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studio set up - here with our first candidate David Dias | studio set up - here with our first candidate David Dias | ||
==Media== | |||
[https://vimeo.com/325216704] ''Modern Masculinities - Video Installation'' | [https://vimeo.com/325216704] ''Modern Masculinities - Video Installation'' | ||
(PW:likeaman) | (PW:likeaman) | ||
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[[File:trailer.png|400px]] | [[File:trailer.png|400px]] | ||
==Theme== | |||
“Our place in the gender order constrains our acts, but at the same time it is our acts (and those of others) that place us in the gender order and that bring the different aspects of gender into being. While social structure and available resources provide constraints, it is people who decide just how constrained they will allow themselves to be”(Eckert, McConnell-Ginet, p. 263) | “Our place in the gender order constrains our acts, but at the same time it is our acts (and those of others) that place us in the gender order and that bring the different aspects of gender into being. While social structure and available resources provide constraints, it is people who decide just how constrained they will allow themselves to be”(Eckert, McConnell-Ginet, p. 263) | ||
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For a potential disposition of an exhibition room, a setting of the four-channels was thought considering the relationship between the different storytelling axis explored in each of the channels, comprehending different stages of gender comprehension, development and performance by the interviewed featured in the channel so far - Ettienne, from France; Ammar, from Sudan; David, from Brazil; Frederic, from Canada; and Clemens, from Germany. | For a potential disposition of an exhibition room, a setting of the four-channels was thought considering the relationship between the different storytelling axis explored in each of the channels, comprehending different stages of gender comprehension, development and performance by the interviewed featured in the channel so far - Ettienne, from France; Ammar, from Sudan; David, from Brazil; Frederic, from Canada; and Clemens, from Germany. | ||
==Summary== | |||
The multi-channel installation can be summarized as reflections on masculinity by men with different sociocultural backgrounds, with an objective to investigate different approaches on the topic of masculinity filtered by various sociocultural and socioeconomic backgrounds. It attempts also bring forward and give room to a topic that many men don’t feel comfortable elaborating on and attempting to initiate a platform of cultural exchange to the topic at hand. We wish to shed light on the various points of views concerning this issue depending on cultural, socioeconomic background, upbringing, and so forth, certainly aware though, that the approach is not fully representative as we are talking to a selected demographic - young, well educated men pursuing their studies in western Europe. | The multi-channel installation can be summarized as reflections on masculinity by men with different sociocultural backgrounds, with an objective to investigate different approaches on the topic of masculinity filtered by various sociocultural and socioeconomic backgrounds. It attempts also bring forward and give room to a topic that many men don’t feel comfortable elaborating on and attempting to initiate a platform of cultural exchange to the topic at hand. We wish to shed light on the various points of views concerning this issue depending on cultural, socioeconomic background, upbringing, and so forth, certainly aware though, that the approach is not fully representative as we are talking to a selected demographic - young, well educated men pursuing their studies in western Europe. | ||
