Monday, October 27, 2014

Textual Poaching





         Which one is the real woman? In this case the picture on the right most accurately represents the revered form of Marilyn Monroe we are familiar with. Her image has recently made rounds on the Internet sometimes paired with the phrase, "Real women have curves." While this message was meant to promote the idea that skinny isn't the only beautiful body shape and as a woman, I find it just as exclusive and potentially harmful.
         For years there has been a dialogue on the harm Photoshop and the effect impossible images of toned, skinny women have on the self-image and esteem of girls. The negative option women can have about themselves is not a new issue; it has been discussed at length in all forms of media from blogs to Dove soap commercials. Despite this people still insist on telling us how we need to look and think to be a ‘real woman.’ Recently there has been an interesting trend where now it is shameful to be skinny. The recent single “All About That Bass” by Megan Trainor promotes the idea of being comfortable in your own skin, but not without slamming all the “skinny bitches” for being “stick figure silicone Barbie dolls.” I find this flip of extremes troubling. It seems we as a society still feel we need to define what the ideal woman should be by her body shape and yet can’t agree what that is. Are these messages really that harmful? After all Megan Trainor supposedly means well. As Jenkins explores in "How Texts Become Real" it is the meaning attributed to a text that gives it weight. In the Velveteen Rabbit, the boy's investment gave the toy added significance. It is a similar situation to all texts with this dual message to women. They may mean well at face value, but those whom are excluded from this new 'correct' view of womanhood might see their perceived faults mirrored in the text.  
I presented the two images above, one the true image of the famously voluptuous Marilyn Monroe and the same image I doctored to flatten her all of her curves, to show that both images represent real women. Women come in all shapes and sizes, and not fitting someone’s ideal shape cannot take away our womanhood. Our gender is not dependent on whether we have an hourglass figure or are flat as a board. I used the images of Marilyn because she is an icon of female sexuality. The original photo shows her true curves and true self and the second, while obviously changed, is still clearly of a woman. She may not have” all the right junk in all the right places” but that doesn’t warrant the shame of being told she isn’t woman enough. 
         I do not condone the practice of photo shopping a person to completely change their figure. In fact, even the action of shaving off Marilyn Monroe’s curves bothered me. It was so easy and by the time I was done it really wasn’t her body any more. This is a common issue discussed among women, but its unoriginality does not invalidate the emotions each of us feel facing these conflicting messages. As a woman in this environment I have felt pressures from both ends of the spectrum. I am neither curvaceous nor petite. So if a real woman is petite and small or has bodacious curves, what does that make me?




Monday, October 20, 2014

WebSpinna - The Wrap Up



The Webspinna battle was an excellent study on the way new material is created in all art forms. In the reading, the author spoke about the plundering of fragments of literature to form new products. This portion of the text particularly struck us because it seemed to describe the essence of the battle itself. While it was incredibly frustrating to try and find individual fragments of sound from such a wide pool of possibilities, the unlimited nature of the project offered us the opportunity to create something new and interesting. Furthermore, these samples in ways that are out of context to give them new meaning.
            We decided to explore the concept of dreams vs. nightmares because of its ability to be interpreted in many different ways. We didn’t want to be limited by something too specific; we wanted to be able to use a wide array of clips. We were able to use sound effects, music, and voice-overs to express our specific vision of what happens to dreams when nightmares creep in. This included our ability to take clips out of context to portray our vision. For instance, the “It’s a Small World” song was created for a children’s ride to convey joy; however, we took the annoyance of hearing it repeatedly and turned its effect from joy into fear.
            We especially liked our battle because we took care to provide a strong narrative. We took common nightmare scenarios such as drowning and falling, and incorporated them into a dream sequence that was continuous. We then used the abrupt ending to snap the audience out of the nightmare and remind them it was only a dream.
            One of our pivotal sound clips (which ended up not playing) was from the movie, I, Robot. Referring to the robots, Dr. Lanning says, “One day they’ll have secrets, one day they’ll have dreams.” This film prompted us to consider what dreams are, and what it means to have dreams. Our dreamer became aware she was fighting a nightmare and recognized that she could manipulate the scenario. This idea came from our consideration of dreams relating to sentience. Another influence was the film Inception and how the dreams become more complicated as the dreamer’s subconscious fights back against the protagonist. This film helps to indicate that while the dreamer fought and lost, it does not mean that the dreamer cannot fight again.
            It was nice to see everyone’s live battles on Thursday because while we chose a specific, narrative path, it was interesting to see the directions that the other battles took. It reinforced our appreciation of the unlimited creative possibilities the project offered. This helped us to see that creativity is such a fluid thing which can be formed into many different things and portray the feels.

