Death has eyes? Is dying someone with heart disease..no I mean to die is happening without looking every day.
Desires of the power elite: Us under the phallocentric order.
1. Desires of the power elite: Us under the phallocentric order
2. Dominance and seduction, five looks, one accessory
3. What makes a classic, what makes a movie?
Introduction: Nevertheless the impossible mission one must make an effort and tackle the copy-paste culture where there seems to be unbreakable circle of tradition in how gender, talent, abilities and possibilities are seen and dealt with. To see opposing, questioning and anger justified not apologised for, one’s own art and body of work worthwhile, necessary and valuable and because someone has to lead the way and do it what few dare to do. This is an article trying to understand what is the feminine in movies for especially in Hollywood. Role of women in movies, in art and place of ours is to go against, not play along but question. I know you will be called difficult. Be difficult in demolishing and constructive way. To be difficult and demanding is to build something new. Becoming movie critics, producers and directors, active makers in the business ruled by white men is of vital importance. Importance is also there who evaluate the films made and how, what issues are emphasised when talked about making movies and distributing them to the audiences. What is the sellable item? How pushing the envelope even though it is difficult makes a difference no matter how small and powerless you feel. This means women should write and put in action new rules how we are to be viewed, displayed, portrait and talked about. Our roles are to be active not playing according to the old comfortable ones. One problem being lack of finance, demand and support is one women face which is telling women should support each other.
1.Desires of the power elite: Us under the phallocentric order
Movie is a continuation to something experienced in real life. It is an interpretation of how we can experience and see, but it is up to the viewer to grasp what to make of the seen movie. How movie can explain an experience and tell what to look at or for, what there is to see and experience further. Truth of a movie is truth of the movie maker, an illusion, make-believe, coloured tale or fact-based illustration, a portrait and depiction. Whatever movie is to fulfil it is also image of the makers. We like to think reality is fixed, there is normal and the weird, to go weird doesn’t take that much of effort. To break this illusion of normalcy movies function beautifully partly it is why movies get made, to imagine again for us in a new way. Some movies are made to strengthen our fixations and feel powerful via them which patriotic movies tend to accomplish forcefully, they often don’t offer any kind of new perspectives but repeat the same story with some extra boosting and hyper-hyper. The experience needed to break down the normal wire and comprehension of what is and what movies can be marginal plays an important role. Mainstream moviemakers are given the glorified position of telling large-scale fables and larger than life stories. How these stamped ideas can be altered is a matter of art and courage. How much about the reality movie tells is up to the makers and what we think is reality, story worth telling. What have been the stories told for those who make films and what remains untold. What have been discovered before and during the making of a film, and after movie was released, to make a movie is to unearth and research. Interesting is towards what kind of issues moviemakers have their curiosity focused. What can be told via the medium, there probably isn’t much which cannot be depicted via film. Moving pictures are hypnotizing, whether holding a camera or sitting in front of a screen.
What lies hidden but is told via clues, what is not shown but is still there in the expression and how that invisible can be the most interesting part of films, the most realistic and humane part and forces us to imagine beyond the seen. What is the perspective there, decisions made how to tell, whose points of view are we looking at, whose truth or lie, what a movie is telling us, is it about the viewer as we choose what we watch, do we have to know about the makers as in excess we are curious about the stars as they are the heroes, they are those with means and visions, capabilities to make their ideas happen there where it is almost impossible to get. Movie continues in mind as it is at best a full body experience depending where and how movies are watched, how personal the story is, how relatable and what is universal in human experience. What kind of interests the viewers have in seeing films. Why do we watch movies is the easiness of just watching, the forgetting and sinking in to a world, and some of us watch very many movies of all kinds. This easiness is thought often not having much value, just sitting and watching. Movies feed the mind but in what way is the question we should be asking. Is it just less thinking needed, is there blame and guilt be felt for this indulgence.
Interesting is how we experience a movie, even a movie poster is an experience. What is the liking, time span, being influenced by and thinking about a movie, its messages, images, stories, artistic decisions and perspectives. Images and scenes of a movie stay there in our heads. The more curious the more puzzling. Too weird, surrealistic does not make a blockbuster but it can make a classic. We need familiarity which also can be totally unrealistic and adventurous. Films making euphoric and thrilling or otherwise felt sensations, cultural, artistic and political statements need a fruitful and fertile ground to live in. There is candy for thought and candy for the aesthetics which must be taken and somehow had, felt. At best movie has a mystery in realistic way which leaves space for thinking and puzzlement of not knowing. Feeling of learning about important events watched from a safe place as a spectator may be enough for some. Do we know more via films, definitely. Is movie experience comparable to life experiences? What raises our curiosity, is it the personal and something new? What makes a movie brilliant? How to define a movie, how is it defined? Technically it is how many pictures per second flashes before one’s eyes and make a moving scene, the running horse, a dancing woman, bullet from a gun. Films have different durations, different qualities, scales of evaluation, films have position in society which today play a big part. Movies are places of extravaganza and a huge part of entertainment industry, a way of life such as TV, it is everywhere. Definitions and genres for films are maybe already irrelevant. Films that are and have been made are endless in the amount and technic. Tiny piece of what is being made make it to the consciousness of the average consumer or anybody via controlled system. Internet makes watching and making demographic. When life feels like a film we think we have captured something historic and worth filming and sharing.
