Essay question planning

Essay Questions 'Women Without Men'

Today, I am starting to plan my essay for my assignment. I have chosen to use the film, 'Women Without Men'. The following information about the film is a review by Peter Bradshaw, Thursday 10th of June, 2010;

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"The Anglo-Iranian comic Shappi Khorsandi recently revealed that Jon Snow had told her about a conversation he had once had some years ago with the then prime minister, Tony Blair. The premier had asked Snow, plaintively, why Iran hated the British so much. Snow replied hesitantly: "Well, you know, because of Mossadeq …" – that is, the left-leaning Iranian leader, toppled in 1953 by a coup instigated by the British and American governments because of his determination to nationalise oil. Blair replied blankly: "Who?" Perhaps watching this excellent movie would be a way for Blair, and the rest of us, to brush up on British and Iranian history.

With this debut feature, the photographer-turned-director Shirin Neshat has made a picture with vision, poetry, sexual frankness and historical sinew. It brings together, on screen, the personal and the political in the story of four women and the way their lives are affected by the turbulence of the anti-Mossadeq coup, and revives the memory of a lost generation of Iranian politics and culture: the westernised liberal intelligentsia, a white-collar class exiled and effaced by the Shah's regime, but also fiercely repudiated by the theocracy installed by the Islamic revolution of 1979. In some ways, Neshat's film addresses the same issues as Marjane Satrapi's Persepolis, and further underlines the fact that it is Iran which, in the 21st century, has repeatedly offered the world a vivid, unapologetically feminist cinema.

Neshat's movie-making style owes something to Mohsen Makhmalbaf, but has absorbed other influences, too – her camera movements are distinctly Tarkovskian. And for the magic-realist tropes of the literary original, Neshat has found a visual manner with something of Buñuel: this surfaces in the disquieting vision of Zarin's client having an eyeless, mouthless face and also, I think, in the grand dinner-party-cum-soirée that Fahkhri throws in her new orchard estate. The army turn up, intending to search the property for seditious materials, but the troops end up staying for dinner, and their commanding officer exchanges flirtatious badinage with the guests.World Without Men is based on a 1989 novel by Shahrnush Parsipur, and weaves together the women's lives in complex and enigmatic ways. Munis (Shabnam Touloueh) is serious, cerebral, obsessed with listening to the radio for the news of the Mossadeq situation, and bullied by her brother for neglecting her demure womanly duties. Munis's friend Faeseh (Pegah Ferydoni) is in love with this same brother who makes Munis's life a misery. Fakhri (Arita Shahrzad) is a stylish, elegant married woman in her 40s, in love with an old flame. Finally there is Zarin, a prostitute, played with characteristic intensity by Orsi Tóth, the Hungarian actor who has appeared in Kornél Mundruczó's films Delta and Johanna.

Everything is imagined by Neshat with clear-eyed compassion and narrative drive, and she shows a bold candour about sexuality and women's bodies. The film is shot by cinematographer Martin Gschlacht, who recently worked with Joanna Hausner on Lourdes. He creates tremendous images using painterly, washed-out colour tones, framing dream-like tableaux, but also creating plausible action sequences. Neshat has directed a quietly tremendous film which ensnares both the heart and the mind." (1)                                                                                      ______________________________________________________________________________

This is a basic overview of 'Women Without Men' from the website, The Guardian. I will now look at different topics that I could write about, although I do not like any of the themes that were shown in the film.

Possible Topic Ideas

• Women's rights * compare to NZ
• Effects of rape
• Iran's society in 1950s *
• Religions 
• A sanctuary from society
• Iran's governmental power
• Sex work/jobs
• What 'true' family is/are **
• True happiness **
• Meaning of living and right to live **
• The sexualizing of women and women's bodies
• Politics in 1950s Iran *
• History repeating itself *

With these topics I saw from the film, I can now create research questions based upon these themes.

I researched more themes I could use, and found a shorter review on the film 'Women Without Men' from the website Huffpost by Angella Nazarian on the 6th of December of 2017.