WebSpinna - The Game Plan


https://www.youtube.com/watch?v=JqKcnYWCAJc  0:11


http://audiojungle.net/item/children-playing-at-the-beach/4406798


https://www.youtube.com/watch?v=e9vrfEoc8_g  :43
https://www.youtube.com/watch?v=ItjXTieWKyI


https://www.youtube.com/watch?v=Gq_bjaI0NTo


https://www.youtube.com/watch?v=X7FWXSLq7-s  1:35


https://www.youtube.com/watch?v=PQf7vGBYxz4   0:50
https://www.youtube.com/watch?v=UfgAeTOuMAY   0:15



Tuesday, October 14, 2014

Medium Specificity - Movement Illustrated



My first ballet instructor used to tell us stories of how, as a child, she would practice her barre work in the dirt and how her movement became visible. Dance is about lines. In ballet there are specific degrees and lines you must create to achieve correct form. Often times these lines are created through movement and are essentially invisible. They also require a great amount of strength to hold, strength that translates to bold, powerful movements. For this project I wanted to showcase these qualities in an effort to celebrate the balance of grace and power ballet requires by finding the lines created by movement, and making them visible.
            I was originally inspired by reflecting on the choreographed battles in Zhang Yimou’s film Hero, especially Flying Snow’s battle amount the leaves. The leaves become a visual tool as they also swirl around the women’s movement, creating a way for the lines drawn by her sword work to be seen in a new, artful way. 





I wanted to accomplish something similar, but on a less grand scale. I choose paint as my tool to express my medium for its bright colors and its ability to visibly react to pressure. Additionally, an unanticipated upside was the layering quality paint possesses.  While these qualities drew me towards using paint, it was still only a tool used to showcase my true medium, the dancing. I could have easily chosen charcoal or mud to get similar effects.
            Classical ballet is an art form that strives to achieve the illusion of weightlessness and ease. While a dancer may look like she floats through the air, the impact she has is carefully controlled punch to the ground. It is a heavy and powerful sport that aims to appear light. Martha Graham said, “Nothing is more revealing than movement” and I wanted to represent this idea in my project. The lines are continually informed the weight and controlled power of the dancer. This is visible on the finished canvas through the hard, bold lines created by the most forceful gestures and the distinct prints and tracks made in the paint from walking on point. The weight of the dancer caused the paint to be pushed away from areas of impact and the these interactions reveal otherwise overlooked properties of dance.
            Like Scott McCloud’s discussion on form and content in Understanding Comics addresses, there is more than one flavor to an art form. Although the classical ballet might have created the clearest lines, I decided early on to direct my dancer to incorporated modern elements into the choreography. Ballet is one ‘flavor’ of dance and I wanted to expand our palate for this experiment. As I directed my dancer through the process I also experimented with different ways of getting the paint on paper. Sometimes placing paint where I wanted her to move, and sometimes following her lead. This way there were a variety of movements represented and both classic lines and broken lines became visible.
             







Monday, October 6, 2014

Historical Script



The years of Prohibition in the United States are a fascinating piece of history from which many writers, artists, and musicians have drawn from . Behind the scenes, speakeasies reigned supreme and organized crime blossomed. The scene is familiar, but we wanted to take a different angle and show what might have happened as those glory days came to an end.

Although our main characters aren’t exactly role models to BYU students striving to live the Honor Code, their struggles to adapt are relatable. Additionally, they are similar to the experiences told by Satrapi in The Veil. Just like Satrapi had to change her way of life to adhere to stricter guidelines, our characters found their lives changed by adjustments made to the laws of the land. When eluding the clutches of the 18th Amendment, they find themselves free to party as hard as they wish. Already breaking the law they disregard all restrictions. However, once the 21st Amendment is passed, they find the new additions to their crowd less than enthusiastic.

This is reflected in a modern example observed among non-LDS peers. It’s one thing to party with friends after high school graduation, but it’s a different feeling to legally sip a beer with your parents when you’re twenty-one years old. There’s something about the forbidden that encourages further reckless behavior and results in a very different mood.
Lacking personal knowledge of the twenties speakeasy underground, we turned to several outside influences to inform our portrayal of a saloon atmosphere. The Great Gatsby was a major source in understanding how gratuitous the partying may have been back in the day. In that film, modern music is used to compare our day with the twenties, which we might make the mistake of assuming could never be as sinful as our day.

 Another source of influence was the self-titled album, Tumbledown House. This music has been described as “gritty saloon jazz” and “modern speakeasy music.” The first track is titled “Midnight at the Openly Lewd” and is simply a snippet of what a speakeasy might sound like in the throes of a party. Laughter, cash registers, and clattering is heard with a jazz piano playing over the din. It gives the feel of heavy smoke and questionable behavior. Fraught with gambling, murder, prostitution, and booze their songs describe the life of unrepentant sinners. Heavily coloring our depiction of a speakeasy party, this also informed our creation of Dixie’s character. The decision to make her unrepentant and confident in her life choices came from various ideas and characters portrayed in the songs “Brothers McGhee” and “Jug O’Rossi.” Besides these three tracks, the entirety of the album speaks to a romanticized version of what sort of characters you would find in this situation. This fit our script well as we wanted to romanticize the prohibition parties to reflect how they were viewed by those who had to adjust their lifestyle after the ban on alcohol was repealed.

Other characters helped represent reactions to the new laws. The gangsters Rudy and Vincent represent how the bootleggers themselves may have reacted to the loss of business. Helen provides a contrast to the mischievous and spirited saloon characters, serving to ‘rain on their parade’. The Mistress, although commanding, is quieter than the other characters in order to be a surrogate for the audience and observe the action. While these characters all possessed attributes that informed the theme, it was their interaction that presented the contrast between an underworld upset and a stiff class mixing with a new, unsavory crowd.