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alfred hitchcock and voyeurism
alfred hitchcock and voyeurism
alfred hitchcock and voyeurism
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The word 'narrative' means a spoken or written account of connected events with a beginning, middle and an end, that can communicate an idea. In photography, narrative techniques can be made use of to build and develop a story, hold the attention of an audience, and enable them to relate to the narrative, similar to that of a painting. A story told through photographs can exist as a single or a series of images, and can be described as a 'fragment(s)' of time. Types of photographic narrative come in many forms, such as snapshots, mise-en-scene, tableau and time exposures. Focusing particularly on singular photographs, this discussion will talk about how photographers such as Gregory Crewdson and Cindy Sherman construct and stage narratives in their images in the cinematic theme, and how they originated. Photographic narrative does not necessarily follow the traditions of beginning, middle and end, but may simply imply what has happened, what is happening and what could happen next. They give an audience a thread to follow; giving them a fictional interpretation of a person, event, place or moment in time.
Telling a story through a photograph can take many forms of presentation, commonly being singular of sets of images, which informs how the image is read. They give audiences a thread to follow or a concept to grasp. However these types of photographs do not necessarily follow the beginning, middle and end structure, they may simply imply what is happening, what has happened, or suggest what could happen.
Photography is commonly associated with fact, yet it has been a medium for fiction since its invention. Henry Peach Robinson was a Pictorialist photographer in the 1800s who was notable for his combination prints where h...
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... what has happened. Film stills are not isolated frames from a film but rather reenactments that advertise the movie, which must stimulate enough interest to sell to the public; it must 'tease' the viewer. The voyeuristic ideas portrayed here could suggest the work of director Alfred Hitchcock, who is broadly known for his thrillers from the 1920s to the early 1970s, with the recurring subject of ‘the girl’. Densely filled with suspense, ‘the girl’ is always alone, with her facial expression and body posture implying ‘the other’, whether it be a stalker or savior who struggles for her possession; a common story line in Hitchcock films. These ideas appear within Sherman’s stills frequently, with performance being the core of her photographs.
Continuing from her black and white stills, Sherman began to work more in colour, becoming more contemporary in her approach.
Johnson, Brooks. Photography Speaks: 150 Photographers on their Art.” New York: Aperture Foundation Inc., 2004. Print.
There are many ways to get a point across or tell a story, but the ones that are mainly used are photographs and narratives. The differences between these two are in the details because they both tell a story. When you tell a story with a photograph you tend to add filters. Sometimes you even choose to capture only a certain part of the story with absolutely no context surrounding it. However, with a narrative you are able to go into complete detail, be it personal or factual, as well as be able to describe all of the story by also giving stories and examples. We see examples of this in the film “Born into Brothels” by Zana Briski and Susan Sontag’s “Regarding the Pain of Others.” Narrative is more important than image because it’s been shown that photographs lose their shock value, but a well narrated story will keep producing an emotional response no matter how many times is been told.
In every movie the camera can be considered a narrative, it displays through its cameras lens the story of the movie. (Film, 2013, p. 123). Mise-en scene and camera work together to display to the audience the story of the movie, In Gun Crazy chaos is displayed before order, as young Bart breaks the window of hardware store a...
In the chapter, “The Mirror with a Memory”, the authors, James Davidson and Mark Lytle, describe numerous things that evolved after the civil war, including the life of Jacob Riis, the immigration of new peoples in America, and the evolution of photography. The authors’ purpose in this chapter is to connect the numerous impacts photography had on the past as well as its bringing in today’s age.
In the hundred or so years of cinema, there have been many significant figures behind the camera of the films audiences have enjoyed, though there has been a select few that are considered “auteurs.” One of the most famous of auteurs in film history is the great Alfred Hitchcock, who is most identified with the use of suspense in his films, while also being notorious for the themes of voyeurism, the banality of evil, and obsession. In both the films we watched in class, Psycho and Rear Window, these three themes were somehow a part of the deeper meaning Hitchcock wanted to convey to the audience.
