Godfrey Reggio is an American film director, while he has made many movies the one that stands out the most and the one he is most known for is his movie, “Koyaanisqatsi”. Which is a documentary movie made in 1982 and is an hour long observation of the man-made world that features no commentary or words, only simplistic music to go in the background. It makes heavy use of time-lapse, jump cuts, multi exposure, freeze frames, match cuts, split screens and slow-motion shots of several cities in America. The movie took inspiration from other movies such as “Man with a Movie Camera” – (1929 by Dziga Vertov) which also used the same cinematic techniques, believed to be the first time in cinematic history.
More on the meaning and the details of the movie, The title “Koyaanisqatsi” means “life out of balance” in Hopi. Additionally, The reason for the lack of dialogue was explained by Reggio, when he said “it’s not for lack of love of the language that these films have no words. It’s because, from my point of view, our language is in a state of vast humiliation. It no longer describes the world in which we live.”
This movie is not the only one of it’s kind, it is actually the first entry in the “Qatsi film trilogy” – It was followed by two more movies, Powaqqatsi (1988), which means “Life in Transformation”, and Naqoyqatsi (2002), which means “life as war”. The trilogy is supposed to depict the relationship of nature, humans and technology. In the future, the film was selected for preservation in the United States National Film Registry by the Library of Congress for being “culturally, aesthetically, or historically significant”.
Trailer for Koyaanisqatsi.
A drone video documenting the aftermath of “Storm Ciaran” in Jersey, could be inspiration.
Personal Response
I want to make a film project on the Storm Ciaran aftermath too, I can visit places in Jersey that are still damaged/being repaired and document each site into a non-commentary movie. With fitting music in the background. Another choice I can take is documenting St. Helier in a more similar fashion to the movie, with the same type of music in the background. Things I could have in the movie could be time-lapse footage of the busy roads like Victoria ave., time-lapse footage of the sun setting or rising, rainy days, busy streets full of people etc.. Another thing I can experiment with is setting up a camera pointing at me sitting on a bench sitting still, then having time-lapse of people walking past, almost to make it look like I’m literally observing everyday life. A certain music genre I have in mind is synthwave, to bring out the more abstract and unusualness of life – to make it more interesting.
The camera lens is another demonstration of a powerful gaze, referred to as the photographic gaze, simulating the gaze of the naked eye. Indeed, the former could even be more powerful than the gaze of the naked eye due to photographic permanence.
The act of photographing people involves a process of observation, scrutiny and looking. Sometimes the gaze is returned, and sometimes it is rejected. The power of the gaze can create complex relationships between the subject, the photographer and the audience.The camera lens is another demonstration of a powerful gaze, referred to as the photographic gaze, simulating the gaze of the naked eye.
The gaze, as a visual act, generates modes of power, domination, and control. It has the ability to categorize people, generate feelings of shame, and assert one’s superiority. Susan Sontag in On Photographyaddresses that “photographs are a neat slice of time, not a flow” (17). The stillness of a photograph provides it’s power and makes it more effective than television broadcasting or film. Photography, then, has the ability to capture in “still time” the expression of oppressed subjects as the camera gazes at them.
JOHN BERGER – WAYS OF SEEING:
In Ways of Seeing, an influential book based on a BBC television series, John Berger observed that ‘according to usage and conventions which are at last being questioned but have by no means been overcome – men act and women appear. Men look at women. Women watch themselves being looked at’ (Berger 1972, 45, 47). Berger argues that in European art from the Renaissance onwards women were depicted as being ‘aware of being seen by a [male] spectator.’ Ways of Seeing is based on the 1972 BBC series and comprised of 7 essays, 3 of which are entirely pictorial, Ways of Seeing is a seminal work which examines how we view art.
Berger adds that at least from the seventeenth century, paintings of female nudes reflected the woman’s submission to ‘the owner of both woman and painting’. However it can still be argued even through woman’s feminist movements, women are still being viewed sexually and through and objective manner through the male gaze.
‘A man’s presence suggests what he is capable of doing to you or for you. His presence may be fabricated, in the sense that he pretends to be capable of what he is not. But the pretence is always towards a power which he exercises on others. By contrast, a woman’s presence expresses her own attitude to herself, and defines what can and cannot be done to her.’