Although Neshat has made changes to the storyline, the major theme is unchanged.Women Without Men describes the lives and fates of four women who belong to different social classes: a prostitute, an upper-class married woman, an activist, and a devout woman whose only dream is to get married and have children. All four live an exiled life in their own country, where they struggle for an identity in 1950’s deeply patriarchal Iran. It was an era in which growing up female meant deference to authority and power, and being trapped in limited gender roles. These women form their own utopia in a garden, where they try to reconstruct their lives. As Neshat keenly remarks, “these women go into a second self-imposed exile to get a new start.” (3)

Possible Research questions

Example - How does the concept of the Islamic Garden/Garden of Eden relate to the experiences of _________Zarrin in Shirin Neshat's Women Without Men?

• Is a Utopian Garden, as seen in the film by Shirin Neshat, 'Women Without Men' possible to achieve in today's society?

• How has Iranian society and women's rights changed/progressed in the last 60 years?

• Was the happiness experienced at the diner party in the film by Shirin Neshat, 'Women Without Men' real happiness? How?

• Can society take away the happiness in being with family, as seen in the film by Shirin Neshat, 'Women Without Men'?

• Is life on a set path, destined to repeat itself, as seen in the film by Shirin Neshat, 'Women Without Men'?

*   Could the characters in the film by Shirin Neshat, 'Women Without Men', have changed the

outcome by making different choices?

References

(1) https://www.theguardian.com/film/2010/jun/10/women-without-men-review 

(2) https://magic-realism-books.blogspot.co.nz/2015/04/women-without-men-by-shahrnush-parsipur.html 
(3) https://www.huffingtonpost.com/angella-nazarian/emwomen-without-menem-ira_b_217206.html 

BSA Code-Balance

BSA Code - Balance

There are many different codes with the BSA (Broadcasting Standards Authority).

From the bsa.govt.nz Website. I found two stories were balance was upheld and not upheld.

Upheld

Institute of Environmental Science & Research Ltd and CanWest TVWorks Ltd - 2007-015

Let Us Spray. Special TV3 investigation into the effects of the chemical 2,4,5-T in New Zealand interviewed residents of Paritutu who believed that various illnesses and birth defects in their families were a result of exposure to the chemical. Balance, fairness, upheld. Accuracy, one point not upheld, all other aspects subsumed. Orders (broadcast of statement, $11,250 costs to complainant).

Not upheld

Prime Minister (Rt Hon Helen Clark) and 4 Others and TV3 Network Services Ltd - 2003-077–081

3 News Special. Interviews with Nicky Hager and Prime Minister about issues raised in Hager’s book "Seeds of Distrust". Upheld: balance (government accountability); accuracy (approach to interview with Prime Minister in comparison with the interview with Mr Hager); fairness (presentation of programme, as Prime Minister not advised of source of allegations and the accuser was interviewed in an earlier section of the programme). Not upheld: balance (science aspect); accuracy (statement that Prime Minister declined her earlier offer to do another interview); fairness (preparation of programme, conduct and style of interview). 
Orders: Broadcast of statement; contribution of $11,000 towards legal costs; payment of costs to the Crown of $14,000.

Quote pratices

Quote Practicing

Exercise One: Use the source material as a quote in the main sentence. Try to use extracts from the sentence as well as the whole sentence.

1)The economy is looking much brighter.

"Millions of new jobs are emerging. Things are really on the upswing" (Frank Rank, A Cab Driver).

Solution

"Millions of new jobs are emerging", observes Frank Rank, a cab driver. The economy is looking brighter "Things are really on the uprising.".

2)It is more important than ever for Americans to forge a common identity.

"We need an identity that binds us together." (Frank Hairpiece, A Prominent Scholar).

Solution

It's more important than ever for Americans to forge a common identity. According to Frank Hairpiece, a prominent scholar "We need an identity that binds us together." By binding us together, it merges us to identity as a community.

3)Animal rights represent the next stage in human moral development.