Gregory Crewdson once said “I love the experience of cinema- being enveloped in a complete world of another’s imagination. I love the quality of film- how it can capture so richly the color and light of a scene. And I love photography - for what it leaves unsaid for it is from this that we can start to spin our own imagination.” Crewdson accomplishes the both the most intriguing and frustrating aspect of art; he poses a question yet refuses to reveal the answer. It is the unanswerable question that leads the viewer to study the work and spend hours contemplating its meaning.
A picture is more than just a piece of time captured within a light-sensitive emulsion, it is an experience one has whose story is told through an enchanting image. I photograph the world in the ways I see it. Every curious angle, vibrant color, and abnormal subject makes me think, and want to spark someone else’s thought process. The photographs in this work were not chosen by me, but by the reactions each image received when looked at. If a photo was merely glanced at or given a casual compliment, then I didn’t feel it was strong enough a work, but if one was to stop somebody, and be studied in curiosity, or question, then the picture was right to be chosen.
The camera is simply a portable extension of our eyes that captures images we may otherwise never see, and freezes them into eternity for our scrutiny. If photographs provide any true knowledge, it is that of a visual stimulus, a superficial comprehension that barely scratches the surfaces. What would photographs be without captions? Merely anonymous pictures of anonymous things, anonymous places, and anonymous people. Photography all...
Unger’s lecture explained how each photo represents stories of experiences, experiences shown clearly through Pomerantz’s camera lens.
Famously known as the “best movie of all time”, (6) Alfred Hitchcock’s Vertigo elicits a dumbfounded reaction to the first-time viewer. However, to the second, or third, or twentieth time viewer, Vertigo serves as one of Hitchcock’s most tantalizing films. A surprisingly shocking film, filled with purposeful editing, surreal sound production, and excellent acting, a cult following only makes sense to provide a testament to an almost flawless film. This obsession with the movie is a direct effect of the fascination of the main character, Scottie’s, sexual obsession. Film critics, such as Charles Barr, analyze Scottie’s sexual fascination through technical terms, such as the amount of point of view (POV) shots on female characters such as Madeleine
An intuitive photographer as construct does not really exist right? The concept is merely a paradigm, dreamt up by some right-brained photographer trying to garner attention for bizarre and no doubt outrageous work. An excuse to be different. Or is it? Does the archetype of an intuitive photographer make practical sense and what does it mean exactly?
Cindy Sherman (b. 1954) is arguably one of the most well-known and influential photographers in contemporary art. Exhibited worldwide in a variety of venues, particularly in major cities throughout the United States and Europe, her pieces inspire a great deal of feminist and postmodernist debate and discussion because they embody ideas related to “studies of the decentered self, the mass media's reconstruction of reality, the inescapability of the male gaze, the seductions of abjection, and any number of related philosophical issues”1. In “Automatism and Agency Intertwined: A Spectrum of Photographic Intentionality” (2012), Carol Armstrong analyzes the tensions between automatism and agency inherent to photography as a medium and argues that
As seen in paintings of battle scenes and portraits of wealthy Renaissance aristocracy, people have always strived to preserve and document their existence. The creation of photography was merely the logical continuum of human nature’s innate desire to preserve the past, as well as a necessary reaction to a world in a stage of dramatic and irreversible change. It is not a coincidence that photography arose in major industrial cities towards the end of the nineteenth century.
In her essay on Satayajit Ray’s Pather Panchali (1955), Neepa Majumdar gives commentary on how “visual strategies” can act as a component for “indirect modes of narration” through using these visual techniques to tell stories through actions rather than speech. The significance of applying visual techniques forces the viewer to base their interpretation off what is being shown to them through mise-en-scène, allowing them to indirectly see the world from the director’s desired perspective. Majumdar then talks of “mobile framing of individual shots”, which in Pather Panchali is seen through characters speaking, but never being shown. In conclusion, the “analysis of the events” occurring is shown to viewers through a slightly skewed representation of an actual reality.
The use of multiple images to propel a narrative allows the audience to learn something through the characters that are there. Bloomer (1990)’s study on visual perception also draws upon Newton (1998)’s concern, as he explores the multiple perspectives and views of the event. By using a series of images, the characters mood and tone can be established throughout different elements of what we see. This may be the people, the place itself or the items within the place. By having a narrative of photographs, the audience has an even deeper understanding of the reality of that moment or event as they see more than just the ‘big picture’ as