jclemuss

[jclemuss]

Analytical Application 2 : Structuralism and Semiotics

The Woman King (2022)

Connotation - ​​refers to the range of secondary or associated meanings, emotions, or ideas that a word or phrase suggests, in addition to its primary or literal meaning. Unlike denotation, which is the explicit dictionary definition of a word, connotation focuses on the subjective and cultural implications that words carry.

The film poster for The Woman King can be analyzed through the lens of connotation, which refers to the cultural and emotional associations that a word or image evokes beyond its literal meaning. The connotation in visual media often includes elements like color, composition, symbols, and the overall aesthetic, which together create a deeper layer of meaning. The poster features Viola Davis as General Nanisca, the central character. Her pose, facial expression, and attire convey strength, determination, and leadership. These connotations align with the film's narrative about powerful female warriors. It creates a sense of confidence that uplifts the motive of the poster. It brilliantly opens the audience to the movie's overall theme as well. I think the use of traditional attire and weapons, such as spears and shields, suggest a historical and cultural context, evoking connotations of African heritage and warrior ethos. This imagery creates a sense of pride and resilience, connecting the viewer to the historical significance of African history. All of these tactics are targeting the literal meaning of this movie just by using connotations. If we dive deeper into detail, one can see the use of bold, earthy tones like deep reds, browns, and golds and how they can evoke connotations of bravery, battle, and royalty. Overall, the film poster uses connotation effectively to evoke a wide range of cultural, emotional, and historical associations. Through its visual elements, symbolism, and overall aesthetic, the poster communicates themes of empowerment, heritage, and epic storytelling, enhancing the film's appeal and significance.

Nuns on the Run (1990)

Language-object— The term language-object refers to the primary subject or focus of linguistic study: the structured system of signs that constitutes a language. This concept emphasizes that language, as an abstract system, is the object of linguistic analysis rather than individual speech acts or phonetic elements alone. It is the center of communication.

I felt as if this poster could be confined to the term Language-object. The poster seems brilliantly arranged regarding the movie’s genre, tone, and overall plot of the story. All important members of a movie. The structure of the images and the color palette create a visual language that the audience can interpret. They would be interpreting signs that tell them more about what they would be seeing. For example, the sight of men dressed as nuns immediately signals a comedic, potentially farcical plot, although there is no inherent connection between the image and the idea of comedy. The use of color in the text gives off a playful vibe, insinuating a mood for the rest of the movie. Langue refers to the shared visual and cultural conventions that inform how posters communicate genre and tone to an audience. This is precisely what the audience gets from seeing the film poster. It works coherently to convey the entire message of the movie. Also, the effectiveness of the poster relies on a cultural and societal level of coherence. It is a unique but shared experience that many would feel seen. Overall, I think the film poster for Nuns on the Run functions as the term language-object by using a structured system of visual signs to convey specific meanings. The whole poster relies on the arbitrary nature of signs, shared cultural conventions, and the systematic arrangement of elements to communicate effectively with its audience, embodying Saussure’s concept of language as a structured system of signs.

The Rocky Horror Picture Show (1975)

Language - a structured system of signs that humans use to communicate. It is basically a term of a bunch of signs that all have one message. The term language deals with structures that control the function of society. It is a rule-governed, structured system of signs that is socially constructed and arbitrary, functioning as the foundation of human communication.

I felt that his poster could be analyzed through the lens of language as defined by Ferdinand de Saussure in his Course in General Linguistics. The poster includes various visual elements, such as the iconic red lips, the title in bold, dripping font, and the central image of characters in flamboyant costumes. These elements serve as signs that signify particular concepts and themes associated with the film. The poster is also designed with a deliberate structure where each element's meaning is derived from its relationship with other elements. The interplay of color, font style, and imagery creates a concise visual language that communicates the movie's themes of transgression, parody, and celebration of nonconformity. I also think the poster operates within the cultural and social conventions of 1970s cinema and counterculture. It uses recognizable symbols and aesthetics that resonate with the audience’s understanding of genre conventions, rock music culture, and the emerging LGBTQ+ pride movements. The poster just overall communicates specific messages about the film’s content, tone, and target audience. It attracts viewers who are drawn to unconventional, boundary-pushing entertainment. It was strategically made to be appealing and fit the terms the movie would target. Visually, it seems amazing, and it is a beautiful tactic to gain attention. Overall, the word language is a system of signs, and this poster represents the same thing. The poster is basically showing off what Saussers was talking about. 

Poltergeist (1982)

Myth - a traditional story or narrative that holds significant cultural meaning, often explaining natural phenomena, the origins of a people, or the customs and beliefs of a society. These stories, typically involving gods, heroes, and supernatural events, are integral to the cultural identity and moral framework of a community. Typically used for storytelling.

I think the film poster for Poltergeist can be examined under the term "myth" by exploring how its visual elements and themes evoke traditional mythological narratives and symbols. The poster features the iconic image of a young girl, Carol Anne, sitting in front of a television screen filled with static. This imagery immediately evokes a sense of the supernatural and the unknown, central themes in many myths where ordinary individuals encounter extraordinary forces. It becomes a part of a traditional horror story that many experience in cinema. The poster also uses stark contrasts between light and darkness, which is a vibe of its own. The eerie glow from the television screen against the dark room can symbolize the thin boundary between the known and the unknown, the living and the dead, a common theme in myths where light often represents knowledge or life and darkness represents the unknown or death. It perfectly aligns with signs of structure we see in storytelling when one is talking about a myth and is balanced by light and dark. More specifically, Carol Anne serves as an archetypal figure of innocence and purity. In many myths, children are depicted as closer to the spiritual or supernatural realm due to their innocence. Her role in Poltergeist aligns with the mythological trope of the chosen child, who is uniquely able to interact with otherworldly forces. Overall, this film poster for Poltergeist encapsulates mythological themes and symbols through its visual elements and the narrative it suggests. It uses tactics that many of these theorists talk about.

Rush Hour (1998)

Semiotics of Cinema- the study of how films generate meaning through signs and symbols within their narrative, visual, and auditory elements. Semiotics of cinema seeks to understand how these signs work together to create meaning and how viewers interpret them, influenced by their own cultural and personal contexts. It usually is abstract and tries to convey the bigger picture.

Semiotics examines signs, symbols, and their interpretations, exploring how they communicate ideas, emotions, and narratives to the audience. I think the film poster for Rush Hour symbolizes that. The poster prominently features the two main characters, played by Jackie Chan and Chris Tucker. Their positioning, expressions, and attire convey important information about the film's genre, tone, and central themes. Jackie Chan's martial arts pose and serious expression suggest action and danger, while Chris Tucker's relaxed pose and playful expression indicate comedy and humor. I also think the juxtaposition of these two movements could hint at some of the movie’s conflict and eventual collaboration. The use of vibrant colors, such as red, yellow, and black, is every day in action-comedy posters like "Rush Hour." These colors unleash energy, excitement, and intensity, aligning with the film's fast-paced action sequences and comedic moments. The contrast between bold colors and darker shades creates visual impact and draws attention to critical elements. The use of symbols and icons on the poster can also convey meaning. For example, images of cars, guns, or city skylines are common in action film posters and serve as visual cues for the genre and narrative themes. In "Rush Hour," such icons may symbolize crime, urban settings, and the dynamic relationship between the protagonists. If we look more into the genre, we can see the hints of comedy as well. Through the use of the characters, action-comedy enthusiasts are likely to be drawn to the poster's visual cues, recognizing familiar tropes and anticipating a blend of thrilling action and comedic moments in the film.Overall, it employs semiotics in cinema to convey genre, narrative themes, character dynamics, and cultural references. 

Sources

Barthes, Roland. Mythologies. Translated by Annette Lavers. New York: Hill and Wang, 2013.

Ferdinand de Saussure. Course in General Linguistics. Translated by Wade Baskin. New York: McGraw-Hill Book Company, 1966.

Metz, Christian. "Some Points in the Semiotics of the Cinema." Film Language: A Semiotics of the Cinema. Translated by Michael Taylor. Chicago: University of Chicago Press, 1991.

[jclemuss]

Final Assessment

Introduction:

A show that has intertwined American history with comics had a fantastic turnout. Watchmen, the HBO series based on the iconic graphic novel by Alan Moore and Dave Gibbons, is a complex and thought-provoking exploration of power, justice, and morality. Set in a different reality where masked vigilantes are a part of everyday life, the series talks about issues of racism, trauma, and the abuse of authority. The storyline follows a Black American family that has been involved in decades of history in America. Their involvement has always been because of the oppression they face every decade. Watchmen have received astonishing reviews because of their interesting tactics of involving the oppressed with the oppressors. The series plays with the idea of power and uses it to challenge systems within our nation. Multiple topics are discussed throughout the show, and thoughtful actions have been taken. I will talk about the use of the Black community when it comes to media and film. The portrayal and representation of the Black community in the film industry have evolved significantly, reflecting changing societal attitudes and cultural movements. Historically, Black characters were often confined to stereotypical roles that reinforced harmful stereotypes and perpetuated racial biases. The theorists I chose also talk about how the industry maintained a conservative industry and how people still watch the effects of it to this day.  

Section one:

Frantz Fanon, Bell Hooks, Audre Lorde, and Stuart Hall, each in their distinctive ways, delve into the complexities of identity, power dynamics, and representation within the context of race and gender throughout history. While their works are spread over different periods and focus areas, they share commonalities in their critiques of dominant narratives, a white narrative that emphasizes agency and resistance, and their advocacy for inclusive and empowering representations. They target numerous struggles within the Black community. Using all four of them to write this has been really informative and changing. They all tackle a system of oppression that has existed since society has. Bell Hooks beautifully writes about the challenges that come with being black in the film industry. She even said, “When most black people in the United States first had the opportunity to look at film and television, they were fully aware that mass media was a system of knowledge and power reproducing and maintaining white supremacy”(Hooks, 308). That being said, she has acknowledged that the media was not made to be inclusive. The creation of the industry made sure dominance was maintained within the white community. It’s interesting to think about because Audre Lorde also said, "There always must be some group of people, who through systemized oppression, can be made to feel surplus”(Lorde, 114). They both are thinking about inclusivity and challenging their readers to see the truth behind the media. They also touch upon how, within these industries, black people have to be restricted under stereotypical norms. Similarly, Hall questions the essentialist notions of Black identity, arguing for a more complex understanding that recognizes the diversity and complexity of Black experiences within these industries. He is trying to demolish a negative image that was created by white people. Frantz Fanon talks about something similar but in a more scientific way. He delves into the psychological effects of colonialism and racism on Black individuals, highlighting how systems of oppression can internalize and perpetuate destructive beliefs and behaviors to oneself. He included in the essay, “ The Negro recognizes the unreality of many of the beliefs that he has adopted with reference to the subjective attitude of the white man”(Fanon, 115). His writing involves the psychological and behavioral side of dealing with oppression. It is interesting because one gets to fathom the severity of the topic. It also gives a deeper explanation of the problems we face today. It is a nice wake-up call that many need to experience. All of these theorists are amazing at challenging the opposition. Overall, these works share a commitment to challenging dominant narratives, promoting agency and resistance, and advocating for inclusive and empowering representations of marginalized identities. They make people feel seen within areas that struggle with diversity and equity. Fanon, Hooks, Lorde, and Hall are all passionate about their studies, which shows with the material they witnessed. They offer valuable insights into the complexities of race, gender, and power dynamics, highlighting the ongoing struggles for social justice and equity, just like the series Watchmen.

