Wednesday 22 January 2014

Essay Planning: Film and Documentary

As I'd not seen it in a while I needed to watch Metropolis again to see if I could see any themes in the film myself. I also watched the accompanying documentary about the film, Die Reise nach Metropolis (Dr. Artem Demenok) and it's recent reconstruction to get a better historical background on it.

Below are all of my notes.






Die Reise nach Metropolis notes start here



 From watching Metropolis I found that a lot of the theories from Elaesser's book were really apparent. What was useful though was getting my own perspective on the film - I'd been reading a bit of negative material on it, so it was great to watch the film and remember my own opinion on it. This should be useful for linking in how different experiences influence our perception of cultural texts.

The documentary was incredibly helpful for getting an overview of Metropolis's history, in particular how it's been viewed, edited and received from it's conception to the most recent restoration.

I'll build on these materials and my own notes for my essay, looking at how the film is interpreted through the decades.



Thursday 16 January 2014

Essay Planning: Further Plans

Developing ideas for essay:



 Another point to add is how Walter Benjamin's theories apply well. (re-produced art. Meanings coming from moment of consumption).

Elsaesser:

(p17) "Metropolis's combination of sophisticated design with radical naivety of mythic cliches in the mode of a self-referential mise en abyme is now a familiar feature of mainstream film-making, almost a condition for entering the international market in the first place. Like Steven Spielberg's 'politically correct' (i.e. timid) fairy-tales or George Lucas's Star Wars saga, Lang and von Harbou's film shows the 'imagineer' at work, rather than the artist striving for self-expression."

(p21) Elsaesser lists multiple references and provides image evidence.


 The clock image would fit perfectly for the poster: references focus on time.

 (p55) Reference to 'The Vamp and the Machine'
"...Freder's castration anxiety and the fetishised image of woman did indeed receive ample textual, as well as contextual attention. In his essay 'The Vamp and the Machine', Andreas Huyssen took up two traditional Weimar motifs, the anxious male and the intellectuals' technophobic cultural pessimism."



I think definitely exploring different interpretations of the film over the years and comparing them, focusing on the political and cultural relevance, will be interesting. There's von Harbou's contribution, the USA's interference with it's screening, the Nazi period, Lang's fleeing of Germany, Lang's extensive use of Expressionist references, it's modern viewing and how it's now a cultural reference itself.

Essay Planning: Initial Plan

Few notes on what topics I could research more for my essay.



I really got into the idea of how the film can be seen in a social and political context, but more over how frequently it's seen in different lights on these issues. From it's initial screening, it's reception in America, over the Nazi period, the late 20th Century to it's re-release in the 21st Century, it seems to gain a different meaning from each period. Over the years, people/ cultures seem to have wanted to take control of the interpretation of the film.

Metropolis - Thomas Elsaesser

Notes from/about the book Metropolis by Elsaesser.

  • Changing views (in intro, so not fully developed points).
- Perception of Maria "The metallic figure of the robot Maria now takes on features of 'girl power' where its original audience might only have sensed misogynist projections of malevolence." (p 8)
Links to Gendered Gaze, check camera angles etc in film.

  • Changing perceptions 
 -"Generally recognised as the fetish-image of all city and cyborg futures, the once dystopian Metropolis now speaks of vitality and the body electric, fusing human and machine energy, its sleek figures animated more by high-voltage fluorescence than Expressionism's dark demonic urges." (p7)
- bright future? Argues it's full of "vitality", not negative.
Structuralism/ Post-structuralism.

  • Changing ideals
-"The main thesis was Thea von Harbou's, but I'm at least 50% responsible, because I directed the film. At the time, I wasn't as political as I am now. One cannot make a politically conscious film by claiming that the heart mediates between the hand and the brain - that's a fairy tale, really. I was more interested in machines..." Peter Bogdanovich, Fritz Lang in America (London: Studio Vista, 1967, p. 124. (p76)
-Idealised view before 'awakening'.
 Lang fled Germany, while "von Harbou joined the Nazi party" (p15)
Political: Marxism
Structuralism/ Post-structuralism.