The juxtaposition in the quote located in Berger’s bool ‘Ways of Seeing’ presents the contrast between gender stereotypes. The man is shown to be more in power and control, whereas the woman is described as dainty and submissive. This quotation shows the past and present view of the gender stereotypes which can also be supported by Laura Mulvey’s ‘Male Gaze’ theory where women are sexualised for the male gratification.
FORMS OF GAZE:
the spectator’s gaze: the gaze of the viewer at an image of a person (or animal, or object) in the text;
the intra-diegetic gaze: a gaze of one depicted person at another (or at an animal or an object) within the world of the text (typically depicted in filmic and televisual media by a subjective ‘point-of-view shot’);
the direct [or extra-diegetic] address to the viewer: the gaze of a person (or quasi-human being) depicted in the text looking ‘out of the frame’ as if at the viewer, with associated gestures and postures (in some genres, direct address is studiously avoided);
the look of the camera – the way that the camera itself appears to look at the people (or animals or objects) depicted; less metaphorically, the gaze of the film-maker or photographer.
LESS MENTIONED FORMS OF GAZE:
the gaze of a bystander – outside the world of the text, the gaze of another individual in the viewer’s social world catching the latter in the act of viewing – this can be highly charged, e.g. where the text is erotic (Willemen 1992);
the averted gaze – a depicted person’s noticeable avoidance of the gaze of another, or of the camera lens or artist (and thus of the viewer) – this may involve looking up, looking down or looking away (Dyer 1982);
the gaze of an audience within the text – certain kinds of popular televisual texts (such as game shows) often include shots of an audience watching those performing in the ‘text within a text’;
the editorial gaze – ‘the whole institutional process by which some portion of the photographer’s gaze is chosen for use and emphasis’ (Lutz & Collins 1994, 368)
MOODBOARD:
THE MALE GAZE AND HYPERFEMININITY:
WHAT IS THE MALE GAZE?
The male gaze is a feminist theory that states that cinema narratives and portrayals of women in cinema are constructed in an objectifying and limiting manner to satisfy the psychological desires of men, and more broadly, of patriarchal society.
The term was popularized, fifty years ago, by the British film theorist Laura Mulvey. Mulvey wrote, in 1973 an essay called “Visual Pleasure and Narrative Cinema,” of how the “male gaze projects its fantasy onto the female figure, which is styled accordingly.”Mulvey sought to break the conventions and exposing the cinematic conventions in stereotyping women by reinforcing the patriarchal fantasy.Mulvey also notes that Freud had referred to (infantile) scopophilia – the pleasure involved in looking at other people’s bodies as (particularly, erotic) objects. In the darkness of the cinema auditorium it is notable that one may look without being seen either by those on screen by other members of the audience. Furthermore, Mulvey argues that various features of cinema viewing conditions facilitate for the viewer both in the voyeuristic process of objectification of female characters and also the narcissistic process of identification with an ‘ideal ego’ seen on the screen.
‘An idea of woman stands as lynch pin to the system: it is her lack that produces the phallus as a symbolic presence, it is her desire to make good the lack that the phallus signifies’ Mulvey presents this idea that a women’s body its one for the male pleasure, which confirms this idea of the male gaze. Women are exposed highly objectified, and sexualised in order to please the patriarchal society that women are seen as a submissive accessory for men. Furthermore, this idea of highly sexualised women, alludes to the idea of hyper-femininity that highlights the way women are viewed by the male gaze, and how they should present themselves in society.