Section two:

All of these theorists are amazing at challenging engraved systems of oppression. Still, While they share a common interest in challenging dominant narratives and advocating for marginalized voices, they also show notable differences in their approaches and focuses. It is interesting because, in the previous section, it was really easy to point out their similarities because it was clear. Trying to understand their differences is a bit hard, only because they could all apply their rhetoric to the same community. Luckily, each author slowly focuses on one specific identity. Fanon's work primarily examines the psychological impact of colonialism and racism on Black individuals. He delves into the ways in which systems of oppression can internalize and perpetuate destructive beliefs and behaviors, leading to what he terms as psychopathology. In contrast, hooks' "Oppositional Gaze" focuses on the history and looks back at Black women, challenging oppressive representations in visual media and reclaiming agency through active interpretation and critique. Bell Hooks focuses more on women's issues within the Black community. The last sentence of her essay really stood out to me. She said, “black women involve ourselves in a process whereby we see our history as counter-memory, using it as a way to know the present and invent the future”(Hooks, 319). She embodies power through black female voices and uses them to make essential statements. These two theorists are targeting specific communities that are not the same. Similarly, Lorde's "Age, Race, Class, and Sex" centers on the intersections of identity and power dynamics, emphasizing the importance of recognizing and celebrating diversity within marginalized communities to break down harmful but glamorized systems in media. Her work calls for solidarity and coalition-building among women of different backgrounds, not just Black women, highlighting the complexities of oppression based on age, race, class, and sex. On the other hand, Hall's "What is this ‘Black’ in Black Popular Culture?" plays with the notion of "Blackness" within popular culture, questioning essentialist views of Black identity and advocating for a more thought-out understanding that acknowledges the diversity of Black experiences. He is trying to make the Black community more diverse in terms of personality and character. But he is also the only one who talks about the industry's culture. He said, “Popular culture, commodified and stereotyped as it often is, is not at all as we sometimes think of it”(Hall, 477). He talks about the actual lifestyle of being a part of this industry. It is interesting because he provides an inside perspective on how it feels to deal with oppression in the film industry. These differences in focus and approach highlight the diverse and complex perspectives within critical race and gender studies that can be applied to media. Fanon's emphasis on psychological effects, hooks' focus on gender and resistance, Lorde's exploration of intersectionality and solidarity, and Hall's critique of cultural essentialism collectively contribute to a multifaceted understanding of race, gender, and identity. While they share common goals of challenging engraved structures and advocating for inclusivity. Each author brings a unique lens and set of insights to the conversation, which makes us think more about social justice and equity. 

Section three:

In Season 1, Episode 6 of HBO's Watchmen, there are intriguing connections to be drawn between Frantz Fanon's essay "The Negro and Psychopathology" and Stuart Hall's essay "What is this ‘Black’ in Black Popular Culture?" The episode delves into themes of identity, racial dynamics, and societal perceptions, echoing the discussions that both Fanon and Hall are talking about. Frantz Fanon's essay explores the psychological impact of racism and colonialism on the black mind. He argues that the dehumanizing effects of racism can lead to feelings of inferiority, self-doubt, and internalized oppression among black individuals. He talks about the scientific side of racism. It is interesting because readers get to understand how impactful emotions are. This notion resonates with the character development in Episode 6 of Watchmen, particularly with Angela Abar's journey as she grapples with her own identity and confronts the legacies of racism and trauma. It especially resonates when Angela Abar experienced her grandfather's life when America was less progressive with the Black community. The show decided to focus on the Tulsa Massacre, when numerous innocent black lives were taken away just because of the color of their skin. It took place around the 1920s and became a well-known historical event that shaped America. Because of this experience, the viewers follow the impact it has on adult lives like Angela’s grandfather. When viewing his past, we got to see the pressure Black men face in this country. Physically and mentally, he was challenged. Whether he was home or at work, if he was in disguise or himself, he always had some added pressure on him. Similarly, Stuart Hall's essay "What is this ‘Black’ in Black Popular Culture?" challenges the concept of "blackness" and its representations in popular media. Hall emphasizes black identity's fluidity and contested nature, arguing that it is not a fixed category but rather a complex and dynamic construct shaped by historical, cultural, and social forces. This can be seen in Episode 6 of Watchmen through its exploration of race, power, sexuality, and representation. We witness the grandfather's primary goal, which is Black liberation. However, we also experience his personal life, which exposes the complexity of black men. The episode's portrayal of various characters highlights the diverse experiences and perspectives within the black community. It challenges simplistic assumptions of blackness and engages with the complexities of identity formation in a society marked by racial hierarchies and prejudices. Basically, I am trying to say the HBO series Watchmen offers a thought-provoking narrative that explores themes of race, identity, power, and resistance. With reading Fanon, Hooks, Lorde, and Hall one can fathom the connection between their rhetoric and the show. 

In Season 1, Episode 8 of HBO's Watchmen, Angela Abar's character intertwines with the themes presented in Bell Hooks' essay "Oppositional Gaze: Black Female Spectators" and Audre Lorde's essay "Age, Race, Class, and Sex: Women Redefining Difference." Angela Abar, also known as Sister Night, is a complex and multifaceted character whose experiences and struggles resonate with the ideas of black female agency, resistance, and redefinition of black female identity discussed by Hooks and Lorde. Bell Hooks' concept of the "oppositional gaze" refers to the critical and active way in which black female spectators engage with mainstream media. This is shown a lot throughout the series. It involves a conscious act of resistance, where black women reject the passive consumption of media images and instead actively interpret and challenge dominant narratives. Angela Abar embodies this oppositional gaze throughout the series, especially in Episode 8, as she navigates a world filled with racial tensions, systemic injustices, and complex power dynamics. One key aspect of Angela's character that aligns with Hook's concept is her disobedience to conform to traditional gender and racial stereotypes. She is a strong and assertive black woman who refuses to be defined solely by society's expectations of her gender and race. Because of this, throughout the series, the police department actually relies on her. Her character is an independent black woman who works with the police to challenge stereotypes that live within the police department as a police officer herself. The series' creators also use her as one of the main characters, who guides the viewers to see the bigger picture. Similarly, Lorde argues that women should not be homogenized into a single category but celebrated for their diverse experiences and perspectives. Angela Abar's character exemplifies this redefinition of difference as she navigates the complexities of being a black woman in a predominantly white society while grappling with her personal traumas and struggles. Overall, Angela Abar is a perfect representation of what these two theorists are talking about. She is a living example of how one can break stereotypes within a system that firmly refuses to do so. 

Conclusion:

Overall, this assignment enlightened me about the complexities of the film industry. I have learned how engraved racial issues are related to American history. Most importantly, I realized how important it is to make this industry more diverse and to try harder to be that representation. It is interesting how many problems come up with this industry, regardless of whether we live in a progressive time. 

Sources

Fanon, Frantz. "The Negro and Psychopathology." In Black Skin, White Masks, translated by Charles Lam Markmann, 109-162. New York: Grove Press, 2008.

Hooks, Bell. "Oppositional Gaze: Black Female Spectators." In Black Looks: Race and Representation, 307-319. Boston: South End Press, 1992.

Hall, Stuart. "What is this ‘Black’ in Black Popular Culture?" In Black Popular Culture: A Project by Michele Wallace, edited by Gina Dent, 465-478. Seattle: Bay Press, 1992.

Lorde, Audre. "Age, Race, Class, and Sex: Women Redefining Difference." In Sister Outsider: Essays and Speeches, 110-123. Berkeley: Crossing Press, 2007.

[jclemuss]

Analytical Application 6: Race and Representation

Stereotype - Stereotype refers to a widely held but oversimplified and often inaccurate belief or idea about a particular group of people or things. Stereotypes are based on generalizations and can be perpetuated through various forms of media, such as literature, film, television, and advertising. They often serve to reinforce existing power dynamics and social hierarchies by reducing individuals or groups to a limited set of characteristics or traits. Stereotypes can be harmful as they overlook the diversity and complexity within groups, leading to discrimination, prejudice, and inequality.

"What Makes the Red Man Red" from Disney's "Peter Pan" is a prime example of how the media perpetuates harmful stereotypes. The song, featured in the 1953 animated film, reduces Native American culture to simplistic caricatures, reinforcing damaging and inaccurate portrayals. Firstly, the song's title itself objectifies and reduces Native Americans to a singular characteristic of their skin color. It ignores the diversity and complexity of Native American identities and cultures, reducing them to a mere color-coded stereotype. Also, the lyrics of the song perpetuate harmful stereotypes by presenting Native Americans as one-dimensional characters defined solely by their perceived attributes, such as their supposed penchant for painting their skin or their simplistic view of the world. These portrayals not only fail to represent the rich and diverse cultures of Indigenous peoples accurately but also serve to dehumanize and marginalize them. I also focused on the song’s melody and think that the song's upbeat and catchy melody serves to trivialize the serious issues at hand, masking the underlying racism and perpetuating harmful stereotypes under the guise of innocent entertainment, which Disney is always known for. In today's context, "What Makes the Red Man Red" stands as a stark reminder of the importance of critically examining media portrayals and challenging harmful stereotypes. While it may have been produced in a different era, its impact continues to resonate, highlighting the need for greater awareness and sensitivity in media representation, particularly concerning marginalized communities. Instead of perpetuating stereotypes, the media should strive to celebrate the richness and diversity of all cultures in a respectful and very authentic manner.

Cultural Dominant -  The term refers to a prevailing or predominant set of cultural values, beliefs, practices, or norms within a society or a specific cultural context. These dominant cultural elements influence how individuals and groups perceive, interpret, and engage with the world around them. Cultural dominants often reflect society's ideologies, power structures, and historical contexts, shaping social behaviors, institutions, and identities.