Film has a position in advertising and often nowadays mainstream films look like ads, function like ads and ads in turn are like movies. Movies are the most powerful tool to impress, catch the eye and attention, make an impact on large amounts of people, to influence and manipulate as something sweet and meaningful, breath of fresh air in a dull moment. Cultural and personal importance of movies is what counts. We like the fun part of films. Moving image is like a car, an object to move with and in which as an object is male dominated vehicle but treated like a lady or named a woman. It has a status to impress, possess, take us from one place to another, seduce. Cinema is above us, a fantasy, untouchable, holding power in size, containing vast amounts of capacity to influence our thinking, vision and appreciations therefore to talk and write about what is shown for us is at critical importance. To write only on surface about the surface is not doing us much good or for film as art.
Films make stars, films are the stars, writing gives at best more depth to what was seen and another perspective than our own. Moving feature is what has a hold on us, energy and lightness of it is felt. Could a movie have any other definitions other than something moving forward and towards us? Is it always the personal taste telling what plays importance in a film or something else, a shock, a strong emotion, a surprise? Society rules much via what is shown, where and how we watch. General opinion, or probably is better to talk about what we are used to seeing, what is convenient, pleasant and interesting to us, is still a guide to what we are having. We reflect our desires in an interesting way through movie culture and the culture is us? Many are attracted to speed and not being bored, to be entertained and to have a feeling of something fantastic being witnessed is to feel alive as we watch living pictures that are more alive than us, size and amount count. To avoid being left out is in focus and one main interest is to give birth to desires and needs. How much of this is not make us think for ourselves, distract us from looking what is behind the glittering luring images and why we must want what is given to us, sold to us? What creates brilliance or circumstances for sensitiveness, a thrive to create beauty and meaning, how this creating is restricted or guided, banned or manipulated? Is it related to what is sexy and desirable in a straightforward manner, where we come from, what we are afraid of, what we know about the world, what we have read and seen already? How does gender dictate what we see as beautiful? I’m interested in which are the ways people get their work on the spotlight, what kind of work is put in the centre of attention, given media focus which focus forcefully is narrow and gendered. What kind of publicity movies and moviemakers get, are there girl movies and boy movies? What kind of voice do moviemakers have, are given, how are they heard, what is asked of them and from what kind of world do they make? What kind of things journalists focus on in interviews and stories about movie scenes? What creates interest in a certain movie nowadays? How brave can and should moviemakers be? Is it still restricted what can be issued and manifested in movies nowadays? Is it limited what kind of people make movies, what kind of people are shown in the movies, act in movies, talk about movies? Is there something to be afraid of other than lack of variety and making an echo chamber for ideological purposes? Are there certain kind of people who seek attention through the movie scene, attention seekers? How all this structure of creating moving pictures dictates and who dictates the structure? Is it basically corporation-based solutions that work in this business? Which are the interests of those corporations, interests of the investors other than winnings and cinematic fame? What kind of role do film festivals play in all this? Or press and media as a whole? I’m asking because they are all linked under a dome and mostly what get mentioned are the galas, trophies, celebrities, faces, bodies, lives of the famed and clothes they carry. Any irregularity is reported and scandalised. Everything moves along the direction of relations, scare of losing and where the money is, how the money is and should it be followed. What does it mean to be an independent movie maker in this picture? Does it mean marginal or original, having voice of one’s own? What is originality in movies, in this context of making, who has a voice? Is there any place or demand for independence, independent thinking and breaking the habit?
It is a question of demand, what is in demand, who has control. What kind of people consume mainstream movies and what revolves around this mainstream ideology of spending and living a habit. It would be interesting to see how strictly audiences are analyzed. Anything that isn’t produced in Hollywood is basically marginal in the west. Hollywood movies or movies imitating Hollywood style get the most public space, attention and funding. Should we be concerned? Yes and concerned of what exactly? Some kind of monotonous Americanized view of the world perhaps, lack of complex views of the world and how things happen, lack of perspectives to difference, lack of imagination, having one-eyed view and one political perspective on good and bad. Consuming being the main focus of films is alarming, consuming being the good, the more as well. The way movies manipulate people to think and act, or not to act and think as the easiness is nice and a relief in complex everyday.
One answer to a couple of my questions come from an internet magazine The Gateway sponsored by Morgan Stanley article written by Matthew Reeves: ”The producer is the money person who buys the scripts, hires the director, actors and crew and organises the making and selling of the film. The producer is usually employed by a production company. Production companies are often referred to as “independent”, but all this really means is that they don’t have a distribution deal with a major studio, that is, Sony, MGM, 20th Century Fox, Paramount, Warner and Universal. While studios can buy scripts the usual way, they also have the power and money to decide they need, “a kids’ fantasy movie, with an A-list actor, for release in the summer holidays in 2011”, get a writer to craft it, attach a producer, put up the funds themselves, make the movie (in their own studios), and distribute it themselves.”
