237130_A3_Gathering Resources_Collecting influential material_Objectification and sexualisation of women

“Maybe I’m not ‘fuckable’… That’s fine, I’m not for you to fuck” – Diane Goldie for StyleLikeU
* Male validation
* Losing ownership of your body
* Women as decoration
* “I don’t get that [catcalls] anymore… Maybe they think I’m not fuckable. That’s fine, I’m not for you to fuck.”
* “What’s your favourite part of your body?” “The whole of it… you know why? I don’t want it to be a part. I am whole. I’m not bits.”
* “My body… belongs to me, and is not for anybody else unless I care to share it. I have ownership.”

Real Talk About Big Breasts and the Male Gaze – Georgia Pratt for StyleLikeU

Being “The Pretty Girl” Isn’t Always So Pretty In Hollywood – Caitlin Stasey for StyleLikeU

CUSPI 2013 Slam Poetry: “Shrinking Women” by Lily Myers

Slam Poem: “Pretty” by Katie Makkai

National Poetry Slam Finals 2014 – “Say No”

“The Candy Shop” film trailer

“Lolita” film trailer (1997)

“Lolita” film trailer (1962)

“Lolita” promotional poster

“Violence against women – it’s a men’s issue”: Jackson Katz at TEDxFiDiWomen

Facebook Image

#StandUp video campaign
* “There’s a societal standard that’s put up in the media, and then women try to meet it… there’s no winning.”
* “We raise our little girls to see their bodies as projects to constantly be improved.”
* “Girls are growing up thinking that how they look is more important than how they feel, or who they are, and what they can do.”

“Collective Shout” campaign movement

“Center for Artistic Activism” website

Charlotte Farhan’s personal art/activism blog

Love’s Baby Soft “innocence is sexier than you think” advertisement poster

Love’s Baby Soft “Innocence is Sexy” advertisement (1975)

Article regarding child-model Thylane Lena Rose Blondeau’s controversial editorial for Paris Vogue

Article on the controversial Jours Apres Lunes ‘loungerie’ brand.

Children in modelling (article)

Thylane Lena Rose Blondeau image bank

Thylane Lena Rose Blondeau (Google Image Search)

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237130_Wk8_Task#1_Critical and Contextual Studies Tool Kit

Planning and Preparation

  • Highlighting key words or phrases within the task and writing out what I need to do in my own words.
  • Doing a “brain dump” of all my ideas in their rawest forms.
  • Using MindMup to create mind maps which allow me to visualise how key ideas and points are linked.
  • Writing down all my ideas as sentences or phrases that I can work into a body of text.

Writing Skills

  • Identifying my style of writing so that I can expand and improve on my current methods.
  • Using a formal, academic tone; no contractions, no personal pronouns.
  • Contextualising; providing the viewer with “the big picture” before embarking on in-depth description or analysis.
  • Expressing ideas in a concise, specific manner by discarding any unnecessary text that doesn’t aid in the reader’s understanding of my point.
  • Linking all ideas to one another, and to any sources or visual texts I reference.
  • Working quotes into the text so they support and exemplify ideas.
  • Acknowledging all influences with in-text citations and a Works Cited list in MLA style, and by giving credit to the author of an idea when paraphrasing.
  • Taking a break before rereading my essay aloud to check for mistakes or inconsistencies.

Content and Visual Text Analysis Tools

  • Doing a brain dump of every physical aspect of the visual text so I can form an in-depth description of it.
  • Interpreting what each individual aspect of the text means, as well as the text as a whole.
  • Writing down every idea the artefact inspires in me as rough sentences which can then be refined and worked into a body of text.
  • Examining the implicit as well as the explicit.
  • Placing the visual text in context.

Research and Information Gathering Tools and Protocols

  • Identifying key words within the question to break down the topic and identify the main points my research should be based around.
  • Using credible sources to locate visual texts and information: ARTstor, Discover, Massey Library catalogue, and Google Scholar. Other trustworthy sources of information could include academic books/journal articles, libraries, and museums.
  • Checking the copyright license before use.
  • Narrowing down my search results in order to pinpoint more relevant information by using artists, artworks, ideas, or themes that I find in an original search result as a basis for a new search.
  • Note taking – underlining key phrases in the text and jotting ideas next to these (printed media); watching videos and writing down key quotes or ideas (video);  writing down any information I find in my own words rather than copying it straight from the source in order to avoid plagiarism (web).