The song "When I See an Elephant Fly" from "Dumbo" is a prime example of how the media can reflect and perpetuate cultural dominance. In the context of the film, the song is performed by a group of crows who encounter Dumbo and Timothy Mouse. These crows are depicted using stereotypical African American dialects and mannerisms, which align with racial caricatures prevalent during the time of the film's release in 1941. The portrayal of the crows in "Dumbo" reflects the cultural dominance of the era, wherein the dominant culture (white people) shaped and controlled the representation of minority groups in media. The crows, as characters, are relegated to supporting roles and are depicted as comical and simplistic, reinforcing racial stereotypes rather than presenting a nuanced and realistic portrayal of African American characters and voice actors. The lyrics of the song, while catchy and playful, perpetuate racial stereotypes by presenting the crows as uneducated and using dialects associated with African American speech patterns. This portrayal reinforces the idea of cultural dominance, where the dominant culture defines and controls the representation of minority cultures in ways that serve to maintain its own power and privilege. Disney Animation is known for its racist action within its movies and the constant stereotypes that are only seen in movies because of the cultural dominance of the industry. Rather than continue critiquing films, we must diversify the industry and the creators in charge of releasing these films and media. We must change what happens inside the movies and not forget the outside as well. 

Popular Culture - Popular culture encompasses the everyday cultural practices, artifacts, expressions, and forms of entertainment that emerge from and resonate with a broad audience within a society. It includes a range of phenomena such as music, fashion, film, television, literature, sports, and digital media. Popular culture is often characterized by its accessibility, mass appeal, and consumption by diverse social groups. It reflects the values, beliefs, norms, and experiences of a society or particular social groups, and it is constantly evolving and influenced by various factors such as technology, globalization, and social change.

"I Wanna Be Like You" from Disney's The Jungle Book epitomizes the essence of popular culture. Composed by Richard M. Sherman and Robert B. Sherman, it is an essential component of both the film and broader popular culture. Its catchy tune, lively rhythm, and playful lyrics have ingrained themselves into the collective consciousness of audiences worldwide. The song's popularity extends far beyond its initial context within the film. It has become a cultural touchstone, recognized and cherished by generations since its release in 1967. Its infectious melody and memorable lyrics have made it a favorite for sing-alongs, karaoke nights, and nostalgic moments. “I Wanna Be Like You" has transcended the boundaries of the film to become a standalone cultural phenomenon. Numerous artists featured in commercials have covered it, adapted it into various musical styles, and referenced it in popular media. Its enduring presence in popular culture is a testament to its universal appeal and timeless charm. The characters associated with the song, particularly King Louie, the orangutan, have become iconic figures in their own right. Their animated antics and memorable performances have cemented their place in the pantheon of beloved pop culture characters. Overall, "I Wanna Be Like You" encapsulates the spirit of popular culture, offering a blend of entertainment, nostalgia, and universal appeal that continues to resonate with audiences of all ages. Its enduring popularity ensures that it will remain a cherished part of the cultural landscape for years to come. No one could ever turn down or forget about the fantastic film “The Jungle Book.” 

Cultural Hegemony - Cultural hegemony refers to the domination or control over a society's beliefs, values, norms, and practices by a particular group or class, typically the ruling or dominant class. This dominance is achieved through disseminating and normalizing its cultural ideologies, which then shape the perceptions, behaviors, and worldviews of individuals within that society. Cultural hegemony operates subtly and often goes unquestioned as it becomes ingrained in the everyday fabric of society, influencing everything from media representations to educational curricula and social institutions.

 "The Siamese Cat Song" from Disney's Lady and the Tramp can be analyzed within the framework of cultural hegemony because it reinforces existing power dynamics and perpetuates harmful stereotypes. The song features Si and Am, Siamese cats depicted as cunning and manipulative characters with exaggerated facial features and stereotypical speech patterns. This portrayal aligns with broader cultural stereotypes of Asian people, particularly those of East Asian descent, as conniving and deceitful. By perpetuating these stereotypes, the song reinforces the cultural dominance of the ruling class, which, in the context of Disney's films, often represents white society over marginalized groups. The song's lyrics and imagery exoticize Siamese culture, reducing it to superficial and caricatured representations for entertainment purposes. This exoticization serves to reinforce power imbalances by portraying non-Western cultures as mysterious, inferior, and suitable for consumption by the dominant culture. Additionally, "The Siamese Cat Song" can be seen as an example of cultural appropriation, where elements of a marginalized culture are commodified and used for entertainment by the dominant culture without regard for the cultural context or significance. In this case, the use of Siamese cats and references to Siamese culture are exploited for their exotic appeal, further reinforcing the cultural hegemony of the dominant group. Overall, "The Siamese Cat Song" contributes to cultural hegemony by perpetuating harmful stereotypes, exoticizing non-Western cultures, and appropriating elements of marginalized cultures for entertainment purposes. It underscores the importance of critically examining media portrayals and challenging dominant narratives reinforcing power imbalances and marginalizing certain groups.

​​Essentialism - Essentialism is a philosophical concept that asserts the existence of inherent, immutable qualities or characteristics that define the essence of a particular entity, such as an object, idea, or identity. It suggests that these essential qualities are intrinsic and necessary for classifying or understanding the entity, often implying a fixed and unchanging nature. 

The songs "Everybody Wants to Be a Cat" and "The Aristocats" can be analyzed within essentialism's framework, particularly concerning their portrayal of identity and desire. In philosophical terms, essentialism suggests that entities possess inherent and immutable characteristics that define their identity. In the context of "Everybody Wants to Be a Cat," the song explores the desire of various characters, including the alley cats and even the Duchess and her kittens, to possess cat-like traits and characteristics. The lyrics of the song emphasize the joys and freedoms associated with being a cat, such as living carefree, having fun, and enjoying music. This portrayal suggests inherent qualities specific to being a cat make it desirable and fulfilling. Also, the song presents a dichotomy between being a cat and being something else, such as a dog or a mouse. This dichotomy reinforces essentialist notions by suggesting that specific characteristics are essential to being a cat and that these characteristics define the identity and experiences of the characters. But, it's important to note that "Everybody Wants to Be a Cat" is a lighthearted and whimsical musical number intended for entertainment rather than conveying profound philosophical messages. But other than that, its portrayal of identity and desire provides an interesting lens through which to explore essentialist concepts within popular culture.

Sources

Hall, Stuart. "What is this ‘Black’ in Black Popular Culture?" Representations, vol. 1, no. 1, 1993, pp. 468-478.

Said, Edward W. "Orientalism." Orientalism, Vintage Books, 1979, pp. 9-57.

Shohat, Ella, and Robert Stam. "Stereotype, Realism, and the Struggle Over Representation." Film Theory and Criticism: Introductory Readings, 1999, pp. 178-215.

[jclemuss]

Edward W. Said's seminal work "Orientalism" explores how Western perspectives have historically constructed the concept of the "Orient" as a means of asserting power and control over the East. This construction is based on a series of stereotypes and generalizations that depict Eastern cultures as exotic, mysterious, and inherently different from Western cultures. Said argues that these portrayals serve to justify Western dominance and influence in the East. In film, television, and popular media, Orientalism manifests through the standardization and cultural stereotyping of Eastern cultures. These mediums often portray the East as a place of mystery, danger, and allure, reinforcing the notion of the Orient as an exotic and backward region in contrast to the civilized and progressive West. For example, Hollywood films frequently depict Middle Eastern or Asian characters as villains, terrorists, or other negative stereotypes, contributing to the demonization of these cultures. The link between Orientalism and film, television, and popular media is evident in the ways these mediums perpetuate cultural stereotyping and standardization of Eastern cultures. By presenting the Orient as mysterious, exotic, or threatening, the media intensifies academic and imaginative demonology of the East, contributing to the ongoing cycle of misrepresentation and perpetuation of Western dominance. This highlights the need for greater diversity and authenticity in media portrayals of Eastern cultures, as well as critical engagement with the legacy of Orientalism in shaping our understanding of the world.

Ella Shohat and Robert Stam discuss how stereotypes play a significant role in the representation of people, particularly in film and television. Stereotypes are reductive and oversimplified representations that categorize individuals or groups based on preconceived notions, often leading to misrepresentation and the perpetuation of biases. These stereotypes serve to reinforce power imbalances and existing social hierarchies, as they limit the complexity and diversity of different cultures and identities. Stereotypes in media often rely on established and recognizable tropes that portray groups in a one-dimensional manner. This can lead to a cycle of misrepresentation, where certain cultures, races, or ethnicities are consistently depicted in a limited range of roles, such as criminals, villains, or objects of ridicule. These depictions not only fail to capture the richness and nuance of different cultures but also contribute to the marginalization and exclusion of those who do not fit these narrow representations. However, film and television also have the potential to change the perception of cultural misrepresentation by challenging stereotypes and offering more nuanced and authentic portrayals of different groups.

Sources

Shohat, Ella, and Robert Stam. “Stereotype, Realism, and the Struggle Over Representation.” Representation: Cultural Representations and Signifying Practices, edited by Stuart Hall, Sage, 1997.

Said, Edward W. Orientalism. Vintage Books, 1979.

Reading Notes 10: Said to Shohat and Stam

To wrap up our studies of visual analysis, Edward W. Said’s “Orientalism” and Ella Shohat and Robert Stam’s “Stereotype, Realism, and the Struggle Over Representation” provide critical paths to understanding the roles of race and representation play in our production and consumption of film, television, and popular culture.

How is orientalism linked to film, television, and popular media, and in what ways has standardization and cultural stereotyping intensified academic and imaginative demonology of “the mysterious Orient” in these mediums?

What role do stereotypes play in the representation of people, and in what ways can film and television change the perception of cultural misrepresentation?

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[jclemuss]

Analytical Application 5: Gender and Sexuality

Gender performativity - Gender performativity suggests that gender is not an inherent identity but rather a series of actions, behaviors, and performances that individuals enact according to societal expectations. In this view, gender is not something one "is" but something one "does" through repeated acts that conform to cultural norms. These performances shape how individuals perceive themselves and are perceived by others. 

Gender performativity is the reason why my generation receives a lot of hate. It is interesting that because of your assigned gender, society has pressured people to live within this bubble that aligns with their gender. My generation has realized at a young age that our actions aren’t influenced by our gender but by our personality. We have so much freedom to express our identity because we realize identity and gender do not always have to intertwine. In fact, most of the time, it does not. I chose the scene because both of the friends are talking about their childhood and how their parents forced them to “act their gender” because of the outdated social norms. When it comes to parents and gender performativity, parents play a crucial role in shaping their children's understanding of gender and their subsequent performances of it. From a young age, children absorb cues from their parents about what it means to be a boy or a girl, including how they should behave, dress, and express themselves. Parents often unknowingly reinforce traditional gender norms through choices such as clothing, toys, and activities they encourage, as well as language and expectations they use with their children. These influences can lead children to perform their gender according to the roles their parents model and endorse. Parents may also use praise, discipline, or other forms of reinforcement to shape gendered behavior, further ingraining societal norms within their children. This process can limit the freedom of children to explore their own identities outside of these gendered expectations. Both of the girls touch base on this and the pressure their parents put on them to fulfill their gender.