"If we don't change our ways, future generations will judge us harshly. We need to achieve a higher state of consciousness and empathy." (Yoshi Om, A Philosopher)

Solution

Animal rights represent the next stage in human moral development. "If we don't change our ways, future generations will judge us harshly." Speculate Yoshi Om, a philosopher. Yoshi believes that "We need to achieve a higher state of consciousness and empathy.".

Exercise Two:Structure these sentences to integrate the quotes more elegantly.

1)Violent movies are popular for all kinds of surprising reasons. It is well known that they appeal mostly to teenagers, Holman Jenkins writes a column for the Wall Street Journal. He states that, "teenagers swarms to horror flick so the boys can demonstrate their manly unflappability and girls can demonstrate their vulnerable desirability. Boys and girls who fulfil these roles are rated as more sexually desirable than their peers" (2013, para.6). So perhaps horror films do not cater to a taste for violence, but rather to the desire to show off before the opposite sex.

Solution

It is well known that violent movies appeal mostly to teenagers for many reasons. Holman Jenkins, a column writer for the Wall Street Journal, proposes that "teenagers swarms to horror flick so the boys can demonstrate their manly unflappability and girls can demonstrate their vulnerable desirability.". Jenkins goes on to argue that "Boys and girls who fulfil these roles are rated as more sexually desirable than their peers".

2)Sociologists argue about whether or not violent television creates more violence in society. But maybe this strict cause-and-effect misses the point. "Sex and violence-drenched entertainment, can desensitize a whole society. It can drag us down to the point where nothing is morally unacceptable, where nothing makes us blush. What happens to an unblushing society? Central Park joggers get raped and beaten into comas. Sixth-graders sleep around. Los Angeles rioters burn down their neighborhoods and murders their neighbors. The Mendez boys blow off their parents' heads." Jeff Jacoby wrote this in the Boston Globe (2013, p.113). The point is that by overcoming our inhibitions, we lose an important protection against some of the terrible things that people are capable of

Solution

Sociologists argue about whether or not violent television creates more violence in society. But maybe this strict cause-and-effect misses the point. The Boston Globe featured this commentary by Jeff Jacoby in 2013 which discusses the topical effects of sex and violence-drenched entertainment on society. He argues that this exposure can desensitize a whole society to the point where nothing is morally unacceptable and nothing makes us blush. "What happens to an unblushing society? Central Park joggers get raped and beaten into comas. Sixth-graders sleep around. Los Angeles rioters burn down their neighbourhoods and murders their neighbors. The Mendez boys blow off their parents' heads.".

Essay Anylazing

Essay Body Analysis no. 5

Paragraph Twenty seven, Twenty eight, Twenty nine, Thirty, Thirty one, Thirty two,and  Thirty three
Analyzing Harry M. Benshoff's, Heigh-Ho, Heigh-Ho, Is Disney High or Low? From Silly Cartoons to Postmodern Politics
http://www.animationjournal.com/abstrats/essays/Benshoff/html 

Paragraph Twenty seven
Define
Neurotic fear: Neurotic = mind. Fear in the mind, mental state.
Counterparts: Counter = against. Opposite site/person. Opposition.
Exemplifies: Example of... Turns into example.
Theses: Plural of thsis. Thsis is the theory. Multiple theory's.
Concomitantly: Naturally partnered with. Along with.
Literally: Exacally, just happened. Perfect match.
Doctrine: Beliefs, message.
Simulacrum: Replicate.

Questions

1) How is the modern appliances' "insecurity and neurotic fear stated" according to Benshoff?
"Stated by their continued nervous reassertion of being 'on the cutting edge.'".

2) Describe how the conflict between the old-fashioned and modern appliances exemplifies Baudrilled's theses on capitalism.
Modern appliances are about the status, identity with consumption. The new way. Old-fashioned are about the use-value that does the job. 



Paragraph Twenty eight and Twenty nine
Define
Satiric: Makes fun of something. Mocks in a mean way. Roasting
Schizophrenic: Adjective of Schizophrenia. Multiple personalities.
A-temporal: Time. No relation to time.
Referent: Referenced thing (noun).
Signified: Sign. Shown.
Hysteria: Manic. Panic!
La belle epoque: French for beautiful time. Western history (1871-1914).
Outmoded: Outmoded. Mode = french for fashion. Out of date. Not in fashion.
Anthropomorphized: Giving objects human characteristics.
Penultimate: Ultimate = Last stage. Pen = second. Second to last.

