OUGD501 - Study task 02 - Parody and Pastiche
Having read each of the extracts in the session (Linda Hutcheon - The politics of postmodernism: Parody and history and Frederic Jameson - Postmodernism: Or the cultural logic of late capitalism) For this study task I had to answer questions through a 300 word summary of parody and pastiche according to Jameson and Hutcheon.
In both texts parody and pastiche are defined by both Hutcheon and Jameson in two very contrasting ways. Jameson who is a literary critic and a marxist political theorist, who is best known for his analysis of contemporary cultural trends but also has voiced views on postmodernism. These views include that he believes postmodernity is characterised by pastiche and that pastiche has replaced parody in the postmodern age 'Parody finds itself without a vocation, it has lived and that new thing pastiche slowly comes to take its place' 'Pastiche is thus blank parody, a statue with blind eyeballs'. Jameson strongly puts forward his views on parody and pastiche in his text but on the other hand, Hutcheon talks about how parody in a way is postmodernism, that postmodernist artists are creating a parody of modernism. Hutcheon who is a academic working in the fields of literary theory, criticism and opera, she believes that 'Postmodern parody resembles modernist parody' this contrasts with Jameson who considers such postmodernism as a symptom of the age. Hutcheon states in her text that 'Jameson condemns all Hollywood films as contributing to the problems of late capitalism'. Hutcheon criticises Jameson because she believes you need both parody and pastiche in order to move forward and create something new, and today new innovative work is created which is influenced by work from the past.
These theories relate to design such as the 'Keep calm and carry on' slogan, the endless parodying of the wartime slogan become tedious and tacky but it was first resold in 2001 as a poster but it soon caught on as it appeared on mugs, t-shirts and all other manner of items, and the parody went one step too far when the once motivational wartime quote was humorously reworded into a thousand different variants. 'Keep calm and drink wine' 'Keep calm and go shopping' these are just two examples of a thousand other pointless quotes that degraded the once inspirational and iconic poster.
The example above shows parody and pastiche working as a commentary of a consumer culture. It shows four instantly recognisable logos but manipulates them to communicate a message, the message being, that we live in a consumerist cycle of working to consume.
Monday, 31 October 2016
Monday, 17 October 2016
OUGD501 - Study task 01 - Triangulation exercise
Visual and Other Pleasures
Mulvey. L (2009 [1975]) Visual and Other Pleasures. Basingstoke
Laura Mulvey is feminist film theorist but also a filmmaker who's work is influenced by Sigmund Freund's psychoanalysis. She's worked for the British Film Institute for many years and currently a professor at the University of London, but her most notable work is the essay 'Visual and Other Pleasures' which helped shift film theory in the 1970s towards psychoanalytical theory.
Key notes from essay :
Visual and Other Pleasures
Mulvey. L (2009 [1975]) Visual and Other Pleasures. Basingstoke
Laura Mulvey is feminist film theorist but also a filmmaker who's work is influenced by Sigmund Freund's psychoanalysis. She's worked for the British Film Institute for many years and currently a professor at the University of London, but her most notable work is the essay 'Visual and Other Pleasures' which helped shift film theory in the 1970s towards psychoanalytical theory.
Key notes from essay :
- How culture reflects society and its structures
- Women as an object
- Patriarchy, men in power within society
- Scopophilia, the condition or act of gaining sexual pleasure from openly looking at sex organs or acts
Cultural Theory and Popular Culture
Storey, J (2006) Cultural theory and popular culture. Prentice hall, USA
Key notes from essay :
Key notes from essay :
- Women are the object of male desire
- Male gaze
- Scopophilia
- Narcism
- Two main moments of film, moments of narrative and moments of spectacle
Heavenly bodies: Film stars and society
Dyer, R. and Department of Film Studies Richard Dyer (1986) Heavenly bodies: Film stars and society. 4th edn. New York: St. Martin’s Press.
Richard Dyer is an English academic currently holding a professorship in the Department of Film Studies at Kings college London. He specialises in cinema, queer theory, and the relationship between entertainment and representations of race, sexuality, and gender.
Key notes from essay :
- Mulveys freudian thinking leads her to conclude that the male gaze produces a sadistically voyeuristic pleasure
- Male characters are made threatening and aggressive to divert their erotic potential
- Men in a scene have to be aggressive towards each other to not promote homosexuality
300 word summary triangulating the 3 texts
Mulvey, Storey and Dyer all discuss the theory of psychoanalysis and gender roles within film in their essays, the later two being mainly influenced by Mulvey's Visual and Other Pleasures which helped shift film theory in the 1970s towards psychoanalytical theory. Mulvey who is a feminist film theorist talks about numerous points, mainly bombarding the film industry with the first being women as an object in film. "In a world ordered by sexual imbalance, pleasure in looking has been split between active/male and passive/female" (Mulvey 2009 [1975]:19). This point has also been in Cultural Theory and Popular Culture by John Storey, Mulvey stating "men look and women exhibit 'to-be-looked-at-ness' - both playing to and signifying male desire" Mulvey expresses her personal views on this as its apparent she is unhappy with the way women are being sexualised in film but on the other hand Dyer's view is the opposite. Dyer who specialises in cinema, queer theory, and the relationship between entertainment and representations of race, sexuality, and gender, discuses how the male body can also be displayed and objectified on film the same way as a woman is. He goes on to show an example from the film 'Picnic' in which a male actor is gazed at when topless on screen.
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