Queer gaze - The queer gaze is a perspective that challenges and subverts traditional or heteronormative viewpoints in art, media, and culture. It involves seeing and interpreting the world through the lens of queer identities and experiences, offering alternative narratives and representations that reflect the diversity of the LGBTQ+ community. The queer gaze can uncover and question societal norms, providing a fresh and critical examination of how gender, sexuality, and identity are portrayed in various forms of cultural expression. 

Butch - "Butch" is a term used primarily in LGBTQ+ culture to describe a style of gender expression that is traditionally masculine, particularly for individuals assigned female at birth who adopt a more stereotypically masculine appearance, behavior, or demeanor. This identity can be an essential aspect of self-expression for lesbian, non-binary, or gender-nonconforming individuals. 

The queer gaze is the reason why our generation is so successful in adapting different lifestyles when it comes to gender and sexuality. Within that, the term butch was created to label what lifestyles people were seeing. The term "butch" is often viewed through the queer gaze as a form of subversion and empowerment. Within the LGBTQ+ community, "butch" is a gender expression that embraces traditionally masculine traits in a way that challenges heteronormative and binary gender expectations. People who identify as butch, particularly those assigned female at birth, often adopt a style, behavior, and identity that blend or defy conventional gender roles. Through the queer gaze, the butch identity becomes a way to reclaim and redefine masculinity in a way that is inclusive and affirming of diverse sexualities and gender identities. Butch representation can provide a counter-narrative to mainstream portrayals of masculinity and femininity, offering a different perspective on how gender can be experienced and expressed. In this book, we are introduced to a character named Hazel. She is a lesbian who, in the own words of barbie, is defined as a “d*ke.” We first get introduced to her and her partner, which is when the reader starts seeing the queer gaze effect. The book exposes different lifestyles that don’t buy into the heterosexual social culture. Hazel comes back to our attention, this time seeking help from Barbie because she’s pregnant. When butch women experience pregnancy, they navigate a complex interplay between their gender expression and societal expectations of motherhood and femininity. Butch identity is often associated with masculine traits and expressions, such as clothing, hairstyles, and behaviors, which we see from the images in the comic book. This can create a disconnect with traditional images of pregnancy and motherhood, which are typically framed within a feminine context. Barbie is confused about how Hazel could get pregnant, and that is when the term “Dy**” is said. Even though the slur was said, including different lifestyles makes this comic book more interesting and progressive. Pregnant butch women, viewed through the queer gaze, embody a nuanced and powerful intersection of identities that challenge traditional norms around gender and parenthood. As individuals who embrace a masculine gender expression, butch women who are pregnant disrupt societal assumptions about femininity and motherhood. The queer gaze can highlight this experience as one that expands the boundaries of what it means to be a parent and to express gender. I just think the queer gaze celebrates the innovative and often unconventional approaches butch women take to pregnancy and parenting, which highlights the diversity and adaptability within the LGBTQ+ community. I also think by embracing the intersection of butch identity and pregnancy. The queer gaze supports the expansion of narratives around gender, identity, and family, which helps pave the way for more inclusive and representative portrayals of parenthood. I thought it was a good choice, including a character like Hazel, because it increased the range of readers. More people can relate to the storyline, and that is the actual effect of the queer gaze. 

Gender norms - Gender norms are societal expectations and beliefs about how individuals should behave, dress, and present themselves based on their perceived gender. These norms dictate roles and behaviors that are considered appropriate for men, women, and other gender identities in a given culture. While gender norms can shape many aspects of life, such as career choices and personal relationships, they can also be restrictive or harmful, limiting the freedom of individuals to express their true selves. 

Male gaze - The male gaze is a concept that describes the way visual arts and media portray women from a masculine, heterosexual perspective that views women as objects of desire for male pleasure. It often results in the depiction of women as passive subjects who are judged primarily on their appearance and sexual appeal, while men are typically active observers. The male gaze reinforces traditional gender roles and power dynamics, objectifying women and marginalizing their experiences and agency.

Gender norms are fascinating because they have shaped so much in our present life. While some were made with good intentions, others have influenced bad practices and behavior. I wanted to focus on the first page I read because of the timing of the storyline. The young man was following this tradition that included circumcision, and if he didn’t obey, he wasn’t a “man.” Gender norms play a significant role in shaping cultural practices around circumcision. In many societies, male circumcision is seen as a rite of passage that symbolizes entry into manhood, religious belonging, or cleanliness. This practice aligns with traditional gender expectations around masculinity and male identity. Circumcision can have profound physical and psychological impacts on individuals and is deeply intertwined with cultural beliefs about gender roles and expectations. I find it really fascinating that gender norms can influence even medical actions like a surgery that all babies born male are forced to experience. On this topic, Females also undergo an inhumane surgery that is also circumcision. Female circumcision (also known as female genital mutilation) is practiced in certain cultures as a way to control female sexuality and uphold ideals of modesty and purity, which are tied to traditional gender norms around femininity that were influenced by men. FGM can be understood as being under the male gaze in the sense that it is often rooted in patriarchal norms and practices that seek to control female sexuality. In cultures where FGM is practiced, it is frequently justified as a means of ensuring female purity, modesty, or marital fidelity. These justifications often stem from a desire to conform to male expectations of women's behavior and sexuality. Women's bodies become sites of regulation and control, reflecting traditional power dynamics where men's perspectives and desires dominate. Overall, this first page reminded me how gender norms can impact decisions within our own bodies that we subconsciously live by. As the storyline goes on, readers understand how impactful the male gaze truly is. We get introduced to a culture where men make up the rules and the lifestyles each character lives by. The societal structure is not that far from the one we live by as well. Men have created a power dynamic that lets them remain on top, which is concerning because of the actions they think are acceptable. We have a history of insensitive eras where people were pressured to live within a stereotype or were punished otherwise. This is what the male gaze is, and because of this term is the reason gender norms are highly advertised.  

Sources

Gaiman, Neil. The Doll's House. Vertigo, 2010.

Gaiman, Neil. A Game of You. Vertigo, 2010.

[jclemuss]

In Jack Halberstam's "Looking Butch: A Rough Guide to Butches on Film," and Stuart Hall's "What is this ‘Black’ in Black Popular Culture?" both authors discuss the representation of marginalized communities in film and television, mainly focusing on the notions of positive images and their potential consequences. Halberstam highlights the portrayal of butch women in film, noting that while some films present butch characters in a positive light by depicting them as strong, independent, and confident individuals, these portrayals often come with limitations and stereotypes. Like example, butch characters are often portrayed as either tragic figures or as threats to traditional gender roles. Positive representations may inadvertently reinforce narrow stereotypes and fail to capture the diversity within the butch community. Similarly, Hall discusses the representation of Black people in popular culture, emphasizing how positive images can constrain and perpetuate racial stereotypes. He argues that positive images often conform to dominant cultural norms and values, serving to reassure the majority rather than challenge existing power structures. For instance, positive representations of Black people as successful professionals or as entertainers can mask the systemic inequalities and racism that continue to affect Black communities. In both essays, the notion of positive images is complicated by the ways in which they can reinforce existing stereotypes, limit the complexity of marginalized identities, and obscure systemic injustices.

Halberstam and Hall delve into the complexities of popular culture as a battleground where identities are negotiated and power dynamics are contested. They both argue that popular culture, including visual media such as film and television, is deeply political and serves as a reflection of societal norms, values, and power structures. Halberstam explores how butch identity is depicted and negotiated in film, highlighting how popular culture both reflects and shapes societal perceptions of gender and sexuality. Butch characters on screen often challenge conventional gender norms and disrupt the status quo, making them inherently political figures. However, Halberstam also observes how these representations can be limited and reductive, often reinforcing stereotypes or erasing the complexities of butch identity. Hall examines the representation of Black people in popular culture, arguing that it serves as a site of struggle where dominant narratives about race are contested and reshaped. Black popular culture is both a reflection of Black experiences and a tool for challenging racial hierarchies and stereotypes. However, Hall notes that the power dynamics inherent in popular culture often result in the commodification and appropriation of Black culture by dominant white institutions, which can dilute its potential and reinforce existing power imbalances.

Sources

Halberstam, Jack. "Looking Butch: A Rough Guide to Butches on Film." The BFI Companion to Gender and Queer Studies, edited by Pam Cook and Philip Dodd, British Film Institute, 2022, pp. 175-230.

Hall, Stuart. "What is this ‘Black’ in Black Popular Culture?" Black Popular Culture: A Project by Michele Wallace, edited by Gina Dent, Bay Press, 1992, pp. 465-478.

Reading Notes 9: Halberstam to Hall

Jack Halberstam’s “Looking Butch: A Rough Guide to Butches on Film” and Stuart Hall’s “What is this ‘Black’ in Black Popular Culture?” link our inquiries into gender and sexuality with race and representation.

What examples of “positive images” of marginalized peoples are in film and television, and how can these “positive images” be damaging to and for marginalized communities?

In what ways is (popular/visual) culture (performance) a complicated and political site where various identities are negotiated, and how can cultural strategies make a difference and shift dispositions of power?

@theuncannyprofessoro

[jclemuss]

In Audre Lorde's seminal essay, "The Master's Tools Will Never Dismantle the Master's House," she delves into the intricate dynamics of power, privilege, and oppression. Lorde's analysis provides a framework for understanding how power structures influence relationships between individuals and institutions and how these structures perpetuate oppression and marginalization. By examining Lorde's ideas, we can explore strategies for acknowledging, examining, and ultimately remedying these injustices, even within systems that are themselves oppressive and marginalized. Power and privilege play a significant role in shaping the dynamics of human relations and institutional frameworks. Those who hold power and privilege often dictate the terms of engagement, setting the norms, values, and rules that govern interactions within society. Lorde suggests that marginalized individuals and communities must develop their own strategies for resistance and liberation. This involves acknowledging the unique perspectives and experiences of marginalized groups and centering their voices in the fight for social justice. I think it's also interesting she talked about the teaching happening from the oppressed. She said, "It is the responsibility of the oppressed to teach the oppressors their mistakes"(114). She enlightens her readers that this issue is really big in life and that it's time to change that.