Questions

1) How is the "characteristic hysteria of our time" perfectly embodies according to Benshoff?
By the sale blurbs 'as seen on TV'.

2) Why are the old appliances forced out the window into the dumpster? In what way is their use-value outmoded according to Baudrillard?
Consumerism. Wanting the new. Not the old.

3) Describe the difference between use-value and exchange-value.
Use-value is valued for their usefulness. Exchange-value is comparing to other, is it cool.

4) How are these notions applied to human communities according to Benshoff?
The group of cars that "signifies a human character type of group who have been discarded, deemed worthless".

5) Benshoff says this is the film's "strongest critique of disposable American culture". Do you agree? Why/Why not?
Yes. Benshoff says why.

6) Explain how the verse in the song supports his assertion.

The car was working but left and said "Your Worthless.".



Paragraph Thirty and Thirty one
Define
Ethnic stereotypes: Race stereotypes.
Tar - baby licorice candies: Food. But if not food, Racist!
Industrial art text: Creating in large amounts. Machinery.
Streamlined: Slick. Smooth.
Nostalgic yearning: Yearning for the past.
Rigors: Chills of near death... Bad feels.

Questions

1) Benshoff suggests the depiction of the crushed pick-up truck is a far cry from ethnic stereotypes identifiable in the "Sillies". Explain what you think he means by this.
Super racist.

2) How and why might The Brave Little Toaster be read as "industrial art text about the slide from high modern art/production into postmodern art/production"?
The collapse of high and low. More about appealing to the masses.

3) How according to Benshoff can the appliances' confrontation with the high tech Japanese appliances be read as a nostalgic yearning for the days of high modernism?
Good old days of when people didn't need the 'latest' stuff.

4) How do you think the film's form celebrate[s] the collapse of high and low?
It seems to. More postmodern than other films.

5) What is the Western/modernist bias at work, according to Benshoff, and how might this extend to "the realm of animation art itself"?
Disney was threatened by Japanese animators new stuff. They made the Japaneses look like the bad guys.



Paragraph Thirty two & Thirty three (conclusion)
Define
Inception: Beginning. Creation. Starting point.
Dichotomy: Contrast between two things.
Per se: In itself. By itself. As such.
Encode: Include the code.

Essay Anylazing

Essay Body Analysis no. 4

Paragraph Twenty, Twenty one, Twenty two, Twenty three, Twenty four, Twenty five, and Twenty six
Analyzing Harry M. Benshoff's, Heigh-Ho, Heigh-Ho, Is Disney High or Low? From Silly Cartoons to Postmodern Politics
http://www.animationjournal.com/abstrats/essays/Benshoff/html 

Paragraph Twenty & Twenty one
Define
Foci: Plural for Focus.
Active spectator ship: Actively watching.
Problematized: A lot of problems.
Disseminate: Spread.
Oppositional: Opposing, opposite, other.
Encoding: Including the code. Understand code.
Subsequent: Follows on effects. Adding. Also this happened...
Dominant: Powerful. Main. Boss.
Decodings: Dis including the code. Not understanding.
Multiplicity: Many. Lots of.
Theatrical release: In the theater's release.
Subsumed: Observed. Consumed.
Multinational: Many nations.

Questions

1) What has, according to Benshoff, undermined Adorno's assertion that "progress in the culture industry ... remains the disguise of an eternal sameness"?
Recent focus on reception communities and models of active spectator ship.

2) Do you think it is possible for the industry to disseminate "oppositional" ideologies? Why? How do you think this might impact profit motive?
Yes. It's less about the money. More about message. But different these day's. E.g. Frozen.

3) What does Benshoff say is "easy enough to find" that supports his assertion?
"Texts that actually endorse a formerly subsequent ideology with their encode and subsequent dominant decodings.".