The decision on a classical studio setting for the recording sessions is in order to create a homogenic atosphere. This, in the edit, creates the impression of "talking heads" on a monochrome background. These heads simultaneously create a choir of chatter, freely associating on the given topic at hand. It is up to the spectator to later discover similarities, differences, humoristic approaches and so forth. By accumulating these expressions, as they are articulated and centered into a single screen, it will display the fact that many of the triggered thoughts are just birthed into the realm of consciousness as it seems they haven't had room, time and space to be elaborated on previously. | The decision on a classical studio setting for the recording sessions is in order to create a homogenic atosphere. This, in the edit, creates the impression of "talking heads" on a monochrome background. These heads simultaneously create a choir of chatter, freely associating on the given topic at hand. It is up to the spectator to later discover similarities, differences, humoristic approaches and so forth. By accumulating these expressions, as they are articulated and centered into a single screen, it will display the fact that many of the triggered thoughts are just birthed into the realm of consciousness as it seems they haven't had room, time and space to be elaborated on previously. | ||
==Multi-channel Installation | Exhibition Set Up== | |||
[[File:exhbtnsetup.png|400px]] | [[File:exhbtnsetup.png|400px]] | ||
==Bibliographical References== | |||
*Rees, A.L.; White, Duncan; Ball, Steven; Curtis, David (editors): Expanded Cinema - Art, Performance, Film. London, 2011. | |||
*Eckert, Penelope; McConnell-Ginet, Sally: Language and Gender, 2nd Edition. Melbourne, 2013. | |||
*Cohan, Steve; Ina Rae, Hark: Screening the male, exploring masculinities in Hollywood Cinema. Oxford, 1994. | |||
Rees, A.L.; White, Duncan; Ball, Steven; Curtis, David (editors): Expanded Cinema - Art, Performance, Film. London, 2011. | *Moore, Keith: Performance, Masculinity and Confrontation - How males learn manliness. 2012. | ||
*Wetherell, Edley: Negotiating Hegemonic Masculinity - Imaginary positions and psycho-discursive Practices. 1999. | |||
Eckert, Penelope; McConnell-Ginet, Sally: Language and Gender, 2nd Edition. Melbourne, 2013. | *Ho, Jonathan: Fetishizing Masculinity. Eindhoven, 2017. | ||
*Vestoj n.7 - The journal of sartorial matters - On Masculinities - What makes a man?. Paris, 2016. | |||
Cohan, Steve; Ina Rae, Hark: Screening the male, exploring masculinities in Hollywood Cinema. Oxford, 1994. | *Adbusters: Deeply Broken Men(#140, Vol. 26, No.6). Vancouver, November/December 2018. | ||
*Friedman, Jaclyn: Building better man: how we can begin to redefine masculinity. On the Guardian. 12/03/2018, access on 11/12/2018. https://www.theguardian.com/world/2018/mar/12/masculinity-gender-men-sexual-assault-rape | |||
Moore, Keith: Performance, Masculinity and Confrontation - How males learn manliness. 2012. | *Orenstein, Peggy: We can’t just let boys be boys. On The New York Times. 29/09/2018, access on 14/12/2018. https://www.nytimes.com/2018/09/29/opinion/sunday/sex-education-ethics-assault-boys.html | ||
*Ono, Yoko: The feminization of society. On The New York Times. 23/02/1972, access on 28/12/2018. https://www.nytimes.com/1972/02/23/archives/the-feminization-of-society.html | |||
Wetherell, Edley: Negotiating Hegemonic Masculinity - Imaginary positions and psycho-discursive Practices. 1999. | *Breitz, Candice - Him | ||
Ho, Jonathan: Fetishizing Masculinity. Eindhoven, 2017. | |||
Vestoj n.7 - The journal of sartorial matters - On Masculinities - What makes a man?. Paris, 2016. | |||
Adbusters: Deeply Broken Men(#140, Vol. 26, No.6). Vancouver, November/December 2018. | |||
Friedman, Jaclyn: Building better man: how we can begin to redefine masculinity. On the Guardian. 12/03/2018, access on 11/12/2018. https://www.theguardian.com/world/2018/mar/12/masculinity-gender-men-sexual-assault-rape | |||
Orenstein, Peggy: We can’t just let boys be boys. On The New York Times. 29/09/2018, access on 14/12/2018. https://www.nytimes.com/2018/09/29/opinion/sunday/sex-education-ethics-assault-boys.html | |||
Ono, Yoko: The feminization of society. On The New York Times. 23/02/1972, access on 28/12/2018. https://www.nytimes.com/1972/02/23/archives/the-feminization-of-society.html | |||
Breitz, Candice - Him | |||
https://vimeo.com/72198119 | https://vimeo.com/72198119 | ||
*Breitz, Candice - TLDR | |||
Breitz, Candice - TLDR | |||
https://vimeo.com/273615691 | https://vimeo.com/273615691 | ||