Judith Butler explores the concept of gender performativity and its relationship to cultural, societal, and media representations. Butler's analysis provides a framework for understanding how these representations both support and complicate gender norms, as well as how heterosexuality itself can be understood as a performance. Cultural, societal, and media representations play a significant role in shaping our understanding of gender and reinforcing gender norms. From advertising and film to literature and social media, these representations often depict certain behaviors, appearances, and identities as inherently "masculine" or "feminine," reinforcing the binary understanding of gender. Butler argues that heterosexuality itself can be understood as a performance rather than a natural or inherent orientation. In a heteronormative society, individuals are expected to perform specific roles and behaviors based on their assigned biological sex, with heterosexual desire serving as the normative ideal. By highlighting the performative nature of gender and sexuality, Butler challenges the idea of a fixed and immutable gender order, opening up space for alternative forms of identity and expression. In doing so, she calls into question the power dynamics that underlie traditional understandings of gender and sexuality, ultimately challenging us to rethink our assumptions about identity, desire, and difference.

Sources

Lorde, Audre. "The Master's Tools Will Never Dismantle the Master's House." Sister Outsider: Essays and Speeches, Crossing Press, 2007, pp. 114-123.

Butler, Judith. "Gender Is Burning: Questions of Appropriation and Subversion." Bodies That Matter: On the Discursive Limits of "Sex", Routledge, 1993, pp. 336-349.

Reading Notes 8: Lorde to Butler

In our continued discussions, Audre Lorde’s “The Master’s Tools Will Never Dismantle the Master’s House” and “Age, Race, Class, and Sex: Women Redefining Difference,” and Judith Butler’s Gender is Burning: Questions of Appropriation and Subversion” provide further introspection into systems and definitions of gender and sexuality.

How do power and privilege impact the relations people have with each other and with institutions, and how can we acknowledge, examine, and remedy oppression and marginalization using oppressive and marginalized systems?

How do cultural, societal, and media representations support gender performativity and in so doing complicate gender norms, and in what ways is heterosexuality a performance?

@theuncannyprofessoro

[jclemuss]

In Laura Mulvey's seminal essay "Visual Pleasure and Narrative Cinema," she explores the relationship between the spectacle of the female image and patriarchal ideology within the context of mainstream cinema. Mulvey argues that traditional Hollywood cinema operates under the male gaze, presenting female characters as objects of desire for the male protagonist and the male spectator alike. This gaze, constructed by the predominance of male directors and the perpetuation of male-centric narratives, reinforces patriarchal power dynamics by reducing women to passive objects to be looked at and desired. Regardless of the viewer's race or sexuality, Mulvey contends that all spectators are subject to this framework of visual pleasure, as mainstream films are designed to cater to the male gaze.

In bell hooks's essay "Oppositional Gaze: Black Female Spectators," she explores how racial and sexual differences between viewers shape their experience of viewing pleasure. She argues that mainstream cinema predominantly caters to white people, male gaze, perpetuating stereotypes and marginalizing minority groups, particularly Black women. In this context, racial and sexual differences influence how viewers perceive themselves and others on screen, with Black female spectators often feeling alienated or objectified by the dominant narratives presented. However, she introduces the concept of the oppositional gaze, through which Black women actively resist and challenge the dominant representations imposed upon them. By reclaiming their agency and asserting their own perspectives, Black female spectators subvert the power dynamics of the gaze, finding empowerment and solidarity in their ability to assert their own narratives and identities.

Sources

Mulvey, Laura. "Visual Pleasure and Narrative Cinema." Screen, vol. 16, no. 3, 1975, pp. 6-18.

Hooks, bell. "Oppositional Gaze: Black Female Spectators." Black Looks: Race and Representation, South End Press, 1992, pp. 115-131.

Reading Notes 7: Mulvey to hooks

Shifting our visual analysis and critical inquiries to gender and sexuality, we will begin our explorations with Laura Mulvey’s “Visual Pleasure and Narrative Cinema” and bell hooks’s “Oppositional Gaze: Black Female Spectators.”

How does the spectacle of the female image relate to patriarchal ideology, and in what ways do all viewers, regardless of race or sexuality, take pleasure in films that are designed to satisfy the male gaze?

How do racial and sexual differences between viewers inform their experience of viewing pleasure, and in what ways does the oppositional gaze empower viewers? 

@theuncannyprofessoro

[jclemuss]

Psychoanalysis and Subjectivity

"Thriller" by Michael Jackson, released in 1983, is not just a song but an iconic cultural phenomenon, with its music video setting new standards for the industry. Directed by John Landis, the video is a mini horror film featuring Jackson as a charismatic young man transformed into a werewolf alongside his love interest, played by Ola Ray. The video showcases Jackson's unparalleled talent as a performer, with his electrifying dance moves and mesmerizing presence. Its groundbreaking special effects and narrative storytelling revolutionized the music video medium, becoming an instant classic. "Thriller" remains a timeless masterpiece, captivating audiences with its fusion of music, dance, and cinema, leaving an indelible mark on pop culture for generations to come. 

Sigmund Freud's essay "The Uncanny" explores the concept of the uncanny, or the eerie feeling of discomfort or unease experienced when something seems strangely familiar yet simultaneously foreign or unsettling. Freud delves into various aspects of the uncanny, including its connection to repressed desires, the repetition of specific themes or motifs in literature and art, and its association with the return of the repressed. He ultimately suggests that the uncanny arises from the revival of primitive beliefs and fears, often related to death, castration, or the supernatural, which have been repressed into the unconscious mind. This reminds me of the entire motive of the music video, which is the aspect of death. Sigmund said, “the primitive fear of the dead is still so strong within us and always ready to come to the surface at any opportunity”(Freud, 369). Death is the main factor that spikes an uncanny feeling. Our conscious mind feels eerie when we can not define whether something is animate or inanimate. This can also be viewed through the lens of Fenon’s theory because of the transformation, performance, and cultural appropriation that happens in this video. A transformation can be seen as a metaphor for the way Black individuals have been historically portrayed as "other" or different in Western society, often associated with fear and negativity. However, it also ties into Lacan’s theory of identity and self-representation. The transformation can be interpreted as a commentary on the pressure for Black individuals to conform to white standards of beauty and behavior, which makes them see themselves differently because of social interactions. 

Question: How often do you see the black community transform into something other than being black, and how much of an impact do you think it has?

"Black or White" is a groundbreaking music video by the iconic artist Michael Jackson, released in 1991. Directed by John Landis, the video captivates audiences with its innovative visual effects and powerful message of racial unity. Opening with a diverse array of faces from around the world morphing into one another, the video symbolizes the interconnectedness of humanity. Jackson's electrifying dance moves and charismatic performance are showcased against a backdrop of vibrant sets and dynamic choreography. The video's climax features a montage of people breaking through barriers, emphasizing diversity, acceptance, and equality themes. Through its striking imagery and infectious rhythm, "Black or White" remains a testament to Jackson's unparalleled talent and a timeless anthem for social change and harmony.

Frantz Fanon's essay "The Negro and Psychopathology" delves into the psychological impact of colonialism and racism on Black individuals. Fanon explores how the experience of oppression and discrimination leads to a profound sense of alienation, identity crisis, and psychological trauma among Black people. Frantz Fanon said, “The Negro recognizes the unreality of many of the beliefs that he has adopted with reference to the subjective attitude of the white man”(Fanon, 115). He implies that Black individuals have internalized certain beliefs or attitudes, possibly about themselves or about the world, that are based on the perspective or viewpoint of white people. However, they have come to recognize that some of the beliefs held by white people are not grounded in reality or are false. This means that things that are said about the black community usually is said to make them feel bad. The saddest part is that it is so engraved in our system that naturally, it just reproduces.

One aspect that correlates with Fanon's ideas is Jackson's own experience of racial identity. Throughout his life, Jackson grappled with questions of race and belonging, facing scrutiny and pressure to conform to societal expectations of blackness. His changing appearance, particularly his skin color, sparked speculation and debate about his racial identity and self-image. Fanon would likely view Jackson's transformation as a manifestation of the internalized racism prevalent in societies where lighter skin is often associated with beauty and success. This also makes me think about how his skin transformation can be perceived as uncanny. The transformation can be perceived as uncanny due to its combination of familiarity and strangeness, its psychological implications, the public reaction it elicited, and its broader cultural significance. It made him seem familiar but also unfamiliar. 

This scene of the music video resonates with Jacques Lacan’s “The Mirror Stage as Formative of the Function of the I” through its exploration of identity, diversity, and unity. Just as Lacan explains that the mirror stage marks a pivotal moment in the formation of the self, the video showcases individuals from diverse ethnic backgrounds, highlighting the complexity of identity formation in a multicultural world. Lacan said, "Whence it is that the relation of the individual subject to his own images is apprehended, prior to any grasp of it by the self, in a specular relation of the organism to its reality, and that, whatever may be the degree of elaboration of the imaginary function, its mediation is necessarily situated in the intersubjective dialectic"(Lacan). This statement explains that individuals have an inherent, perhaps unconscious, relationship with their mental images or representations, which reflects their perception of reality. This relationship is influenced by interpersonal dynamics and interactions, highlighting the interconnectedness between self-awareness and social experiences. Social interactions really change the way one views oneself, which sadly becomes subconscious critiquing.

Question: Do you guys view transformation as uncanny, and why do you think some people do? Do you think when you first understood your image was the only time you fully saw/respected yourself?

Sources

Freud, Sigmund. "The Uncanny." The Standard Edition of the Complete Psychological Works of Sigmund Freud, edited by James Strachey, vol. 17, Hogarth Press, 1955, pp. 219-256.

Lacan, Jacques. "The Mirror Stage as Formative of the Function of the I." Écrits: A Selection. Translated by Bruce Fink, W.W. Norton & Company, 2002, pp. 75-81.

Fanon, Frantz. "The Negro and Psychopathology." Black Skin, White Masks, translated by Charles Lam Markmann, Grove Press, 2008, pp. 99-127.

[jclemuss]

Analytical Application 4: Psychoanalysis and Subjectivity

Mirror Stage

The mirror stage is a bit hard to find in this episode because infants are not present in this show, but I wanted to see this word in a broader sense. Relating the mirror stage to fingerprints involves understanding the broader concept of identity formation. Just as the mirror stage represents the emergence of a distinct self-image, fingerprints also play a role in establishing individual identity. Fingerprints are unique patterns formed by ridges and furrows on the skin's surface, and they are formed during fetal development. Like the mirror stage, fingerprints contribute to the development of a sense of self, albeit in a different context. While the mirror stage focuses on visual self-recognition and the formation of the ego, fingerprints serve as tangible markers of individuality. They are used for identification purposes, distinguishing one person from another based on the distinctive patterns they exhibit. In this sense, fingerprints provide concrete evidence of an individual's unique identity, reinforcing the concept of selfhood established during the mirror stage. They both contribute to the broader theme of identity formation and self-awareness. They represent different facets of the complex process through which individuals come to understand themselves as separate, distinct entities within the larger social framework.