  • Lack of message
-"Overwhelmingly, the answer was that Metropolis had nothing to say on either, being far too cautious to show its hand other than by vapid symbolism and a pious motto." (p42) (See reviews of: Siemsen, Ickes, Haas, Jhering and Heuss)
-Communist or otherwise, doesn't agree/ not strong enough for a real comment. No one's happy with the outcome as it's not asking the right questions.
Political: Marxism

  • Political leanings and making
 -Otto Kriegk's 'The German Cinema in the Mirror of Ufa' (1943)


-Different interpretations in different times.
Cultural: Risk of homogenity
Political

Possible essay direction:
Relate Metropolis to modern/ changing historical times? From Moroder musical version to his influence on Daft Punk.


Wednesday 15 January 2014

W7: Impact of 'Reality' Lecture on essay/ Current Progress

As the lecture was about reality: what is could be, how it can be mediated and how cultures can merge, I reflected on how this could apply to my essay quickly.

  • The USA regulated the film industry with Hollywood: The UFA studio in Germany wanted to increase it's audience by screening films in the US, so made a deal with the studios in America. This however meant that Lang's film was considerably cut down when it reached America due to it's length. 
   -Need further research into whether this was due to UFA or American studios.

  • Could relate Metropolis to the Nazi's use of propaganda. Lang's wife joined the Nazi's and Goebbels liked the film and Lang's work despite the socialist ideals in Metropolis and the seeming opposition to the Nazi's in 'M'.
  •  Lang tries to show the gap between the classes with distinctive levels.
-Is this shown enough and effectively? Are further issues actually left out and this is a mediated image?


Progress:

  • I've currently looked for journal articles and books about my chosen text and around it.

  • I've reflected on my research by considering which themes to maybe focus on.

I need to:

  • Reflect more on already collected research

  • Watch Metropolis again.
 

W7: Whose Reality Is it Anyway?

We started off with a bit of context of how we live at the moment. We (here in England) live in a Post Modern, Post Industrial society, with an 'Information Economy'. Advances in communication and technology have led to a shrinking of the world as we can now travel around it safely and in a matter of hours. Marshall McLuhan (1964) called this a 'Global Village' as we've experienced the collapsing and condensing of space and time.

The Global Village has it's benefits, for instance Cultural Fusion (where two cultures meet and new cultural forms are produced, e.g. Chinese art influences). A good example of this is the post second world war occupation of Japan by the Allied Powers - there was a censorship of media by the US and their own pop culture was transferred. Consequently Japanese graphic communication has been influenced by this initial contact with the West, taking traits from Hollywood and even Disney (e.g. design of characters with big eyes).

However, there's always a risk of Homogenity occuring (where everything becomes uniform). Called 'McDonaldization' by George Ritzer, it can mean that societies/ cultures take on the characteristics of the fast food industry, becoming efficient, standardised, predictable, controlled and with limited options.

Additionally Cultural Imperialism is a possibility (where one culture dominates another ideology (body of ideas or beliefs)). According to some, like Noam Chomsky (Hegemony of Survival: America's Quest for Global Dominance (2004)) contemporary America is guilty of this as it's brands stretch out over the world, e.g. Starbucks where you consume to have an identity. Another example is of the Nazi's cultural control through it's use of film propaganda, where feelings were won and then the audience was told how to think.

But how can we judge reality? There's currently a digital divide (gap between those with/ without access to technology). We see other parts of the world through the media, but is that all that's actually occurring? It's easy sometimes to confuse what we 'see' with what's 'happening'. The hegemony (dominant influence) risks confusing what we 'see' with 'reality'.

This relates back to the Culture Industry (Adorno) and the theory that it keeps consumers passive. We may be being presented a mediated (determining what's important) view of other cultures, people and 'reality'. According to Guy Debord (1931 -1994) (The Society of the Spectacle (1967)) every engagement is mediated on some level, from clothes, hair and health to food, we're given pre-determined opinions. While Jean Baudrillard ((1929 - 2007) a French Post-Structuralist theorist) argued that our 'real needs' have been eclipsed by 'false needs'. 'Symbolic value' (e.g.pink = feminine) is relational and arbitrary and we've entered the realm of 'hyper-real' (where simulacra (hyper real copies, e.g. perfect apples) have replaced reality and the object that they once referenced). Currently, the digital/ virtual worlds offer the lure of the hyper real as well.

