. Although pastische and parody have a similar meaning, Jameson stresses 

Jameson suggests actors imitating other styles 

Jameson is more on parody

Explores the difference between parody and pastiche 

Parody is humorous 

Patische is taken seriously 

Jameson is negative on pastische 

'Dead language' - In the past

Almost extracting      from their original place in time and ultimately their meaning'

Definition of parody and pastiche from Jameson - Examples

Patische - an artistic work in a style that imitates that of another work, artist, or period.

Parody - an imitation of the style of a particular writer, artist, or genre with deliberate exaggeration for comic effect.

Engender - cause or give rise to (a feeling, situation, or condition).

idiolect - the speech habits peculiar to a particular person.

Pastische is important in GD

Linda Hutcheon

Post modernism is a parody of modernism

Her definition of parody -'ironic re-readings of the past'

To include irony and play is never necessarily to exclude seriousness and purpose in postmodernist art. To misunderstand this is to misunderstand the nature of much contemporary aesthetic production - even if it does make for neater theorizing. Linda is disagreeing with Jameson and suggests he is missunderstanding the postmodernist movement.

Doesn't use pastiche - Hutcheon believes it is the same as parody. Ideological, critical evaluation

Jameson's text explores the relationship between parody and pastiche in postmodern film. According to Jameson, 'Pastiche is the imitation of a peculiar or unique, idiosyncratic style, the wearing of a linguistic mask, speech in a dead language'. Referring to speech as a dead language suggests Jameson is critical of taking cultural influence from the past and imitating the work of other artists. To further support this, Jameson states ' the producers of culture have nowhere to turn but to the past' which suggests Jameson believes the creative industries are lacking originality. Linda Hutcheon on the other hand believes post modernism is a parody of modernism and we should take influences from parody to 'give architecture back its traditional social and historical dimension, through a new twist'. From Hutcheon's text, it's clear that she supports parody for the future of creative culture as she sees postmodernism as a parody of modernism and without parody, we wouldn't be able to move forward. 

OUGD501 - Triangulating Texts

Laura Mulvey

Academic text
Femanist
Objectifying women
Sexuality is tied into the narrative
Women are displayed as an erotic object for the characters and audience.
Male figure can not bear the burden of sexual objectification - Femanist view

J Storey

Active male and passive female
Male must fulfil its ego by being active

R Dyer

Aware of male objectification
Homosexual - Different perspective
Critical writing on Mulvey
Males are made to look threatening and aggressive - However they aren't now

Storey and Dyer have both written essays based on Mulvey's 'Visual pleasure in narrative cinema'. Mulvey's academic writing argues that women are being objectified in film as they are often portrayed as an 'erotic object for the characters within the screen story and as an erotic object for the spectator within the auditorium'. This is evidence of the male gaze, which Mulvey coined in 1975 and believes 'projects fantasy onto the female figure'. However, Dyer's perspective allows him to critique Mulvey's writing by analysing the male role in film. Dyer provides evidence to suggest that men are purposefully made not to look like an erotic figure, instead they're 'made obviously threatening and aggressive in order to divert their erotic potential'. This evidence from Dyer and Mulvey suggests that women are objectified for the purpose of the male gaze, whereas men are objectified so that he doesn't distract the audience from the females. Both texts are outdated so these proposals aren't completely solid, however Storey's modern text summarises Mulvey's text, rather than provide any evidence to disprove her.










Further Notes:


Murley also believes that the 'male figure can not bear the burden of sexual objectification' however Dyer provides examples where the line between screen and celebrity status is blurred, 'counteract Holden's objectification and authenticate the reality of his masculinity'.

These two examples contradict each other because they are both written in different times and therefor they'll have different perspectives on the subject of gender and film.

derogative terms in this modern age.

eing objectified in film as they are often portrayed as an 'erotic object for the characters within the screen story and as erotic object for the spectator within the auditorium'.

 that 'pleasure in looking has been split between active/male and passive/female' as sexuality is very much tied into the narrative. Women in film have  suggests a feminist

OUGD501 - Module Briefing

3 sections:

1- COP Blog - BE INDEPENDANT AND PROACTIVE - Use the blog to critique what i'm reading and my practice.
2- 3000 word essay on critical writing
3- Visual Investigation

Progress onto Level 6

At least 4 sources - Argue with sources

Find an interest in each lecture and blog it

jstore.org

Critical Writing:

INTRODUCTION (500 words) - This must outline the essay's central research question or questions, their relation to the module theme, a justification of your approach, and an explanation of why this topic is important for practitioners within your subject discipline.

MAIN BODY (2000 words) -  This section will draw upon AT LEAST FOUR different academic sources to develop a coherent argument in response to research question or questions outlined in the introduction. This section should demonstrate CRITICAL, CULTURAL, REFLECTIVE, AND CONTEXTUAL ANALYSIS,including an ability to TRIANGULATE between research sources and examples of practice. It should also include some assessment of the validity and reliability of the sources you are using.

Establishing a research question:

Explain how my essay relates to my practice
Identify an interest that I want to take forward - Print, editorial, etc

Brainstorm potential concepts and my interests in the world of design:

Politics - party politics, elections, democracy, current affairs, protest, dissent, industrial action, public awareness, economy, socialism, capitalism, propaganda / public relations

Society - class, lifestyle, gender relations, LGBT, race relations, psychology, consumerism, education, social groups, subculture, communities, charity, sustainability, mass media

Culture - High brow / low brow, subcultures, music, film, popular culture, internet, lifestyle, tourism, exhibitions,

History - Modernism, postmodernism, pastiche, trends, movements, historical periods, chronology

Technology – Print production, mass communication, smart technology, screen based design, interface, user experience, data, privacy, mass media

Aesthetics – Modernism, new typographic style, postmodernism, grunge type, trends, trendlist, kitsch, cute

Needs to be specific - Better research

• open-ended and provide ample opportunity for critics discussion / debate.
• Your research question will be the basis for both your written piece and your practical investigation.