”But what if no distributor is interested in your film, which may have been made with nobodies, on a nothing budget and with no room left for marketing. How can you get the word out? The answer is film festivals. Cannes, Venice and Sundance are free marketing Meccas. You can enter Cannes, the most influential film festival in the world, for €50. There’s no guarantee your film will get chosen to feature, but it will get watched. If it does get chosen, thousands will see it, newspapers will review it and many distributors will be circling, looking for a bargain. Paranormal Activity was shown at Slamdance Film Festival, http://www.slamdance.com and a year and a half later it was released across the USA. It’s arguably the best $70 the producer has ever spent.” http://thegatewayonline.com/articles/content/how-does-the-film-industry-work
Continuing with more answers: Structures of Discourse and Structures of Power TEUN A. VAN DIJK University of Amsterdam ”In the news media, this strategic control of knowledge is exercised through restricted topic selection, and more generally by specific reconstructions of social and political realities (Hall et al., 1980; Tuchman, 1978; van Dijk, 1987b, 1987c). This process is itself governed by a system of news values and professional ideologies about news and newsworthiness, which happen to favor attention for and the interests of various elite actors, persons, groups, classes, institutions, nations, or world regions (Galtung & Ruge, 1965). Preferential access and coverage (whether positive or negative) of news actors is one factor in the mass medíated reproduction of social power (Brown, Bybee, Wearden, & Murdock, 1982). The same ís true in education, where the curriculum, textbooks, educational materials, and lessons are also governed by educational objectives, subjects, topics, and learning strategies that mostly happen to be consistent with the values or interests of the various power elite groups (Apple, 1979; Lorimer, 1984; Young, 1971). Therefore, we see that the symbolic elites that control the style and content of media and educational discourse are also those who have partial control of the mode of influence, and hence of ideological reproduction in society. The symbolic elites, we suggested, are not independent of other” https://archive.org/stream/IdeologicalDiscourseAnalysis/Ideological%20discourse%20analysis_djvu.txt
2.Dominance and seduction: five looks, one accessory.
The patriarchal society makes it easier for men to take the lead which is for them compulsory and what manly men are supposed to do: direct, command, lead, have the answers, know. It is compulsive and violent for both sexes, toxic masculinity. It is given and forced on us as natural. Women have to fight for being heard, be taken seriously and a powerful skilled woman is easily a bitch, witch, weirdo, difficult and an outcast. It is a male feature to dominate with physical force and scare, to direct others with threat and it has been easier for men to imagine being a director and to become one, the role falls on them more easily, naturally. To my knowledge women like to dominate and do it maybe in more complex and subtle ways or imitating men, but nonetheless feminine domina play is normal everyday act in patriarchal society, meaning women use their power to destroy as well and to direct, question is why they cannot do it in business and in art. What happens more subtle doesn’t make it less hurtful or less powerful.
A lot did change what comes to equality during 20th century in the Western world but what is the change other than technical and in terms of production? What will the ultimate change and progress within movie industry be in the 21st century? Hopefully more about morals, art and justice of the business than technicalities. It still does not mean things are happening for women to the extent of men or that things change fast. Speed is in the renewing the machinery not human condition or doing away the patriarch. That is why it is very important to show movies from all kinds of makers, sexes, backgrounds etc. in schools, in movie theaters and TV. What comes to equality internet is showing the way, moving images are at the core of our internet experience. At the moment women directors are treated like marginal makers as emphasis is on the gender and it is said out loud male or female. Scripts written by women usually are different from men. Directors are treated like it still is a wonder a woman is a director or a producer, although there are many women in the business and have been for a long time. It is much easier to watch females pose on a red carpet wearing a designer gown asked how they feel expectation being the viewer wants to hear it and see this. Emphasis is on the assumptions what does a photogenic person look like and who can be filmed, who attracts the eye and why.
Movie people seem to live a fabulous life, images give us impressions. Narcissism is questioned in any media strongly but celebrated at the same time. Narcissists are interesting people as they entertain and know what they want, get what they want and make scenes. To want such spotlight life is praised and encouraged, idolised. Photographs of someone entering a gala of something are shown in every magazine that have a gossip column or want to comment the movie world or talk about movies in any manner. Movies nowadays is a very stereotyped world. Everything goes around the money-making machinery and what brings in the dollars. Biggest moneymakers are talked about and again idolised. Imaginary is highly glittered, narrow and thin. Shallowness can be turned interesting when reasons for it are investigated and studied. Such industry is massive and the biggest categorizor of people world-wide, advertising and movies are part of our visuals which we eat and consume. Most people watch movies, see the ads which are creating the world we live in and look at, and films get inspiration from the world we live in. To go outside that box can turn out to be more than just an image.
To make movies requires ability to tell stories, will to succeed in a very male-dominated world and money-oriented atmosphere. Stubborn belief in one’s ideas and abilities is needed and room to make ideas happen, also to make others believe in ideas of yours, to get attention is what we seek, all of us nowadays. What else is there to have? Luck? Moviemakers must be completely passionate about their craft just as any artist, making movies and seeing movies, making that particular film and story which totally extraordinary sounds like a dream. As a woman does one have to be a man to make it in this frame is an interesting question, to make a feature film as a woman but act like a man? Such a woman is easily considered a difficult person. It is much easier to be filmed and look beautiful, do as you are told but be unique. Womanhood posing as a fragile flower, young, polished in ads, in flashlights, photographers calling your name. And why is it important to talk and bring this issue in front, is there a problem?
