All posts by Sarah Browne

Filters

Author:
Category:

key terms: representation

Male GazeFeminist theory that the perspective of a typical heterosexual man considered as embodied in the audience or intended audience for films and other visual media, characterized by a tendency to objectify or sexualize women,
VoyeurismObtaining sexual pleasure from watching others in a sexual way.
PatriarchySociety in which men are dominant and hold power that women don’t.
Positive stereotypeSubjectively favourable belief held about a social group.
Negative stereotype Subjectively unfavourable belief held about a social group.
Counter-TypesA contrast to a stereotype.
MisinterpretationFalse understanding of someone or something.
Selective representationOnly showing some events/conflicts.
Dominant ideology The attitudes, beliefs, values, and morals shared by the majority of the people in a given society.
Constructed realityThe process of people developing ideas and beliefs about themselves
HegemonyDominance or leadership of one specific group.
Audience positioningHow a certain type of audience might react to certain ideas or values.
Fluidity of identityHaving the ability to change how you see yourself or the world.
Constructed identityTo create identity of society and create specific ideas.
Negotiated identityTo come to an agreement to target the audience in the interaction.
Collective identitySense of belonging to a group.

essay prep

I produced a games box cover inspired by Toy Story and I created a dominant signifying image that was essentially masculine although it was clearly a female character. This corresponds to Toril Moi’s analysis of the distinction between female, feminine, feminist categories of representation (1987). Only in my production there is a clear focus on masculinity, as she is female but appears rather masculine and not feminine. This can be recognised in the attire my character is wearing. She is dressed in army combat clothes that are not tight fitting to her body as it would be reactionary for a female character who is a dominant signifier to be sexualised with exposed breasts and bum which is then revealed by tight fitting clothing.

Furthermore, when creating my character I did make her limbs and frame wider and more muscular rather than the stereotypical slender frame of a female, nonetheless I made sure not to over do the body shape as I didn’t want the focus of my character to be on her body as that takes away from the whole idea of the fact that she is female but is unexpectedly masculine so she is not sexualised. It is a negative that it takes for a female to dress and look masculine for her to not be sexualised. These features go against Laura Mulvey’s work on ‘The Male Gaze’ as my creation of the dominant signifier’s purpose is most certainly not for the male gaze and the sexualisation of the dominant signifier. This contrasts to Laura Mulvey’s

However, I believe that society is becoming

Quotes

Levelling up

  1. The first video game featuring a Black person was Heavyweight Champ, an arcade fighting game released by SEGA in 1976, then remade in 1987, and re-released again in the early ’90s. 
  2. As technology advanced, Black and other characters of color became more prevalent, even if most often confined to the fighting genre. And stereotypes were not limited to African Americans; Latinx characters have often been portrayed as gangbangers and drug dealers, as seen in the Grand Theft Auto franchise, with ridiculous, cliched gang names like “The Cholos” and “The Cubans,” voiced in exaggerated, stereotypical Hispanic accents.

Why diversity matters

  1. The industry traditionally projects an image that is young, white, straight and male, but there is growing understanding that – if only for the sake of releasing more interesting products – this has to change.
  2. “We decided that we’d like to do more for our LGBTQ gaming community and Pride in London seemed like a great start for that – after all, we are based in central Soho. We quickly came together with the UK team who had separately been working on plans for Pride. From there, it just started to move forward …”

Laura Mulvey’s ‘Visual pleasure and Narrative cinema’

  1. A male movie star’s glamorous characteristics are thus not those of the erotic object of the gaze, but those of the more perfect, more complete more powerful ego conceived in the original moment of recognition in front go the mirror.
  2. She is isolated, glamorous, on display, sexualised. But as the narrative progresses she falls in love with the main male protagonist and becomes his property, losing her outward glamorous characteristics, her generalised sexuality, her show-girl connotations; her eroticism is subjected to the male star alone. By means of identification of him, through participation in his power, the spectator can indirectly possess her too.