4) What is the case Benshoff makes for The Brave Little Toaster being a marketable example "that actually endorses a formerly subaltern ideology"?
"In it's production alone, the film reflects the multiplicity of origins that is typical of postmodern practice.".

5) What does the fact that the film was not widely theatrically released have to do with his argument?
Its was against things so it didn't go into theater. But when home videos, became popular, it became popular.



Paragraph Twenty two
Define
Novella: A type of book. Longer than a short story. Shorter than a novel.
Superficially: On the surface. Appears too...
Anthropomorphized: Humanize. Give human characteristic's.
Confreres: Conrad's. Partners. Peers. Friends.
Foregrounded: In the front. Not the background.
Expose: French for expossed. Highlighted. There
Consumer capitalist culture: Culture is driven by consumers. They buy a new one.
Critique: Criticize, judge, evaluate stuff.
High-tech inflated exchange value: Inflated = Bigger than it should be.
Global corporate capitalism: World wide businesses dominate.

Questions

1) Who is Thomas M. Disch and where do you think he might fit in the context of Benshoff's high/low argument?
Thomas M. Disch was a poet, critic, and author. He was self-consciously literary and ambitious. He fits into Benshoff's argument because he wrote the children's book The Brave Little Toaster which Disney used to make their film. (1)

2) What does The Brave Little Toaster have in common with the "Silly Symphonies" according to Benshoff?
It has a Utopian society with living objects. Also with one main goal they want to achieve.

3) How does Benshoff suggest The Brave Little Toaster differs from the "Sillies"?
No gender labels. No realationships or Hetrosexual romance.

4) How does The Brave Little Toaster "critique the notion of high-tech inflated exchange value in the postmodern age" according to Benshoff?
It shows the old objects as good guys and also as the victims in many different scenarios. New is 'better'.



Paragraph Twenty three
Define
Intertextuality: Relationships in between texts.
Predominant: Dominant.
Ruptures: Breaks, explodes, implode.
Diegesis: Narrative or plot.
Reassuringly: Reassure, comfort, reinforce, backup.
Quips: Witty, funny, clever, remarks.
Inflections: Impersonations. Pretending to be...
Milieu: French for environment.
Geometric: Shapes, lines, geometry.
Spectacularized: Amazing!
Allusion: Refferencing without saying. Points too...
Homage: French for pay respect, honor.

Questions

1) How does The Brave Little Toaster "reward the spectator for being a good consumer of popular culture" according to Benshoff?
References. Their references were relevant at the time.

2) What is the difference between homage and critique?
One is respecting all criticism. One is judging.

3) Explain how, according to Benshoff, The Brave Little Toaster could be seen as a critique rather than a homage?
Because it make's out that it is wrong to throw away broken stuff. That newer isn't better. Seem judgy towards new stuff.



Paragraph Twenty four & Twenty five
Define
Salvaging: Scavenging. Saving. Reuse.
Sutured: Stitched to. Connected.
Mutlated: Appliances (object) cutup
Dismember: Take it apart.
Implications: Implying.
Enterprise: Buisness
Referent: Referenced thing (noun).
Animated family film genre: Type of film. Family friendly.
Reflexive: Reflecting. Highlighting inner bits. Showing thing.
Hybrid: Mixed things into one.

Questions

1) Why, according to Benshoff, is the viewers "interest and sympathy" clearly with the toaster and his pals when captured by a shop keeper?
They are the good guys.

2) How is the shop keeper portrayed? Do you think this supports Benshoff's argument that The Brave Little Toaster is a critique? In what way?
Evil, scary, obese. Eats all he wants (over-consumption). Takes what he wants.

3) How is music used in the scene and why? How does this fit with Benshoff's high/low argument?
Highlight the scary horror feel.

4) What prevents the direct represantation of real cepitlist horrors according to Benshoff - do you agree?
Kid movie. Yes I do.

5) How can the monstrous appliances be seen postmodern art objects according to Benshoff?
They are mixed media.

6) Benshoff says "The hybrid appliances are frightening to the toaster and his pals in a B-movie kind of way". Explain what you think he means by this?
He means that it is not that scary. B-rated.