Needless to say, but I’m saying it, women make different kinds of films than men, they have different points of views and interests. When women play roles that have been played by men there is totally new level to it, something lived by men is lived by women too, story gets vastly layered context and understanding of gendered experience, it is power which resonates within the powerless. Women see the world differently than men, experience it differently, do differently, walk and talk differently, are treated differently. Women should be given equal chance to bring their knowledge on to the screen, be active and create as they create, thinking instead of being looked at and they should understand it themselves too. Do men get their clothes examined on the red carpet? Aki Kaurismäki was drunk and danced at Cannes 2002 which was making appalled headlines in Finland. Men can and must disturb the scene in a moving way as well as business requires certain behaviour. Scene is asking to be cut open and questioned. https://www.youtube.com/watch?v=Vcs3sottHm4
This is of course my observation and a bothering issue, horrifying actually when you look at the picture at hand. What a world. What are male points of views then? Is it so that men do different kind of movies than women as I claim. I already dislike the topic at hand, I dislike that I even have to mention it, sex and gender and what they mean. What does gender got to do with anything what and how people make professionally? In making movies or making art? Unfortunately quite much. Everything revolves around it. Comes back to our bodies. Why is it so? What is sexy here? What is sex other than a toy? Why is it sold? Because it is the easy way and an obvious want, obvious defined and dominator. An act, the difference, organs, emotions, chemistry, molecules, desires, reproduction, repetition, perspective of the wanted and the ones who want. It is the power-issue ruling our behaviour which is in the visuals. It is regulated by religion, politics, traditions, rules made to give us frame to act upon and know where the limits go. Major topics in film, in anything and the leading couple kiss is the anti-climax in an action film but it has to be there. Image of movie industry, of its people, how it works and what for, it all goes back to sex, human sexuality and how to profit from it, use it, it using us.
Feminist film theory has opened up reasons behind film industry, given a voice and chance for women to analyze film as an art, our point of view and why it should be there on film. How women are on film, used, abused, cut open. ”Feminism is a social movement which has had an enormous impact on film theory and criticism. Cinema is taken by feminists to be a cultural practice representing myths about women and femininity, as well as about men and masculinity. Issues of representation and spectatorship are central to feminist film theory and criticism. Early feminist criticism was directed at stereotypes of women, mostly in Hollywood films (Haskell 1973/1987, Rosen 1973). Such fixed and endlessly repeated images of women were and are considered objectionable distortions which have a negative impact on the female spectator as well as on males.” Claire Johnston (1940-1987) https://en.wikipedia.org/wiki/Claire_Johnston was among the first feminist critics to offer a sustained critique of stereotypes from a semiotic point of view (1973/1991). She puts forward how classical cinema constructs the ideological image of woman. Drawing on Roland Barthes’ notion of ‘myth’, Johnston investigated the myth of ‘Woman’ in classical cinema. The sign ‘woman’ can be analyzed as a structure, a code and convention. It represents the ideological meaning that ‘woman’ has for men. In relation to herself she means no-thing (1991: 25): women are negatively represented as ‘not-man’. The ‘woman-as woman’ is absent from the text of the film (26).”
http://www.film-philosophy.com/vol8-2004/n17sloan Is it problematic for cinema as a whole to talk about women’s cinema? “This concept of minor cinema is quite fruitful for the purpose of concluding the debate on the strong political ground that most interests Butler. Since a ‘minor’ cinema is one that politicizes everything, women’s cinema well qualifies, generally finding struggle in all aspects of life, and value in confronting it. Further, a minor literature is written by marginalized authors, and so focuses on the challenges of belonging to an out-group.”
The important theoretical shift happening was and is that women started taking up as voices and act out from places of power, from an understanding of cinema reflecting realities of variety of women, realities of many instead of one. Having a view to cinema as a constructing method, ideological and politically engaging on individual level. Classical cinema was not to show its means of production, or was it? It should be defined what we mean by classical cinema and why classical cinema is what we think it is. Characterised by veiling over its ideological construction and under restrictions rather than free expression? Thus, classical film as we think the classical presents the constructed images of ‘woman’ as naturally desirables, unrealistic and attractive for the male. This is the illusionism of classical cinema. www.feministezine.com
It feels like a concrete wall, the notion that a woman in film is not the man, not as able as the man and is always in need of assistance. She lacks something. She is there to be looked at, in relation to herself to her being no-thing. To continue the misogynist tale Budd Boetticher (Hollywood film director during 1942-85) has put it: “What counts is what the heroine provokes, or rather what she represents. She is the one, or rather the love or fear she inspires in the hero, or else the concern he feels for her, who makes him act the way he does. In herself the woman has not the slightest importance.”
3.Desire of the power elite; Us under the phallocentric order.
Do women objectify themselves by putting their bodies into a certain light where their body and sexuality is openly under gaze and played with, in a certain repetitious positions to gain profit and be seen as that is the way still to get seen? Of course, and I would say, it is not passive. It is a very active role to play and toy with, the game where women win in one way only and are therefore used for a certain time, as long as their looks grant it. Women are slaves as much as they must put themselves in that position to be looked at, in a way it is slavery, yes. There must be something more to it as it is voluntarily done. Victim is a spectator of her fate. She still must imagine what happens to her when she chooses to act in a certain way and like it. Film industry is an abusive machine which abandons those who are no longer useful which is seen tragic. This must be seen beforehand, calculated and be known, understood and accepted. Industry obeys only capital and how to get it. It gives models of how to be, become, what to be, where to be, what to wear, what is talked about and how etc. Seduction is deliberate, unforgiving and cruel, to seduce the audience, a mass has its psychology and logic. Movie industry is a brainwash operator where meat is power and murder. Movies are made to seduce the consumer. Movies to give goals in life. Movies to give dreams. How audience is seduced? Or are we really that stupid? What is seduction? From Wikipedia: ”In colloquial language and fictional literature, seduction is the process of deliberately enticing a person, to lead astray, as from duty, rectitude, or the like; to corrupt, to persuade or induce to engage in sexual behaviour.” The Internet has lately given rise to more open discussion on seduction and how to master it: The Rules for women and The Game for men.