Feminist Frequency

  1. As a trope the damsel in distress is a plot device in which a female character is placed in a perilous situation from which she cannot escape on her own and must be rescued by a male character, usually providing a core incentive or motivation for the protagonist’s quest.
  2. Disposability – When an objectified person is treated as “something designed for or capable of being thrown away after being used or used up” – a component of objectification theory.

games cover

statement of intent

I am going to make a games cover inspired by the Toy Story films. I am doing this because I will be creating two new characters, both of which will be female. One cover will have one female and the other will have the other. One female will be dressed as an ‘Action Man’ toy and the other one will be dressed as more of a softer princess type look. She will represent a ‘damsel in distress’.

I believe I will incorporate both reactionary and radical aspects. The female character dressed as ‘Action Man’ will be dressed as closely as possible to what a male ‘Action Man’ which is radical since females are stereotypically dressed in much tighter clothing which is contrasting to males. She should not be in the position to be sexualised. The character dressed similarly to ‘Bo Peep’ in Toy Story will be reactionary since it is stereotypical for a female to dress in dresses and soft colours. This will make her look like the ‘damsel in distress’ that she is portrayed to be.

The target audience will be younger children, perhaps 7+. At this age children would have watched or heard about toy story so this game would be suitable for them.

My game will be made by a generally big company such as Nintendo or Sony.

Representation

The Male Gaze is the idea that men objectify and sexualise women. They depict them in ways that portray them as sexual objects.

Laura Mulvey was a British film theorist who tackled the centrality of the male viewer and his pleasure. She called this ‘The Male Gaze’. She wrote ‘Visual Pleasure and Narrative Cinema’ which showed all her findings and opinions.

John Peter Berger was known for his ‘Ways of Seeing’ This highlighted ‘The Male Gaze’.

CSP 1 AND 2

The way Lara Croft is presented in the CSP 1 front cover of tomb raider as both radical and reactionary. The use of Lara Croft is radical because woman aren’t stereotypically put in action-filled situations. On the other hand the use of Lara Croft on the front cover is to sexualise her. She is posed with her back to the camera with tight fitting clothing which is common in games. This is reactionary because it is expected.

key terminology

Key language:

Semiotics

  1. Sign – Something that can stand for something else.
  2. Code – A combination of semiotic systems.
  3. Convention – What signs are meaningfully organised into.
  4. Dominant Signifier – Main signifier that stands out.
  5. Anchorage – Describe how the combination of elements within a sign fit together and fix the meaning. 

Ferdinand de Saussure:

  1. Signifier – Any material thing that signifies something.
  2. Signified – The concept that a signifier refers to.
  3. Paradigm – Collection of similar signs.
  4. Syntagm – Order of in which signs go and how they link with each other.

C S Pierce:

  1. Icon – A sign that looks like its object.
  2. Index – A sign that has a link to its object.
  3. Symbol – A sign that has an arbitrary or random link to its object.

Roland Barthes:

  1. Signification – Structural levels of signification, meaning or representation.
  2. Denotation –  The most basic or literal meaning of a sign.
  3. Connotation – The secondary, cultural meanings of signs; or “signifying signs,” signs that are used as signifiers for a secondary meaning.
  4. Myth – The most obvious level of signification, but distorts meaning by validating arbitrary cultural assumptions in a way similar to the denotative sign.
  5. Ideology – codes that reinforce or are congruent with structures of power.
  6. Radical – Something that challenges dominant ideas.
  7. Reactionary – Something that confirms dominant ideas.

C.S. Peirce – Peirce’s seminal work in the field was anchored in pragmatism and logic. He defined a sign as “something which stands to somebody for something,” and one of his major contributions to semiotics was the categorization of signs into three main types: (1) an icon, which resembles its referent (such as a road sign for falling rocks); (2) an index, which is associated with its referent (as smoke is a sign of fire); and (3) a symbol, which is related to its referent only by convention (as with words or traffic signals). Peirce also demonstrated that a sign can never have a definite meaning, for the meaning must be continuously qualified.

Ferdinand De Saussure – Swiss linguist, semiotician and philosopher. His ideas laid a foundation for many significant developments in both linguistics and semiotics in the 20th century.

Roland Barthes – French literary theorist, essayist, philosopher, critic, and semiotician. Barthes’ ideas explored a diverse range of fields and he influenced the development of many schools of theory, including structuralism, semiotics, social theory, design theory, anthropology and post-structuralism.