Disalienation

The scene I chose was when the interragation started to happen. They finally had caught their criminal but they needed more evidence to make sure that he was indeed the criminal. I chose this scene to represent disalienation or just alienation in general because the experience of undergoing a lie detection test can vary widely depending on individual circumstances, cultural factors, and the reliability of the testing methods involved. While some individuals may find the process empowering and affirming, others may experience it as invasive or coercive, exacerbating feelings of alienation and vulnerability. Additionally, the accuracy and ethical implications of lie detection tests remain subjects of debate within scientific and legal communities, further complicating their potential role in processes of disalienation. I mainly was thinking about self-image and how being under a lie detection test really makes you self-evaluate yourself the entire time. I think it is interesting we have a test that can sort of know when you are lying but is also based on the emotions you are feeling.

Uncanny and Unheimlich

The opening seen automatically made me feel a bit scared. The style of editing gave a thriller feeling but the shot I chose wrapped it up for me. The scene was from the person who was in the sewer and he was watching his next victim. The man just came from somewhere and was headed to work, but he did not know he was being watched by someone in a sewer. Being in a sewer evokes feelings of the uncanny due to its blend of familiarity and unfamiliarity, its subterranean environment, its association with decay and filth, and its symbolic significance. It also is just creepy that someone is underground watching people because people do not just do that normally. That is where I started to feel uncomfortable and unfamiliar because of how random it was. It felt unsettling because the poor man did not understand he was being watched. It also was scary because we could barely see the figure that was in the sewer. We could see his eyes that shined bright yellow, which made me think it was non-human. All of these aspects gave uncanny/unheimlich vibes because it just was not normal.  The creatures became uncanny because they embodied a complex interplay of familiar and unfamiliar elements, challenging our perceptions of identity, morality, and reality. The creature sort of taps into our deepest fears and anxieties, forcing us to confront the shadowy aspects of the human psyche that we often prefer to ignore. It was definitely a shot that was made to make people feel scared and unsafe, which applies to the definition of both words.

Heimlich

This scene is a bit complicated in terms of the storyline of the show, but I was more focused on just the definition. During this part of the show, one of the female detectives was assigned a case that took place in a parking garage. The vibes felt a bit unsafe, and she was the only one on the parking floor. It was so quite that small noises made a big difference. As she was keeping a look out, she heard movement, so she immediately took action. She walked cautiously, filled with fear, of course, because of the criminal she was trying to catch. She got scared by one of her coworkers, who was not supposed to be there, but she instantly felt relieved. This is what I focused on. A part of her brain recognized this figure, and she placed her gun down. Since she knew him, he became familiar. This was a perfect scene that would describe what Heimlich was because of the familiarity. Even as I watched, the intensity filled me up with fear, but as soon as I knew who it was, I felt at ease. It’s interesting how our brains can evaluate danger only to feel safe the next second. 

Sources

Freud, Sigmund. "The Uncanny." The Standard Edition of the Complete Psychological Works of Sigmund Freud, edited by James Strachey, vol. 17, Hogarth Press, 1955, pp. 219-256.

Lacan, Jacques. "The Mirror Stage as Formative of the Function of the I." Écrits: A Selection. Translated by Bruce Fink, W.W. Norton & Company, 2002, pp. 75-81.

[jclemuss]

Barbie Talking About Sexism

Intro: 

In a postmodern society that strives to dismantle stereotypical patterns, Greta Gerwig's Barbie (2023) stands out by not conforming to this trend. Instead, it bravely perpetuates the stereotypes, sparking a much-needed conversation that was buried for too long. This thought-provoking film delves into the complexities of societal norms and gender expectations, offering a unique perspective. It is set in a modern world where traditional gender roles are being questioned(today), and it follows the journey of Barbie, a young woman navigating her way out of the sheltered life she always lived. Barbieland is a matriarchal society populated by different versions of Barbie and Ken. This world highlights women's excellence while diminishing male validation, which is the opposite of the real world. On the other hand, Ken's have no other purpose but to be recognized by a Barbie. Their society is filled with perfection, diminishing room for failure and the reality of change. Our primary focus is on the stereotypical Barbie who faces the reality that her brand has harmed the community she was intended to serve. Her mission is to find the beauty of natural life while not conforming to what other people want her to be. She commits to this journey of helping the family that plays with her but ends up the other way around. The little girl and her mother inform the sexual stereotypes all the dolls in Barbieland are living in and push for gender equality. Barbie is an award-winning film recognized for its bold disruption of entrenched sexual stereotypes pervasive in the film and media landscape.

Section one: 

All of my theorists challenged the overarching authority society can not control because they are the ones being controlled. Karl Marx, Louis Althusser, and Fredric Jameson expose the system our nations rely on for an adequate lifestyle. Each essay can be directed towards exploring ideology and its impact on individuals across various social classes. Karl Marx’s essay revolves around the ruling class, the bourgeois,  a socio-economic group with significant power and influence over society's economic institutions and resources. Marx claims that economics is the root of social issues and oppression. In that same effect, the sources of media in our society injure themselves by inducing us with the social norms that shape the ways we choose to live our lives. Marxist theory aligns with the ideologies discussed by Louis Althusser, in that the ruling class operates as a vital component of the state apparatus. They both maintain an image of dominance while using media as their medium for control. ISA’s, Ideological State Apparatuses, are institutions and systems within society that cultivate dominant ideologies and reinforce social norms and values that uphold existing power structures. It sounds very similar to Marx’s claims of the actions the ruling class makes, and that is because they are the actions of the ruling class. Now, their ways of thinking are embedded within society and remain this way because they are financially productive for the upper crust of society. Fredric Jameson discusses postmodernism and consumer society and how their connection is an implication for contemporary society. These theorists used the concept of ideologies and power to break down the roles within our society and how they are functional. 

Section two: 

The differences between each theorist are slim but still apparent. While they all discuss ideologies within our society, each theorist brings a unique perspective. Karl Marx delves into a social hierarchy specifically aiming towards the upper class. He exposes the group that creates these concepts that are fed to society on a daily basis. Louis Althusser just talks about the concepts and not so much about the people making them. Althusser said, “ Ideological State Apparatuses function massively and predominantly by ideology, but they also function secondarily by repression”(Althusser 1971, 81). He starts to dissect what ISAs are and, most importantly, their impact. He explores the potential of ideologies and the communities that uphold them. Each community has different perspectives and ways of spreading a concept that was forced upon them. Marx’s theory is centered around the process that happens before what Louis is writing about. Karl Marx said, “ If now in considering the course of history we detach the ideas of the ruling class from the ruling class itself and attribute to them an independent existence”(Marx 1970, 40). Karl Marx goes into detail about what makes the ruling class dominant and how their values and beliefs are shared globally. It is an interesting reading because one constantly questions why certain beliefs are respected more than others. The ruling class possesses power within communities that are silenced. Both of these readings complement each other seamlessly, as they both address topics that resonate deeply with our modern cultural landscape while still focusing on different aspects. Fredric Jameson slightly steers away from ideologies but more so the financial explanation among these readings, which the other two theorists did not discuss. Jameson argues that postmodernism is a cultural logic that emerged alongside the development of late capitalism. He included in the essay by saying, “We have seen that there is a way in which postmodernism replicates or reproduces – reinforces - the logic of consumer capitalism”(Jameson1983, 12). Fredric Jameson focuses on the explanation of what is being represented in media. He explores the business side of capitalism and the film industry as a whole. It is fascinating reading all three theorists because even though they could be tied together, it would not make much sense without each individual part. 

Section three: 

Barbie has successfully incorporated scenes that challenge embedded stereotypes that have remained in the film industry for far too long. It has shifted the industry to an area of reproduction within narratives on which the cinematic sector relies. Greta Gerwig, the director, also did an astonishing job of using film techniques to convey the patriarchy in which our world is drowned. Throughout the movie, serious topics are talked about but in a manner of comedy, which makes the oppressed and oppressor productively self-reflect. It reminds me of Jameson's essay because he also talks about parody and pastiche. He included, “Now parody capitalizes on the uniqueness of these styles and seizes on their idiosyncrasies and eccentricities to produce an imitation which mocks the original”(Jameson 1983, 3). The creators of the movie Barbie ingeniously employed parody and comedy as vehicles to deliver profound messages. Through clever satire and humorous situations, they skillfully navigated complex societal issues, shedding light on deeper themes of gender expectations, societal pressures, and the quest for individual identity. This blend of silliness and substance entertained audiences and encouraged critical reflection on prevailing cultural norms and values. The scene I chose was a fantastic performance done by actor, America Ferrera, who successfully targeted a system that brings women down. The Barbies living in Barbie land believed they had created a perfect world, only to find themselves compelled to sacrifice their self-respect. After the stereotypical Barbie visited the real world, she felt like a failure.

The reality about our world is that women come second and are forced to be perfect role models without recognition. Barbie cried over the fact that women were not a part of what Aluthesser would call ideology/state apparatuses and Marx the ruling class. Because of their absence, women live a life without respect, and the concept of Barbie was to save girls from a world like today's. Our society has constantly pushed women to a place where they remain under men. America Ferrera talks about the impact the ruling class has on women by creating contradictory remarks. She said along the lines that women cannot attain perfection because it's unrealistic; they must be attractive but not overly so, intelligent but not to the point of being intimidating. Women did not seek this additional pressure, yet due to the influence of the ruling class and the ideologies they impose, they find themselves with no alternative. Karl Marx said, “The class which has the means of material production at its disposal, consequently also controls the means of mental production, so that the ideas of those who lack the means of mental production are on the whole subject to it”(Marx 1970, 39). It is evident that the ruling class has depicted women when it comes to the film industry. This monologue expresses the frustration of sexual stereotypes that have been praised for decades. Once America Ferrera finished speaking, she grounded some Barbies back to reality. Her speech was the answer to their problems. Margot Robbie, stereotypical Barbie, explained that it took a woman under the patriarchy to give voice to cognitive dissonance. The patriarchy that was created by the people Karl Marx is talking about and the ideologies Louis Althusser explained. 

Conclusion: 

Sexism in the film industry remains a pervasive and profoundly entrenched issue, manifesting in various forms of discrimination and inequality. The ruling class holds significant power in the creation of this issue. Despite significant strides towards gender equality in recent years, women continue to face systemic barriers to advancement and representation both on and off-screen. Actors and Directors have been challenging this ideology for a while, but it is so engraved in the system that sometimes it is buried under our noses. On the other hand, Barbie ingeniously targets sexism in the film industry through its bold narrative and clear commentary. By exploring the protagonist's journey, the film not only exposes the damaging impact of gender stereotypes but also challenges the traditional narratives perpetuated by mainstream cinema by the people my three theorists talked about. Through satire and parody, "Barbie" cleverly talks about familiar tropes and expectations, critically examining societal pressures placed upon women in both the fictional and the real world. This project has helped me understand my theorists and the impacts the people they studied genuinely have. The film industry has numerous problems that have been embedded for far too long and have a lot to work on.  