MUCH ABOUT JENNIFER LOPEZ:
”Actress, entertainer, music artist, film & TV producer, fashion designer, entrepreneur and humanitarian Jennifer Lopez has been called one of the most powerful and celebrated celebrities in entertainment. Forbes Magazine named her the #1 Most Powerful Celebrity in the World of 2012. Known for her beauty and fashion sense Lopez has been the face of many advertising campaigns— L’Oreal, Louis Vuitton, Ford, Fiat, Subaru, Lux, Brahma Beer, Gillette, Kohl’s and Pepsi just to name a few. In 2012, Forbes ranked Lopez number one on their list of “100 Most Powerful and Influential Celebrities in the World” “and she has appeared many times on The Hollywood Report’s list of best paid actresses. Also known as a fashion icon, her appearance at the red carpet events always garners considerable media attention.” www.jenniferlopez.com
”While Hitchcock goes into the investigative side of voyeurism, Sternberg produces the ultimate fetish, taking it to the point where the powerful look of the male protagonist (characteristic of traditional narrative film) is broken in favour of the image in direct erotic rapport with the spectator. The beauty of the woman as object and the screen space coalesce; she is no longer the bearer of guilt but a perfect product, whose body, stylised and fragmented by close-ups, is the content of the film and the direct recipient of the spectator’s look.” www.feministezine.com
Watching her going in to an exiting event wearing Versace smiling and looking happy. The most beautiful woman on Earth, hugely wealthy and desired, influencer on the beauty market. She has her hands leaning her waist. She is a business woman, it is said she is in control of her image, meaning what exactly? She is strong and independent, her own boss and ruler of her art. Poses telling so and the interviews strengthening our perception. But she isn’t saying much concerning entertainment business or how it could be something other than it is and should it be different as it has served her so well? What other could it be and what else is there. Industry serves her as she serves it. I wonder the machinery behind creating the phenomenon like JLo. Is it pure and simple as I think in businesslike? This is awesome. I love you and your arse, your body is part of your art. The publicity is moving around the globe. Beautiful women sell enormously well, so conducting from that there is incredible power in women which remains on image level as it is not completely let go, released. Wildness is ok up to a point. Too much rock and roll is too much the devil.
How it functions building an image for one person around her or his sex symbolism, luxurious life, incredible life story of being discovered and how the story continues, relationships, children, houses, clothes, movies, making music and money, going around the world dancing, having pictures taken, videos being made being followed. The amount and quality of imagery is about style + beauty, body+mind says also her website, a place for worship and to know her a bit better: Lopez’s dedication to assisting children in need and to the empowerment of others is far-reaching. The Girls & Boys Club of America has named her their national spokeswoman. Gucci is featuring Lopez in a national advertising campaign along with her twins Emme and Max launching its children collection. The campaign will benefit UNICEF. Lopez set the branding standard for celebrity fragrance, apparel and accessories. Her latest fragrance, Love and Glamour, marked 17 successful launches, taking in over $2 billion combined. A new fragrance, Glowing, was launch in 2012. In 2006, Lopez was awarded with the prestigious ACE Fashion Icon of the Year for her contribution to accessories and the fashion industry. www.jenniferlopez.com
It’s good publicity to be a humanitarian. Cynically put, but mentioning one’s humanitarian work after all business and entertainment deals and PR is as cynical as business can get and only in couple of sentences her humanism is clear, she is clean and good. I would like to know more about the results of her humanitarianism. What is being made exactly? What is done? What comes to being powerful and influential? She is hypnotizing and playing on many arenas, sure. She attracts men and women that is called power, she makes people wild and dancing, that could be called freeing. The queen bee, a person as a classic beauty to imitate, movie personality with looks to kill, movie star who gathers people to watch her perform, a role model. There are many out there who play this particular part and use their gained position to make a difference as well. She has acted in several Hollywood movies which gives her a platform where she is listened to. Still such story is not the most important issue in a Hollywood feature film, in Hollywood, to be humanitarian it is a side trail, something rich people feel compelled of doing. What kind of sexual vibes arise from the making it. It is a Hollywood cult of icons, stories behind and what actually makes difference in the world. The industry is like a religion with angels and demons, money as the only God. Is philanthropy a distraction, a cleanse? What are movies then? Tools to become rich and famous?