Paragraph Twenty six
Define
Citified: City, urban.
Deceptively: Deceiving.

Questions

1) How are the "citified" appliances characterised according to Benshoff and why do you think this?
"negatively, thugs, gossips..." to keep the good guys good.

2) Why must pure use-value according to Adorno "be replaced by pure exchange-value"?
Consumerism want better things. Not old stuff.



References

http://www.animationjournal.com/abstrats/essays/Benshoff/html 

1) https://www.telegraph.co.uk/news/obituaries/2271007/Thomas-M-Disch.html

Tutorial Task 3

Discuss each of these and explain their roles

WIPO: World Intellectual Property Organization.

WIPO is the global forum for intellectual property services, information, policy, and cooperation. WIPO is a self funding organization with United Nations. Their mission is to "lead the development of a balanced and effective international intellectual property (IP) system that enables innovation and creativity for the benefit of all." WIPO Convention established WIOP in 1967. (1)

Berne Convention: Created in 1886, the Berne Convention deals with the protection of works and the rights of their creators/authors. This organization gives the creators/authors a way to control how their work is used/seen. (2)

UNESCO: United Nations Educational Scientific and Cultural Organization.

UNESCO was funded on 16th November 1945. UNESCO is governed by the General Conference and the Executive Board. The UNESCO's headquarters is in Place de Fontenoy in Paris, France. (3) UNESCO's mission is "to concrete to the building of peace, the eradication of poverty, sustainable development and intercultural dialogue through education, the sciences, culture, communication and information.". UNESCO works to create the environment for dialogue among people, cultures and cities, based on respect. (4)

UCC: Universal Copyright Convention.

UCC has four basic rights they follow by. One; no nation should give domestic authors/creators more favourable copyright treatment than authors/creators in other country/nation. Two; The copyright notice must be on all copies of work, but requires more formalities in other countries/nations. Three; The shortest time the copyright can last is the authors/creators life plus 25 years. And Four; All nation must grant an exclusive-right of translation for seven years. (5)

WTO: World Trade Organization.

WTO has Five fundamentals, Trade negotitions, Implementation and monitoring, Dispute settlement, Building trade capacity, and Outreach. Trade negotitions cover goods, service and property. Implementation and monitoring require governments to enforce and notify the WTO's laws. Dispute settlement resolves any trade quarrels and enforces rules for smooth flowing. Building trade capacity contains provision for developing nations, with longer time periods and increased trading opportunities with included support. Outreach has regular chats with non-governmental organizations, with the aim of increasing cooperation and awareness of WTO. (6)

TRIPS: Trade Related aspects of Intellectual Property.
TRIPS brings rights into the framework of the WTO, well considering the intellectual property. (7)

References

1) http://www.wipo.int/about-wipo/en/ 

2) http://www.wipo.int/treaties/en/ip/berne/ 

3) http://www.unesco.org/new/en/unesco/about-us/

4) http://www.unesco.org/new/en/unesco/about-us/who-we-are/introducing-unesco/

5) https://www.britannica.com/topic/Universal-Copyright-Convention

6) https://www.wto.org/english/thewto_e/whatis_e/what_we_do_e.htm

7) https://ideas.repec.org/b/oxp/obooks/9780199271283.html

Essay Analyzing

Essay Body Analysis no. 3

Paragraph Fifteen, Sixteen, Seventeen, Eighteen and Nineteen
Analyzing Harry M. Benshoff's, Heigh-Ho, Heigh-Ho, Is Disney High or Low? From Silly Cartoons to Postmodern Politics
http://www.animationjournal.com/abstrats/essays/Benshoff/html 

Paragraph Fifteen & Sixteen
Define
Totalizing theories: The total theory. Everything incloded.
Top-down theories: Start at the top and work your way down theory.
Tin Pan Alley: The name given to New York song writer's that dominated the music industry in the 1800-1900's.
European facism: Europe dictatorship. Power

Questions

1) In what way do Adorno's theories acknowledge "a point of potential resistance to industrial culture machine"?
They see the big happy things, that then shows them how unhappy they really are. The possible downside to classic cartoon with Utopian settings.