MY INTENTION FOR THE EXAM PROJECT THROUGH THE PHOTOGRAPHIC GAZE:
For my exam project through the theme, Observe, Seek, and Challenge I plan on studying and photographing females through the male gaze and exploring the idea of hyper femininity. This reinforces the photographic theme of ‘gaze‘ as Laura Mulvey states the ‘structures ways of seeing and pleasure in looking’ which enforces the concept of men gazing at women. In order for this project to fit with the exam requirement’s I will be focusing on the male gaze, and how men have a sexualised view of women which can be seen through the artist Cindy Sherman. In one of Sherman’s photography projects she emphasises the idea of sexualising women for the male society and she interprets this by exaggerating the beauty standards through the hyper-realistic makeup. However, through her interpretation you can argue that she is challenging the beauty standards by taking imagery of the hyper-real makeup by creating the unexpected and forming it into art. The makeup she presents in her photographs challenges the incredibly high beauty standards in the patriarchal society, which could also work for the exam theme ‘challenge’. However in another project she firmly focuses on reinforcing the stereotypical view of women, which could be a protest of the stereotypical views of women.
Cindy Sherman reveals how dressing up in character began as a kind of performance and evolved into her earliest photographic series such as “Bus Riders” (1976), “Untitled Film Stills” (1977-1980), and the untitled rear screen projections (1980)
I chose this case study from the exam booklet, relating to my work.
I will be taking photos of different abandoned buildings/ bunkers/ old places and anything I think relates to my project of capturing derelict locations.
Here is a list of artists and their work that I am inspired by. I plan on taking photos similar to these:
This mood board has been inspired by some of the photographers I saw in a photography exhibition in Paris. it includes images by Rene Groebil, Robert Mapplethorpe, Ralph Gibson and Cindy Sherman plus many more.
Still life photographer – I like this artists images for capturing objects that link to family, which connect with the ‘seek’ part of this topic. I want to seek into the lives of my family members to seek and observe their past.]
Alec Soth
Rita puig serra costa – where mimosa bloom
julian german
André Kertész
For the portraits these are some of the photographers that I like the editing style of:
Dorothea Lange
Diane Arbus
Robert Frank
Henri Cartier-Bresson
Because I want to capture a full story of my family, I will also photograph places, inside and out. I like Henri Cartier-Bresson’s style of photographing spaces.
Key aspects for these shoots/ images will be light. After studying Rinko Kawauchi, I have learnt the importance of light, and the emotions it draws.
Different lighting techniques:
Rambrandt
Butterfly
Natural
Studio
Different angles: above, underneath, sides
Bright/ dark
FILMS:
I also like the idea of making short films for each family member
For this week, I have decided to take inspiration from the 2nd starting point given in the exam paper, which is shown above.
Rinko Kawauchi
Rinko Kawauchi was born in 1972, in Shiga, Japan, and graduated from Seian Women’s College (now Seian University of Art and Design) in 1993.
Her work explores the subtle aesthetic of wabi-sabi, which is defined by Wikipedia as ‘a world view centered on the acceptance of transience and imperfection.‘ This means that it focuses on details, textures, and gestures that are often overlooked by us in the haste of everyday modern life.
It was close to melting point, and one could see the lake if one passed through.
Silence had spread out there; no waves, no sound.
I thought I might fall in by accident if I stared too long; I thought the glacier might devour me. I got scared and began to look around for what was missing. Where could I find the centre? Where will I find this circle, where can I dig up this gold?
And after a while I realised: It can only be found on the surface. Yes, I searched for the sun within a glacier.
—Rinko Kawauchi, to accompany her series “Search for the Sun,” 2015
I would like to take inspiration from this artist because it is not the usual style of photography I would go for and it would allow me to explore a more unknown (to me) area of the medium. I think it would be fun to get creative with this style. I like Kawauchi’s images because of their beauty in simplicity as well as their careful composition – they are created to stimulate pleasure of aesthetics.
Clare Gallagher, William Eggleston, Josef Sudak
The other artists mentioned on this page of the exam paper offer a more open brief when added to the work of Kawauchi.
Clare Gallagher‘s work focuses on the domestic life, highlighting the struggles faced by women, and especially mothers, in the home. Her images are simplistic and show only everyday, mundane items, but in a thoughtful and stimulating manner, especially when combined with her philosophy.
William Eggleston‘s photographs are characterised by their playful palette and imagery relating to the urban landscape of the American Midwest and its inhabitants. His images are exciting and colourful; they connote the consumerism and suburban lifestyle that populates the history of this area.