” The paradox of phallocentrism in aIl its manifestations is that it depends on the image of the castrated woman to give order and meaning to its world. An idea of woman stands as lynch pin to the system: it is her lack that produces the phallus as symbolic presence, it is her desire to make good the lack that the phallus signifies.” Laura Mulvey Visual Pleasure NarrativeCinema http://imlportfolio.usc.edu/ctcs505/mulveyVisualPleasureNarrativeCinema.pdf
Hollywood film is a monolith, what I have seen, watched and as I see, it is leaving much out and sticking to the very narrow tones of humanity and sexuality, posing sexual stereotypes, showing a look-a-like magic tricks with a lot of bling and bang. The thing I don’t understand is why is it doing so when it could be doing so much more? With a lot of noise to get so little is strange. Hollywood as a factory would have an enormous potential to do better quality, interesting, experimental, progressive cinema offering the masses variety and actual change. To me their way is more and more commercial humbug offering ecstatic experiences which other art forms also try to achieve, mass appeal and instant ecstasy. Musical sounds are the same, people look the same, has every fucking thing become a clone, an ass and pair of tits? And the world has become an image of the movies. We are coping what is being copied, becoming copies of each other. Copy that.
To be afraid of falling off the edge, of being left outside, any kind of fear there may be that is terrifying and paralyzing. If one is not aware that being afraid is one of the most central issues to grab and learn to know why and what it is all about.
Fear for a woman and for a child is an everyday issue. We must be careful because there are dangers but we cannot live in fear. Danger is a sharp edge, falling down, sudden accident, a crash, an explosion, an attack, a stalker, a stranger, unknown, losing honor. Where are they those who threaten, what are they, those scary monsters, threatening future prospects, masked and armed enemies who hate? A black cloud, radiation, cancer, illness, losing one’s mind, losing friends, losing a job, losing hope, losing everything there is to lose. Fear in media fed to us is there for a reason, fear the emotion is dictating largely how we act and react, what we see and don’t see, how we feel and are allowed to feel. What happens next, what should we think and do. What are we afraid of and why, there is the safe inside space and the unsafe outside space, there is fear of life unlived, fear of death, fear of shame, being shamed and ashamed, fear of hurt, of losing, being forgotten and left aside, stomped down. There are so many ways to be afraid, how we keep silent, go with the crowd, tremble, stumble, stutter, shiver, feel frozen of fear, panic, scream, try to escape, run, go out of breath, don’t want to face the things that frighten us, how we show fear we must not show but we sweat, how we inflict fear, spread fear and terror, keep people in fear for their lives because everything is uncertain. To rule with fear is to bring horror for your people. One can be fearless when one is tired of being afraid, constant fearing does not make things change, to be brave and do whatever you think you can you should do, maybe little hesitant thinking what will others think, what will be thought of me when I do this, fear of being judged and abandoned, labelled, bullied. Can we smell fear?
Frightening forecasts and events stand an everyday phenomenon, unsurprising in a way but always new, bigger than the last one.
There are monsters like in stories invading spaces of ours which spaces we think are ours and there are real ones just as bad. Monsters in this case today are dictators, illnesses, refugees, terrorists, Muslims, trolls, advertisers, salesmen, politicians and bankers. Some monsters are made to hide issues that do more damage than the visible ill. Disturbing the balance of ours which we like to have and feel safe in, stay undisturbed, spaces which we do not have nor hold forever completely but defend against intrusion ferociously especially politically. Those with means do not have to think about borders when they have no respect for boundaries and crossing them. Something that is ours cannot be taken away but what is? What kind of news value is there other than what this fear of invaders, fear of losing one’s space stands for, fear of becoming of some horrible intolerable change that will alter everything for the worse? Worse than has already happened over and over again escalating. The total crash is coming could be said without much understanding of how things effect on each other, to us and an ultimate crash because there is not much understanding nor will to understand why. Intrusion, invasion, ultimate disturbance, catastrophe, survival, decline, misery. News value brought by common public scare understandably, the value scare brings cannot be underestimated. Fear of losing something valuable is an industry. Life as it is and will never be again, worth while having and owning, easily destroyed. What can be build again and how will it be good again? Emotion of fear and what we should be afraid of is exploited because it is the easiest motivator to act upon, feeling is present, in a way everlasting as it is pleaded for, kept alive and therefore profitable.
Those easily scared may become angry in their fear against those who are threatening something very basic essence and an ingredient of ours. Team up to feel more secure is to protect values, protect the group at hand, guarantee survival and success. It is a very primal reaction to fear, useful as such for living and is on surface of what makes us thinking considering humans solving problems for us not to be afraid again and always of that same monster who is deciding how we should live. How to live with fear and not be afraid? Whether we like to admit it or not irrational faith-based mass movements have never been the best solution into solving threats and ways to live. This is the conclusion I make on what is going on now and on reactions of hate which we have witnessed during recent years. Hateful acts may look like they are of bravery and strength. We tend to be afraid of a lot which most is absurd and out of control without much reasonable base but partly fear is grounding us and keeping us from evolving on. Does fear keep us away from illusions and disinformation which tend to take too much hold? Female sex is targeted as usual, the vulnerable, seemingly weaker and fragile as are children. Is the best defence to be prepared and learn self-defence, make oneself a frightening opponent? Our constant falling into fearing immensely of threats that are there lurking behind the corner somewhere unnoticed, some hidden forces, strange people like animals guided by irrational urges and beliefs, monsters, dangers, death and sickness all over, darkness and the unknown which can take us over just like that and it will no doubt. Fear itself is dark and can take over completely making vision narrow. We are alone, small, insignificant, easily hurt, killed, tortured, bullied, offended, exploited, abused, bruised, cut into pieces losing our minds, left to rot if we do not defend ourselves, be cautious and be prepared always.