2) What occurs, according to Adorno, when a viewer/audience engages with a sentimental film? Explain what you think he means by this. Do you agree? Why/Why not?
Yes and No. Depends. It could motivate you to do better with your life when looking at their happiness, Or it could make you sad and give up on 'true' happiness for good. So it depends.


Paragraph Seventeen
Define
Resistant textual practices: Resisting the usual way of doing things.
Pastiche: Artistic work that copies someone else. Could be a mixture or one thing.
Nostalgia: Longing for the past. Wishing for the old times.
Intertextuality: Shape of text. Intertextuality. Inter = between. In-between different text. Comparisons.
Tropes: Metaphor of a word.
Reconceptualised: A new concept over and over. Reconcepualised. Re = Repeat.
Eschew: Avoide.
Pejorative: Express disaprovale
Hierarchical biases: Hierarchy. Bias. Tending towards hierarchy's.

Questions

1) Who is Frederic Jameson and how/why is his quote used in the context of Benshoff's argument?
Professor Frederic Jameson is a professor at Duke collage in Durham England. He wrote many different books like The Political Unconscious. and Postmodernism, and many more. (1) His quote was used in Benshoff's argument because it fit his point of view and conformed what he thought. It strengthens his argument.

2) What according to Benshoff have the postmodern aesthetics of textual construction produced? Why is this important in developing his argument?
Ala Comolli and Narboni's films. E.g. Text that go against the cultural way. Due to the 'high art' inside.

3) What are "Comolli and Narboni's Type" films?
Jean-Louis Comolli and Jean Narboni were French editor's who wrote and published two articles called 'Cinema/Ideologie/Critiqe' in 1969. (2) Their type of films were more political than entertainment.

4) Who is J. Hoberman and why is his identification and classification of these tropes in 1940s and 50s cartoons as "vulgar modernism" significant?
J. Hoberman is a film critic. Vulgar means improper, rude, or even someone with no taste. On the website Rotten Tomatoes, J. Hoberman's reviews seem to be very high on the 'T-Meter' with the highest being 'The Death of Slalin' (2018) at 95% tomato rate. (3) This means that his reviews are vulgar to the readers. So Benshoff mentioning this guy is a risky move on his part.

5) What does this have to do with the collapse of the high and low postmodernism according to Benshoff?
Both high art and low art is being combined with no bad after effects. Meaning people like J. Hoberman's reviews are less damaging to the film/cartoon. 

Paragraph Eighteen & Nineteen
Define
Hyperreal: Over real. Exaggerated.
Langue: The french word for Language.
Pessimistic: Negative view on things.
Oppositional Impetus: Oppositional = Against. Impetus = Force. The against force.
Carnivalesque: Carnival nature. A fun fulled festival.
Utopian Postmodernism: Perfect postmodern.
Latent totalized (narrative): Latent = Yet to see. Conformist closed view. Overview. Pretend we didn't see.
Untethered signifiers: Colourful open view.

Questions

1) Who is Baudrillard, what is "the code of the hyperreal" and are we trapped in it?
Jean Baudrillard was a French theorist. Hyperreal is a special kind of reality, that is created my models or made from ideas. It leads to stuff being 'too real' with not much mystery. Making it more real than reality. (4) The expectation of having a perfect, happily after, life messes with people till this day. Some are trapped in it. It depends. 

2) In what way is Frederic Jameson "similarly pessimistic"?
Negative. He says that there is no room for resistance. 'Obey every order'.

3) Who is Hal Foster and why is his identification of a postmodernism of reaction and resistance important in this context?
Hal Foster is known as the god father of the postmodern art theory. (5) He says that he isn't sure is postmodern is for or against modern. This is an important point to make.

4) In what way might The Cookie Carnival be read as counter to a hetero/sexist bourgeois ideology? How does Benshoff explain this?

The queen said no to every different stereotypical males of the time, but yet to the classic middle class white male hero. This idea is conformed. It's carnival.