Josef Sudek‘s images are inversely dark and sophisticated. Shot on black and white film, the mise-en-scenes capitalise on the struggle between light and shadow. His work focuses on the mundane too, but uses drama to exemplify the lack of mundanity.
I aimed to dissect and analyse the topic title as a whole, segregating each word into their own category and Including photos that somewhat resonate with them and also match the sort of photos I wish to take.
Ideas:
Observe: I can take pictures which are landscape, showing a scene or view of somewhere in Jersey. Jersey does get some very good sunsets at evenings, in all sorts of colour varieties. Another thing I could take landscape photos of are different views and angles of town and the several estates dotted around Jersey, making reference to my estate photos I took during my Anthropocene project, which I also believe are some of my best photos taken. I’d like to have my photos focus on the world and society as a whole, just people getting on with their day and going about life, getting up to all sorts of activities and events.
Seek: For this, I am not sure, to seek something you would have to want something, and we people all want something different, and often a lot more than just one thing. It could involve exploring the world to see all sorts of places, achieving a goal such as climbing the highest mountain or competing and becoming the champion in a worldwide sport. Or simply to find meaning in life, which is at the same time virtually impossible. To encapsulate these sorts of things in one photo would be difficult, but I could make photos that can enable anyone who views them to make their own interpretation on it, and apply to themselves and what they want. Something like taking photos of someone who is showing an emotion, but with their identity hidden, perhaps with a colour being shone onto them to reflect their emotions. Similar to my photoshoot a while ago which I named “Headshots”.
Challenge: I want to make photos that go against the norm and equilibrium. Something new that people haven’t seen before. This could be of something abstract, full or empty of colour, contrasting or simple, confusing or straight forward. I could take photos of something that people see everyday but never take notice of or appreciate.
For my fist shoot it is going to focus on gender and the male gaze, how males view and see females. I am going to try capture the emotions that this brings upon females, i will take photos of body parts like collarbones, shoulders, spine and side profiles.
Rinko Kawauchi is a Japanese photographer whose work focuses on ordinary life, the delicacy of natural forms and the beauty of ordinary moments. Her work is often recognisable through the nostalgic haziness of her images, something achieved through lower contrasts in settings with intense natural lighting which creates a poetic sense of serenity.
– Rinko Kawauchi
Kawauchi acts as the observer in her photographs, shooting scenes as they play out naturally, establishing emotional authenticity, in turn strengthening the effect of the viewer’s own emotional response. Take this image of Kawauchi’s daughter, for example, as it shows a moment of her playing or exploring in the outdoors, in what appears to be a wooded area. This image in particular portrays a moment of pure childhood innocence, a nostalgic feeling that everyone can relate to in one way or another, whether it’s from their own childhood, or something they recognise in their own children, it’s the memories that stay with someone for their whole life. Compositionally, Kawauchi uses the rule of thirds and a shallow focus to centre her daughter within the image as the subject. Like with a lot of her work, this piece too has a very soft colour palette, namely using lighter blues and darker greens, a low contrast and an emphasis on the natural lighting, which brings out the feelings of nostalgia surrounding the photograph that Kawauchi is known for.
– Rinko Kawauchi
In my own work, I find that, much like in Kawauchi’s work, I dwell on the concept of nostalgia, preferring to shoot with warmer tones and with natural lighting. I want to develop a photoshoot more in the style of Kawauchi’s work, shooting in soft, intense natural lighting, and focusing on delicate natural structures as they are; purely observing.
In my eyes, observation photography is a way of showing off what we find visually appealing. When you observe something, you aren’t just looking at it, you’re admiring it, critiquing it, decoding it, judging it, understanding it, all unconsciously. I like the idea of exploring a range of places, things, and people that we observe each day but take for granted, the small fine details most don’t notice with interesting shapes, colours and textures. Taking in the sounds, sights, and smells, hoping to translate them all into the photo is what makes it differ from an average photo.
“When we stare at people, we’re actually just observing them, trying to better understand them, because there is something we find interesting in that individual!” – link
SEEK
Mind map:
For the theme ‘seek’, I think the best area to focus on would be seeking out new areas whether they are physical, personal, or theoretical. There are so many broad areas this could include as once you start looking, there’s more to seek out.