We are afraid of failure, shame, losing face and name, losing friends, possibilities. Fear of stepping on someone’s toes, authorities can be frightening and they often times know how to use this fear to stay in power and rule. Fear is useful and painful in this regard how we are to stay put, in our places and consider our chances. We can expect and be aware of dangers but how much do we have to be wary and guarded. It is not good for us to shelter ourselves too much for many reasons. This sheltering happens for women and is built-in. Women who defy this timid place face obstacles and are tested more than men. It is tempting to become too comfortable, you never know when your comfort is bad for you, against you. For some the most feared are afterlife experiences purgatory and hell, which for some already exist on Earth, to be prepared for afterlife in that case is ruled by fear, threats in this earthly life are those of religion’s creation. Do we, as it seems, fear outside threats most and not ourselves? We don’t see ourselves as dangerous to ourselves and others as what threat of Hell is telling we should. We can be afraid of losing ourselves, not being interesting enough, not being successful enough or not living at all, not getting work, afraid of rejection and loneliness &c. What happens when we lose all this fear which can be a load, burdening worry that things don’t go as planned, fears of modern man whose interest is self-interest and fears are socially bound? Will we become free when we lose modern anxiety and torment? Press is loaded with economical and violent threatening things that are overcoming that blow up on our media space everyday. Interesting is how we react to those News and which ones. The ones that come closer and closer, that are so close they connect to our daily lives and begin to bother our spaces especially spaces which are also virtual and closer behind the corner on our faces. http://blogs.spectator.co.uk/2015/12/swedens-feminist-foreign-minister-has-dared-to-tell-the-truth-about-saudi-arabia-what-happens-now-concerns-us-all/
Poetry used as ‘a perfect weapon’ for recruiting violent Jihadis, study finds http://www.theguardian.com/books/2015/dec/29/poetry-used-as-a-perfect-weapon-for-recruiting-violent-jihadis-study-finds?CMP=twt_gu
We like to predict, tell the future. It is something we do because we must see what is ahead and what is going on inside opponents head. To calculate what might happen when we do something is also wise. Tell research results what can be conducted from them, insights into details and facts, new information, new ideas, what happened and will happen and why is more recommended, to base action and talk on facts. To paint black images, stories and forecasts to make headlines and turmoil has been normal part of making a gap in between us and them, isolating and socially killing people. Tempting ways to make an impact on public opinion is to invent the evidence, invent anything what could be worth telling as a scoop, tell something and leave something else untold, blame the other party heavily and fully, exaggerate, make a scapegoat. National politics that expands from blame, shaming happens us versus them as a rule. It gives ground for phobias to grow, moods to swing up to very hostile and violent as has happened. Fascism which never went away is more visible than in years.
Movements of crowds are fast as are emotional responds, thoughts do not evolve as fast to make progress. Reasoning of how much emotions effect on how we act and what we think about things gets easily ignored. To feel something strongly is considered a right to have and not irrational or harmful when it comes to nations, political and religious interests. Media is a kind of testing site of what will happen when creating mass hysteria, maybe happens other than selling magazines. Interesting question is what media makes, panic, mania and other sudden uncontrollable reactions. Such irresponsible practices that often seem hasty as if we didn’t know what is going to happen in the end. To be manipulated to this extent is therefore very accurate issue to wonder. What is to be expected, why we expect what we do, why we create talk that is hateful without truth in it, predictable or unpredictable anything very much beats me: one way to make harm is to troll, one reason to be a troll is to make harm and mould virtual space and mass opinion. Action which is violent wants to let it explode, shit on the fan. Interesting is how strongly fears we have mould the whole society and to what things we pay attention, our sense of reality, what is true, how we behave now and in the future. Is there learning and what is the essential change happening?One can say fearing is normal elementary part of our emotional bodily map, map of nerves, organs and hormones opening and closing us to others and to ourselves.
We can be scared of ourselves which seems to be the case when oneself is hard to face, one’s self is denied, you are your biggest opposition resisting the effort of learning who you are, a wall to climb. One can be scared to look inside and analyse oneself because it is the case of learning about one’s imperfections, perversions, thoughts and all what is uncomfortable and shameful. To predict what will happen to anyone is partly out of our hands. Tell weighty information on something takes an expert and authority. Who is the biggest authority when it comes to facing oneself trusting the knowledge that we have, that we are psychologically and spiritually complicated incomplete beings and there is a lot to learn for all about this aspect of humans. We may need an expert to tell why we behave and feel the way we do because we can and will get lost, which is also one thing to be off and as odd as it sounds, we do not know what is wrong with us until we hit the wall, not to speak of how to fix our emotional selves.