Sources

Althusser, Louis. "Ideology and Ideological State Apparatuses." In Lenin and Philosophy and Other Essays, translated by Ben Brewster, 127-186. New York: Monthly Review Press, 1971.

 Marx, Karl, and Frederick Engels. "The Ruling Class and The Ruling Ideas." In The German Ideology, edited by Chris Arthur, 13-18. Chicago: Hackett Publishing Company, 1970.

Jameson, Fredric. "Postmodernism and Consumer Society." In The Anti-Aesthetic: Essays on Postmodern Culture, edited by Hal Foster, 111-125. Port Townsend, WA: Bay Press, 1983.

[jclemuss]

"The Uncanny," Sigmund Freud explores the concept of the uncanny, which refers to something that is strange, eerie, or unsettling, often invoking a feeling of discomfort or fear. He suggests that the feeling of the uncanny arises from a sense of something being both familiar and unfamiliar at the same time. That is one of the main concepts that we define as uncanny or not. It often arises when something is reminiscent of familiar experiences or objects, but there is a subtle deviation or distortion that makes it unfamiliar or unsettling. Usually, it includes encountering a lifelike doll, seeing a human-like figure in the dark, or experiencing déjà vu. The uncanny involves a delicate balance between the familiar and the unfamiliar, and what ultimately determines whether an experience is genuinely uncanny can vary from person to person.

Jacques Lacan's "The Mirror Stage as Formative of the Function of the I" explores the development of the sense of self in relation to the formation of identity. The mirror stage is a crucial concept in Laconian theory, referring to the moment when an infant recognizes their own image in a mirror and forms a sense of unity and coherence between themselves and their reflected image. When considering the relation of personal neurosis to social passions within the framework of Laconian theory, several key points emerge, like alienation and desire, socialization, ego, etc. His theory of the mirror stage and the formation of the ego provides a framework for understanding the relationship between personal neurosis and social passions.

"The Negro and Psychopathology" delves into the psychological effects of colonialism and racism on individuals and communities, mainly focusing on the experiences of oppressed and marginalized groups, such as Black individuals. When these groups are not represented or are rarely represented in media, culture, or other forms of representation, several forms of alienation occur. When people don't see themselves on screen, they evaluate their self-worth. Misrepresentation is the central theme that drives people not to love themselves. Lack of representation or underrepresentation of oppressed and marginalized groups contributes to various forms of alienation, including cultural, psychological, social, and political alienation. Addressing these issues requires not only increasing representation in media and culture but also challenging underlying power dynamics and working to dismantle systems of oppression.

Sources

Freud, Sigmund. "The Uncanny." The Standard Edition of the Complete Psychological Works of Sigmund Freud, edited by James Strachey, vol. 17, Hogarth Press, 1955, pp. 219-252.

Lacan, Jacques. "The Mirror Stage as Formative of the Function of the I." Écrits: The First Complete Edition in English, translated by Bruce Fink, W. W. Norton & Company, 2006, pp. 75-81.

Fanon, Frantz. "The Negro and Psychopathology." Black Skin, White Masks, translated by Charles Lam Markmann, Grove Press, 2008, pp. 109-145.

Reading Notes 6: Freud to Lacan to Fanon

We look to Sigmund Freud’s “The Uncanny,” Jacques Lacan’s “The Mirror Stage as Formative of the Function of the I,” and Frantz Fanon’s “The Negro and Psychopathology” for our inquiry into the functions of psychoanalysis and subjectivity when examining visual texts.

Why do people call an experience or event uncanny, and what makes an occurrence that appears to be uncanny but is not uncanny?

What is the relation of personal neurosis to social passions?

In what ways are oppressed and marginalized viewers alienated when they are not or rarely represented?

@theuncannyprofessoro

[jclemuss]

Analytical Application 3 : Poststructuralism and Postmodernism

Repetition (54:39)

a) Repetition operates as a creative force rather than a simple duplication or recurrence of the same thing. Instead of viewing repetition as a mere replication of the original piece, Deleuze suggests that repetition involves a process of differences. Each repetition contains a variation or difference from what came before, leading to a multiplicity of possibilities rather than a static sameness.

b) The time slot I picked was an image of the phone. Each time the movie showed the phone, it marked the beginning of a fresh cycle of the day she had already experienced. She was talking to her boyfriend, Manni, who got himself in some trouble. Because of her passionate love, she runs around town trying to solve his issue. Even though it was the same day, each cycle had a different story and meaning. Each time, she tried to fulfill her mission of retrieving the money she needed but, along the way, unlocked new experiences that changed the storyline. The repetition of each day shifts the significance of the plot of the movie, leading to a melancholic ending. This method of filming gave the creators the freedom to play around with one storyline and create different endings that seemingly share the same message. It portrayed the emotion more drastically than just finishing it off with one ending and potentially creating a sequel.

Pastiche (13:10)

a) Pastiche refers to the artistic technique of borrowing elements or styles from various sources and integrating them into a new work. Pastiche can take many forms, including visual aesthetics, narrative structures, character archetypes, and thematic elements. It allows for embracing film techniques that are shared among the industry.

b) The style of flashbacks in cinema was created by Ferdinand Zecca in 1901. It is a film technique that allows the viewers to grasp more of an understanding of the storyline and character. In this specific shot, Lola is running around town trying to find a solution for her boyfriend. Because she's so frantic, she runs into this elderly lady, which causes a flashback in life. The woman is pushing a child, yet in the flashback, we witness her family turmoil, including the heart-wrenching moment when child services intervened and separated her from her own child. As a viewer, I got to understand her position more and the emotion she portrayed in the film. Without this film technique, I would not understand her completely. The creation of this film technique allowed directors and editors to allow more room for context. It transformed the industry by creating more empathy for storylines, making them more realistic. Not only was it used for the elderly lady but also for other characters in the film with whom Lola crossed paths.

Sign value (29:17)

a) Sign value refers to the symbolic meaning or significance attributed to specific elements within the cinematic text. These elements include characters, objects, settings, events, and visual or auditory cues. Sign value in film plays a crucial role in shaping the viewer's interpretation and experience of the cinematic text.

b) Money pushed the entire plot of the film. In this scene, Manni perpetrates a robbery by holding up a grocery store at gunpoint, threatening innocent bystanders, and making off with stolen money. Cash is often used as a symbol to represent various concepts such as wealth, power, corruption, greed, or materialism. Depending on how it is portrayed and utilized within the narrative, cash can carry different layers of meaning and contribute to the overall thematic development of the film. Money became the inspiration for the wrong actions Lola and Manni committed. In each cycle of life, Lola or Manni broke the law in order for them to achieve the money that they lost. Manni's life would be in line if they did not retrieve 100,000 dollars. I found it interesting because, in each cycle, the characters cared less about what they did as long as they had the money in their hands. It was an excellent object to revolve the storyline around because money holds significant value both in cinema and in the real world.

Postmodernism (18:00)

a) Postmodernism in film is a cultural and artistic movement that emerged in the late 20th century. It is characterized by a rejection of modernist principles and a playful, self-referential approach to storytelling, style, and genre. Postmodern films often employ intertextuality, irony, and cultural critique to challenge traditional narrative structures and explore themes of identity, representation, and the nature of reality.

b) The shot I chose is the first time the audience gets exposed to the father's personal life. As we learn in the film, he is currently cheating on his wife with another woman who works with him. He just got told that she's expecting a baby, but he already has an entire family with another person. The dynamic of both of them exposes real-life situations that occur on a daily basis. The concept of affairs and divorce in the modern age has been widely more common. Postmodernism is a fancy way of describing the film industry's adapting with time. It challenges the traditional narrative, engages with cultural complexity, and explores identity. It has become a pillar of cinema and the reason why the industry still lives. Not just in this clip, but the entire movie challenges traditional narratives we see in other films. Run Lola Run has a non-linear narrative, explores chances and fate, and has visual and stylistic experimentation. It's a great tactic that allows the emotion to grasp their viewers.

Simulation (52:26)

a) Simulation refers to the process by which reality becomes increasingly replaced by representations that bear no relation to any underlying reality. It disconnects methods that portray a reality. Baudrillard's concept of simulation raises questions about the nature of truth, authenticity, and the construction of reality in a media-saturated society.

b) Death can be depicted as a simulation through various narrative and stylistic techniques that challenge traditional representations of mortality. Specifically, in cinema, creators use repetition, illusions, and metaphorical deaths to change how we view passing away. In this frame, Manni dies due to the actions both he and Lola committed. Before his death, Lola is killed for the same reasons. But because the day keeps repeating, each death has less meaning. The creators of this film somehow changed the meaning of death, and it became a startover for them to retrieve the money. It was an interesting tactic because it maintain the audience focuses while shifting the meaning of love and it's correlation to death. Now, each time they did, it did not feel real. Even though death is reality, in the film, it was far from actually being real.

Work Cited

"Run Lola Run" is a German film directed by Tom Tykwer and released in 1998.

Baudrillard, Jean. Simulacra and Simulation. University of Michigan Press, 1994.

Jameson, Fredric. "Postmodernism and Consumer Society." In The Anti-Aesthetic: Essays on Postmodern Culture, edited by Hal Foster, pp. 111-125. Bay Press, 1983.

Deleuze, Gilles. "Introduction: Repetition and Difference." In Difference and Repetition, translated by Paul Patton, Columbia University Press, 1994.

[jclemuss]

In Jean Baudrillard’s "Simulacra and Simulations," he outlines the four successive phases that break down an image. First, the image is a reflection of reality. It basically represents something that actually exists. Second, the image perverts reality. The image would start to mask the reality is originally reflected. The distortion happens when the image detaches from the original, creating its own meaning and symbol. Third, the image masks the absence of reality. At this stage, the image no longer even pretends to represent reality. Instead, it conceals the absence of a profound truth. It becomes a simulation that mimics something that never actually existed. Fourth, the image has no relation to reality. It becomes a whole simulation having no connection to reality. This stage signifies the complete loss of the distinction between reality and simulation.

Fredric Jameson's essay "Postmodernism and Consumer Society" explores the cultural and economic dynamics of postmodernism, including the role of parody and pastiche. Parody involves imitating or mocking a particular style, genre, or cultural artifact. It typically maintains a critical distance from the original object or style, often through exaggeration or distortion, and usually comedy. Pastiche appears when it becomes hard to tell the difference between the original thing and its parody. Unlike parody, which pokes fun at its subject, pastiche doesn't have that edge. Instead, it just copies styles or forms without really making a commentary or poking fun. It's like imitation without the critique or irony.

Work Cited

Baudrillard, Jean, “Simulacra and Simulations” (New York, NY, Pearson Education Limited: 1992).