In conclusion, our understanding of the world is often mediated/ interpreted and framed for us by other people and cultural bodies. The representations that we receive are selective, edited and sometimes new for specific consumers. While seemingly transnational cultural forms walk a fine line between cultural fusion and cultural imperialism.

Monday 13 January 2014

W6: Seminar Reflection

After the seminar we had to reflect back on all of the lectures that we had, considering how they could relate to our chosen text.

I found quite a few topics/ themes/theories related to Metropolis:

Initial Notes:
  • Industrial Revolution - fear of technology, masses, social revolution, 3rd Reich, style development.
  • Gender Roles and Representation - women signals (moral tale, whore vs mother) display.
  • Consumers - control of media (social side), not docile, revolts.
  • Creative Industry - style, 3rd Reich

Related Theories:
  • Marxism - social masses, control of media
  • Althusser - reality?
  • Laura Mulvey - Gendered Gaze - camera angles/moves, roles. Representation of women.
  • Structuralism and Post Structuralism - meaning there or just personal perception?
  • Industrial Revolution - consumer culture, style, art development.
  • Adorno and Horkheimer - consumer/ viewer as docile
  • Walter Benjamin - active consumers, hard to keep down/persuade, social.

W6: Creativity - Definitions and Histories

This week's lecture was on the Creative sector (the fastest growing sector of the UK economy in the last 10 - 15 years) and the work that we'll all hopefully be going into.

We started by considering Creative Practitioners and what they exactly are. We began with individuals that express and create, that try to do something original. But what about people that come up with a concept, but don't actually make it? Who is the 'Creative' then? Aren't chefs, computer scientists, etc. creatives as well? It seemed like there are many different interpretations which were sometimes incompatible.

The definition of creativity has changed historically though, meaning different things at different times:

  • The modern form originated 200 years ago from Neville Brody.
  • 18th Century - arts seen as a separate activity - galleries, idea of aesthetics.
  • Romanticism - originality, progress, artists as genius. An individual with insight and imagination.
  • Modernism (late 19th and early 20th Century) - looking forward, experimental, radical, separate to entertainment - technological advances. e.g. Helvetica font. Gerald McBoing-Boing - 1950s parred sown aesthetics because of TV. Jan Tschichold - typographer, Penguin classic book cover.
  • Post-modernism (mid/late 20th Century) - mixing of 'high' and 'low' cultural forms, borrowing from earlier styles, celebrations of retro design, value of inauthentic, intertextuality (referencing different forms).
The Creative Industry is defined as something new, that combines the idea of creative arts with an interest in commerce and the marketplace.

However the Culture Industry is different to the Creative Industry. It's defined by an essay of the same name written by a group of German Intellectuals (Adorno and Horkheimer theory) associated with the the Institute for Social Research at the University of Frankfurt in the 1930's/40's and is a critique of standardised pop culture forms, e.g. Hollywood movies, magazines, music. It's against media as propaganda and mass ideological persuasion. It's main critique is that culture becomes Homogeneous (standardised, uniform, predictable) and this encourages conformity where as we should critique everyday life. They considered culture and industry to be opposite and that meaning comes from the moment of creation.

Yet Walter Benjamin, a colleague, disagreed with this. He argues that the fusing of culture and the commercial was good as it opens it up to a wider range of people. It democratises an image by destroying its aim. From art being reproduced in new places, meanings emerge at the moment of consumption.

We're Active Consumers - unpredictable, interactive, critical, collaborators in production of culture (social media, online gamers, flash mobs), not docile.

This challenges Adorno and Horkheimer's theory who saw consumers as passive and producers as standardising ideological values.