To whom authority is given in this regard, in which kind of science, people and knowledge we believe in plays a mighty part, by whom this knowledge is used, analysed, how and what kind of characteristics do experts have to have to be trustworthy, reasonable, understanding, weighty and effective in a good way? Do we trust more male or female expert, young or old, black or white, rich or poor, Western or Eastern, Christian or Muslim, which degrees and occupations get most credits? Politics and traditions mould our ways of thinking more than we like to admit. CEOs and economists tend to do well in who is listened to depending on the matter at hand of course. CEOs give political advise very gladly as life advise as well. Who do we count on and trust seems to be somewhat matter of visuals, values, statuses and official credentials in show, a public agreement of an expert and again intellect of a mass. This goes well with who we think is crazy and whose talk counts. Thinking you know who knows the truth is something we should always question. Do we say we don’t know when we really do not know how something is in reality? Knowing who really has valuable information can be matter of instinct and experience. What information given and withheld does then? Who can and could be trusted when politicians act like clowns and making politics seems like a comedy show creating destruction. Who can be questioned and be forced to answer, who is accountable? All these good and nice people.
https://www.rt.com/op-edge/328378-europe-demoralized-invaded-violated/ “If I want to go to New Zealand, for example, there is a process. Quite a strict one. And if I turn up in that country without the correct documentation, then I will not be getting in.”
Why is body damaging? Or should the question be rather what kind of mind does not tolerate body?
Questions to be answered hopefully of what gets damaged by body, who damages what in the process of living with bodies, what is there to be protected? Something similar could be asked by why we allow the self-evident damage to be done by excessive mechanized sexualization in visual universe we inhabit? Something needs to be sold and it is going cheap. Constant intrusion of purity is an attack done by entertainment industry. When art does the same there is a scandal. What other is it about than hypocrisy, living in a new world with old virtues and vices. Where is empowerment and who has it?
Thought of the obscene body, body parts, impropriety, bodily obscenity which is linked to build and controlled civilization, concepts of shame, honor, purity, denial, evil, temptation and sin. Corpus that is indecent all the time even clothed must be punished also all the time to prove goodness and strength of mind, ability to control oneself and capability to decency. Our sexuality which is inappropriate, difficult to the very core is on display everywhere for consuming purposes and is still denied, humiliated and put to shame. Advertising and entertainment is according to creators of business talk empowering and broadening horizons, opening minds to human sexual exploration. Obscenity is in contradiction to nature and to nature in us. The more we put nature to shame and sweep it under the carpet the more problematic the issue gets. To be damaged by act of intercourse, seeing nudity, being nude, having to deal with sexuality and complexity it brings is at large a mighty part of nature within us and part of all. The difficulty to understanding this practical everyday part of life seems to be very common and around we see a very sexualized world.
As there is thought to be a bond between art and exploring human sexuality, art and the dangerous animal in us, it is strange how forcefully sex is banned in art. Such prohibitions, raising eyebrows in embarrassment tell of artists not having much power within art that public opinion and public image play an important role what kind of art can be displayed and seen in art context. There is a strong stereotype of sexually liberal artist, female and male caricature almost which has been made via art history by telling stories. Liberal, someone who is disregarding social norms, such stereotype which is an image from a dusty book than real life. Strangely I have encountered this stereotype of an artist and it is dusty. Sex and drugs and rock and roll.
It is a scary world run by fear, with fear we are ruled, fear shown for us to be even more scared shitless.
What is fear other than primal emotion to keep us alive. Does running scared keep us alive, because to me it looks like the emotion has a paralyzing effect. We wish to protect what is ours in order not to lose what we hold dear. To be afraid of losing one’s dearest, most valuable things and become someone who has nothing.
To be afraid is at least for a woman more or less normal. Dearest things to women in some countries include virginity, honor, marriage and family. Without those things women are trash. Are treated like trash. This sounds as if women are under heavy rule of traditions unable to decide for their lives. Value of their lives is in somebody else’s hands when one is born a girl.
To be suspicious of strangers, darkness, alleys, future, telling of one’s mind, being an artist, eating, drinking and whatever there is to be afraid of. There are lots of things that keep us alert. We are given information about what goes on in the world and how those things going on affect our lives. We are suppose to make conclusions and decision according to the news we get. We are meant to have faith in the news we get. World is reported for us continuously as we are all online. What does it all mean?
Men’s fears towards femininity that breathes outside regulated cocooned womanhood. What is a woman?
She left her panties and other underwear on the floor without thinking much who would see them as she does with all her clothes, dropping them off liking to watch them herself as constellations of random and a day; cotton, lace and strings, used, changed, private creatures which a minute ago were pressed against her body and let loose. Memory of a cloth has parts of her form. What is so disgusting about it she does not understand but tries maybe that is what she likes because she has to be pure and clean to be liked. She does not leave her clothes on the floor to stay there for weeks but just for a moment, she is not that disturbed.. It is a moment of absent-mindedness, carelessness and something of herself she likes to examine, her relationship to all. It is that she does not behave like she should behave well-mannered especially when she is alone. There are windows, anybody can see in. She malfunctions and is dislocated in places like arms, in places that are sterile and in perfect order and under control that nothing breathes there, like finding perfection in death. Demand for sterile body is against life’s natural flow, decay and against nature in her, her dirtiness, her will and her femininity that smells. Why are you so horrified but you still want to barge in, invade her and her privacy to watch her wrongness to blame her and accuse her for her being wrong not being like a norm of the civilised. Do you lack something when you do that or is it just power you like over her? Do you notice what you lack? Act of curious and wish to speak about what an abomination she is. What did she do? Fears of men have become fears of women fulfilling stripped and solid perfection to be admired. We are raised to think superiority is sterile environment just as a superior race would be. Shame of what did she do. Shame that is experienced because of her, for her and what she is.