237130_Wk7_Task#2_Seeing the World_World Views

Ideologies are what make up our world views. Visual texts are used to capture these ideologies, but the ‘myth of photographic truth’ can mean that the perception of these ideologies change between the point a text is made available for viewing by the creator, and the point it is viewed and interpreted by an audience.  This means that our perception of an ideology- and therefore our world view – is easily warped and manipulated.
The producer of any visual text is likely to be someone who has access to the many modern technologies made available to Western cultures in the present day. Therefore the producer is likely to create a text that conforms to Western ideologies and enforces the dominate Western world view upon the viewer of the text. The viewer of this text may not be a Westerner, however, which means they will interpret the text differently from someone who has had direct experience with the ideologies depicted by the text. It is in this way that the meanings of visual texts are changed.

References:

Stachl, Erna. 237.130 Communications in Creative Cultures: Week 7 lecture.

Wellington, New Zealand: College of Creative Arts, Massey U. 27 April

2016. Slideshow and lecture. 17 May 2016.

Whyte, Dick. 237.130 Communications in Creative Cultures: Week 7 lecture.

Wellington, New Zealand: College of Creative Arts, Massey U. 27 April

2016. Slideshow and lecture. 17 May.

237130_A2_Wk6_Task#5_Reflection

From a personal perspective, what has been the most interesting to you so far in this paper?
The aspect of this paper that has appealed to me the most has been the introduction to an entirely new perspective regarding the basic function of humanity. I have found Mirzoeff’s views on the way we interact with one another and the Earth quite intriguing and have greatly appreciated the chance to absorb these new ideas and explore them further.

Think about the content, readings, resources, tasks and approach, so far. Comment on what has worked for you? Why?
The deviation from traditional artistic themes was something I discovered to be unexpectedly welcome in this paper. I really enjoyed being given the opportunity to explore things I was passionate about (such as music and the environment) that stepped outside the boundaries of what people usually consider to be “art”, and discovering how they are, in fact, related to art. having a range of topics to address throughout the course of this pier, rather than the same one repeated over and over, was pleasant.

What has not worked so well for you? Why?
I found the amount of work that we were given to be overwhelming. It was hard for me to absorb anything, because I felt as though I was just having information pushed at me rather than actually taking anything in and learning. Some of the tasks that we were given seemed unnecessary, and I believe that it would have been more beneficial to exclude these, as I would have then been more capable of absorbing the remaining knowledge that was actually useful.

How have your ideas, assumptions, knowledge’s and ways of working been challenged?
I have been encouraged me to consider various perspectives in my writing. Sometimes I’ll get so caught up in the singular point of view that I have chosen to adapt, that I’ll forget how relevant the opposing perspective can be to what it is I’m trying to say. This paper has  honed me into constantly checking to see if the points I make are applicable to the minority as well as the majority.

What creative approaches have you taken when doing this paper?
I feel as though over time I have had to adjust my style of writing so that I could express myself in a more concise manner when necessary. Knowing that I had to write less meant I often approached tasks with this in mind, and therefore became experienced in pinpointing the key words of what I had to do, and keys ideas in texts I had to use.

Explain how the approaches, strategies, skills and/or processes encouraged in this paper be useful to you in your other BDes/BFA projects/modules/papers.
This paper has taught me to evaluate the way in which I think about and approach academic tasks. It has trained me to acknowledge the thought processes and practises that take place as I go through the process of analysation and putting this analysation into words. This paper has expanded my manner of thinking so that I am now conscious of all contextualisation and critical thinking that takes place when I am looking at or writing about a visual text. All of the subject matter I create in my other papers benefits from being approached in this manner.

Do you think you have a different or a new appreciation for a paper like this and its relevance to your desired art or design practice?
Being able to consciously analyse and identify the context of a visual text is vital to any artist or designers practise, and I definitely feel as though this paper has introduced me to some new techniques that will help me hone my skills in these areas.