Now consumers are seen as having an Idea of knowingness, a resistance to capitalist values and the need to employ culture jamming/ adbusters (subverting the original message of a product). We're understood as discerning, discriminating and hard to persuade. Consumption needs to be understood as an action.

Now the Creative Industries have moved beyond the elite vs mass and arts vs entertainment. It's a combination of creative arts and cultural industries, perhaps due to/ working with the rise in consumer industries and the decline of manufacturing industries. The Creative Industries are now able to impact on connectivity, rejuvenate cities, and create new media and (inter)active consumers.

In conclusion, the definition and understanding of creativity has changed over time. While the importance of the earlier idea of 'Culture Industry' is necessary to consider, there have been challenges to this idea. In particular from the emergence of 'Creative Industries' and the relationship between creativity and commerce being contested.

Saturday 11 January 2014

W5: Sex & Gender

In this lecture we looked at Sex and Gender and we started with a bit of context: the Equality Act 2010 (UK) legally protects people from discrimination in the workplace and wider society, yet equality is still not achieved worldwide - in 2013 70% experienced physical or sexual violence.

We all should care because it effects how you will/ have been treated and an understanding of the issues can help you to communicate and relate with the audience of your work more effectively.

Defining 'man' depends on who you ask though - it can mean something different to everyone. It can be any age and may not be the same as reaching emotional or psychological maturity.

The 'natural attitude' is that there are only 2 genders: this is often seen as 'unquestionable' and is based on reproductive organs. 

An 'essentialist' understanding of sexual difference is quite rigid as well and assumes that masculine and feminine is not a choice and any deviation from this is a pathology.

Even the cultural definition and dominant representation in mass media of a 'man' aren't necessarily right. They define them as: white, agentic, pursposeful, strong, fearless, independent and heterosexual. Masculinity is sometimes classed as being what it is not - femininity, which is shown as being: an object, purposeless, passive, dependent, fearful and weak.

In general the mass media promotes an exaggerated version of human 'sexual dimorphism', difference between sexes, often physical, yet it's the smallest difference in all other primates. E.g. a strong female is stronger than a weak man.

The media can often exaggerate all of these 'definitions' though, presenting a 'hetronormative' discourse, straight seen as the norm, others seen as abnormal. This can also lead to 'symbolic annihilation' of other identities, where they're seen not to exist.

Certain traits have also been given significance for each gender, for example, a desire for power is seen as a masculine trait, where as in a woman it is framed as unattractive. As well gendered identities are sometimes understood as being 'performative', where there's a 'choice' to their behaviour. Judith Butler in her book Gender Trouble (1990), identifies gender as 'doing', rather than 'being' - encultured rather than biological.

Roles can be normalised by repetition and re-iteration in the mass media. Theories related to this include Laura Mulvey's 'the gendered gaze', first introduced in Visual Pleasure and Narrative Cinema (1975). She highlighted the use of the camera to naturalise ways of looking at men and women - simply the power of the gaze. Mulvey studied how the camera is used as a tool to objectify and normalise this, e.g. the camera being used to suggest that women are simply there to be looked at.

In general gender characteristics can be dangerous and limiting as stereotypes are formed which we feel we must conform to.

Our cultural understanding of gender effects our work and our audience. Through our work we have to be aware of whether we perpetuate or challenge these cultural constructions of race, gender, beauty etc.

Monday 6 January 2014

Research

Some notes and article links related to my critical text of Metropolis (1927) covering a range of subjects. I wanted to look at items/ subjects around the film, like art movements and the history of the time as well to see if they are linked in any way, providing a better analysis. At this point I'm just collecting resources and will edit down and select which ones I'll study in more depth later:

BFI Film Classics - Metropolis: Tom Elsaesser. Book: Changing appreciation- moroder soundtrack
                                                                   - messages: themes not as strong as thought;socialist. romanitc. political
- von harbou - political and 1930s
-style- german expressionism - modern; daft punk and moroder, tron.

Metropolis: Catherine Russell. - Modern review. Changing perceptions (compare to old review). Links to Tom Elasser book.