Jameson, Fredric, “Postmodernism and Consumer Society”(New York, NY, Pearson Education Limited: 1992).

Reading Notes 5: Baudrillard to Jameson

To further our studies in visual analysis, Jean Baudrillard’s “Simulacra and Simulations” and Fredric Jameson’s “Postmodernism and Consumer Society” offer guidance to understanding the roles of poststructuralism and postmodernism.

What are the four successive phases that break down an image?

What is the relationship of parody to the object it mocks, and at what point does parody become impossible and pastiche appear?

@theuncannyprofessoro

[jclemuss]

Ferdinand de Saussure, in his work "Course in General Linguistics," introduced the concept of the arbitrary nature of the sign. According to Saussure, the relationship between a signifier and the signified is arbitrary. This means that there is no inherent connection between the sound or shape of a word and the concept it represents. For example, there is nothing inherently "tree-like" about the word "tree". It is merely a convention agreed upon by speakers of a language. Symbols are often correlated with cultural, religious, or social significance, whereas signs are more directly tied to linguistic communication. Language is universal among humans, serving as a fundamental tool for communication and social interaction across cultures and societies. Saussure argued that understanding the structure of language could provide insights into broader systems of signs and meanings

Roland Barthes examined how everyday cultural phenomena, such as advertisements, films, and magazines, function as myths that communicate deeper ideological messages. He argued myths are portrayed through signs and signifiers that convey their messages, constructed through cultural codes and conventions. Barthes also argued that myths transform and distort the denotative meanings of signs to convey deeper connotative meanings that align with dominant ideologies/myths.

Ferdinand de Saussure. *Course in General Linguistics.* New York: McGraw-Hill Book Company, 1966, 1-122.

Barthes, Roland. *Mythologies.* London: J. Cape, 1972.

Reading Notes 3: Saussure to Barthes

In “Course in General Linguistic” and “Mythologies,” Ferdinand de Saussure and Roland Barthes set the groundwork for our studies in semiotics and structuralism.

What is the arbitrary nature of the sign, how is the sign differentiated from a symbol, and why is language the most characteristic of all sign systems?

In what ways is myth a semiological system?

@theuncannyprofessoro

[jclemuss]

Analytical Application 1: Ideology and Culturalism

P&G "thank you mama" and Ideological State Apparatuses

Definition: Ideological state apparatuses are institutions like education, family, and churches that use media or something else to share the value of the state. It’s a form to maintain the roles of society and the reproduction of capitalism. 

Analysis: At the beginning of the P&G commercial, we are exposed to different families from around the world. Each child is loved and is being taken care of by their parents. Even though each family is from a different area, they all share the same family aspect: love. As Louis Altheusseur explains, the ideological apparatus uses the concept of family to share messages from people who are in charge of higher stakes like government and money. Each child goes through a journey involved in sports that leads them to join the Olympics. From the beginning of their journey, the parents were always on the side, cheering them on. P&G used the aspect of family to share the importance of their product and how it brings families together. Because of this tactic, the audience gets to relate on another level. Althusser said, “ a certain number of realities which present themselves to the immediate observer in the form of distinct and specialized institution” while talking about the ideological apparatuses. It targets the audience faster because of the personal connection the commercial has. 

Tide Superbowl Commercial and Culture Industry

Definition: The culture industry is all franchising. It refers to the mass production and distribution of cultural products within capitalist societies, such as films, music, literature, and other forms of entertainment. Tide is known for its beautiful works of washing garments, and with this commercial, they used mechanisms of media to franchise their product. 

Analysis: Culture industry is a term many should inform themselves about. The industry represents a form of cultural production and consumption that is deeply intertwined with the dynamics of capitalism, serving the interests of profit and social control while perpetuating cultural homogenization. This is precisely what Tide was going for while streaming this commercial. We start with a famous actor, David Harbour, who is persistent in making sure people understand it’s a Tide commercial. As time goes on, we are exposed to different commercials trying to sell other products, but he always bluntly interrupts, putting attention back to Tide. The company is using other projects to show the flexibility of its product and how it can be used anywhere by anyone. Horkheimer and Adorno said, “Each branch of culture is unanimous within itself and all are unanimous together.”  It’s a clever tactic to show how a product is so universal that, eventually, you will need to buy it. Tide's presence in the culture industry reflects its broader influence on consumer behavior, cultural representations, and societal values surrounding cleanliness, household care, and lifestyle aspirations. That’s why using different life scenarios for this product is efficient. Tide detergent holds significant importance in the realm of cleaning and care.

Amazon "Alexa loses her voice" and The Ruling Class

Definition: The ruling class is the people in power. When one thinks about who controls people and what they watch on media, it’s the ruling class. Amazon became a dominant company that gained popularity at a rapid pace. When one thinks of online shopping, one thinks of Amazon. That’s the power of the ruling class. 

Analysis: The video opens up with the Amazon Team. Right away, we get introduced to Jeff Bezos, who has become the face of capitalism. His company, Amazon, has reached numbers that other companies haven’t in years. It’s insane how much power this one man has in America. The ad goes into a crisis because it lost the voice of one of its popular items, Alexa. They search to find another voice, a line of celebrities who aren’t that equipped for the job. But because of their presence, people are bought into the commercial and start paying attention. Marx and Engels explained that the ruling class “controls the means of mental production so that the ideas of those who lack the means of mental production are on the whole subject to it.” That’s the perfect tactic for a commercial. Using authorities with such an influence that anyone watching has no choice but to buy in. It’s almost like hypnotizing and ensuring people to buy instead of clicking out. The ruling class is scary because we can get to a point where they never could receive a no. It’s the whole point of why this concept still exists. 

Snickers "Mr.T" and State Apparatuses

Definition: The State apparatus is a machine. It refers to the various institutions and mechanisms through which a state exercises its power and authority over its territory and population. They are the dominant figures that control essential decisions of their nation. Some examples could be government, military, politicians, police, etc. 

Analysis: Snickers are notorious for their crunch and everlasting taste that lingers in one's mouth until they die for another one. The commercial opens up during a soccer game where our main character struggles to keep up. He seems to put all his effort into it, but it’s not enough. Randomly, Mr T, a famous actor, pulls up in a tank that is used only by the military. It creates chaos and catches everyone's attention. Because of this strong vehicle, the main character had no other option but to listen. The camera focuses on Mr. T as he’s on the top of the tank, explaining the power of a Snickers bar. Aldreay has this dominant figure because of his access to a military weapon. Althusser explained the state was created “to ensure their domination over the working class.” In this case, the working class is the people playing soccer. It’s interesting that Snickers saw using the military as a mechanism to spread the greatness of their product. As we know, the power of the military encompasses not only its capacity for armed conflict but also its broader impact on security, diplomacy, national identity, technological innovation, and political dynamics within a society. These are all key aspects a company would want their buyers to feel when purchasing their product. 

Sainsbury "The greatest gift" and Mechanical reproduction

Definition: Mechanical reproduction is referring to the process of reproducing or replicating cultural artifacts, such as artworks, literature, music, or films, using mechanical or technological means. The Sainsbury commercial uses music and art with technology to show the outstanding outcomes one can get if one understands the material. 

Analysis: Mechanical reproduction has profoundly impacted the production, distribution, and consumption of cultural artifacts, transforming the ways in which we create, share, and experience art, literature, music, and other forms of cultural expression. The Sainsbury commercial surrounds itself with a dad who is trying to find the best Christmas gift for his family. We follow his day-to-day activities and get exposed to the boringness he goes through. As time goes on, he tries to find inspiration for a gift so Christmas can be the best. Because he’s such a busy man, he can’t be everywhere all at once, even though he wishes he could be. With that being said, the brilliant idea is to use the machine to clone himself so his co-workers, friends, and family could all have him, but it’s not him. It made me think about what Walter said,  “ the most perfect reproduction of a work of art is lacking in one element: its presence in time and space, its unique existence at the place where it happens to be.” Mechanical reproduction has given humans the ability to make art at a rapid pace and create projects that aren’t achievable without technology. But art is beautiful because it’s man-made. Even in this commercial, it’s stop animation. Sainsbury is saying technology makes us present by just copying and sharing our work everywhere, but I disagree. 

Althusser, Louis. “Ideology and Ideological State Apparatuses (Notes towards an Investigation.” Essay. In The Anthropology of the State A Reader, 90. Blackwell Publishing Ltd, 2006.

Horkheimer, Max, and Theodor W. Adorno. “The Culture Industry: Enlightenment as Mass Deception.” Essay. In Dialectic of Enlightenment Philosophical Fragments, 94–136. Stanford, California: Stanford University Press, 2002.

Marx, Karl, and Frederick Engels. 2010. “The Ruling Class And The Ruling Ideas.” In The German Ideology, 59-60. Vol. 5. N.p.: Lawrence & Wishart.

Althusser, Louis. “Ideology and Ideological State Apparatuses (Notes towards an Investigation.” Essay. In The Anthropology of the State A Reader, 90. Blackwell Publishing Ltd, 2006.

Benjamin, Walter. 2009. “THE WORK OF ART IN THE AGE OF MECHANICAL REPRODUCTION.” In FILM THEORY AND CRITICISM Introductory Readings, 668-670. N.p.: Oxford University Press.

[jclemuss]

The culture industry revolves itself around capitalism, which is what makes it an industry. It sets out the framework of what it seems as valuable so society has nothing but to consume their ideologies. They use technology to help people consume what they want them to. In forms of media, film, and magazines, it all is manipulated by the culture industry so they have the power to control the vision of media and acceptance.

Encoding serves as the message and text of how these concepts are shared through media and art. Decoding is how a person views media and cultural texts based on their own life experience and knowledge. It's how counterarguments are made about media. Language is all structural. It's how we humans have expressed our history, power, and knowledge through communication. Discourse is not structural. It's influenced by ideologies and cultural views that break down communication into a form of art. By art, I mean communicating without

Horkheimer, Max, and Theodor W. Adorno. “The Culture Industry: Enlightenment as Mass Deception.” Essay. In Dialectic of Enlightenment Philosophical Fragments, 94–136. Stanford, California: Stanford University Press, 2002.

Hall, Stuart. “Encoding, Decoding.” Essay. In The Cultural Studies Reader, 2nd ed., 507–17. Routledge, 2001. 

Reading Notes 2: Horkheimer and Adorno to Hall

Max Horkheimer and Theodor Adorno in “The Culture Industry as Mass Deception” and Stuart Hall in “Encoding, Decoding” continue our exploration of ideology and culturalism.

What makes the culture industry an industry, and how does the technology of the culture industry become a rationality of domination?

What is encoding, what is decoding, and what is the distinction between discourse and language?

@theuncannyprofessoro