5) Where do you think works that "reproduce-reinforce the logic of consumer capitalism" sit on the high-low continuum? Why?
It would be low. Conforming to the masses.

6) Where do you think works that "seek to deconstruct modernism and resist the status quo" sit on the high-low continuum? Why?
It would be high. It resists conforming for the masses.




References

http://www.animationjournal.com/abstrats/essays/Benshoff/html 

1) https://literature.duke.edu/people/fredric-jameson
2) A book 'French Cinema in the 1970s. The echoes of May'. Pg: 136.
3) https://www.rottentomatoes.com/critic/j-hoberman/movies
4) https://ceasefiremagazine.co.uk/in-theory-baudrillard-9/
5)https://www.artspace.com/magazine/art_101/know-your-critics/hal-foster-godfather-of-postmodernism-53584

Essay Analyzing

Essay Body Analysis no. 2

Paragraph Seven, Eight, Nine, Ten, Eleven, Twelve, Thirteen and Fourteen
Analyzing Harry M. Benshoff's, Heigh-Ho, Heigh-Ho, Is Disney High or Low? From Silly Cartoons to Postmodern Politics
http://www.animationjournal.com/abstrats/essays/Benshoff/html 

Paragraph Seven
Define
Incessantly: Non ceasing, not stopping.
Character-based genres: The character is the genre, like a story of Steve going to sleep.
Classification: Name, or label. How it is classified. Classification. Classes. There were High and Low classes.
Construed: The same as understood. Interpreted. A way of understanding things.
Conventionalized: Rules of society. Conventionalized. Conventional is a normal or regular way of doing things.

Questions

1) Who is Theodor Adorno and why is he referenced in the context of Benshoff's argument?
Theodor was a continental philosophers of the twentieth century. He had a large range or topics he discuses and wrote about but he most concerned about the suffering among humans. He has been referenced in Benshoff's argument because he's opinion matched Benshoff's argument. If it didn't match the argument it wouldn't have been referenced.

2) What impact has the "profit motive" had on the culture industry according to Adorno?
That it has become more important than culture. It has been since it first gained power.

3) What should not be construed to mean that the "Silly Symphony" series are somehow less conventionalized than other Disney Production?
The recurring character in other Disney productions are different. Every different short film in 'Silly Symphony' has a different world, character's, situation. More work required to complete films.


Paragraph Eight
Define
Precursors: Before. Leading to. Precursors. Pre = post.
Irreverent: No respect. Disrespectful.
Idiom: Musical idioms is the characteristic mode of expression.
Bowdlerizing: Removing stuff that didn't fit for what they are fitting into. Censured or edited.
Postmodern musical bricoleur: Bricoleur = collage. Making from other makings. Bricoleur. Leur = Person. A person who makes collages.
Penchant: French for Passion.
Fellini parodies: Parodies are copies done for comical or funny reasoning. Federico Fellini. He made La Dolce Vita. He was a Italian director.
Gregorian chants: A Roman Catholic version of worship. Monophonic sound.

Questions

1) In what way can the "Silly Symphony" series be seen as precursors of Fantasia?
With the mixing of the High and Low's. Like the different music heared

2) Explain how Disney could be seen as a postmodern musical bricoleur?
They were mixing and matching different music to suit the mood in the film. Like 'sad' is violens.

3) How does the name "Silly Symphony" suggest a mixture of high and low?
'Silly' is a folk people word. And 'Symophony' is a high classed person word.

4) According to Benshoff, what was the thinking behind the combination of the Philadelphia Orchestra and Deems Taylor?
High and Low music/concepts combineing into one thing. No more 'high' or 'low' art.

5) Explain why, according to Benshoff, the issues/problems associated with mixing high and low musical idioms are scarcely imaginable in "today's postmodern world".
We are often mixing and matching different media to create a new idea like with memes.

Paragraph Nine
Define
Dominant ideology: Dominant has the most strength, over powering, main thing. Ideology. Ogy = the study of. So this means the study of a group of ideas/ideals.
Ostracism: Isolated. Cased out. Alone.
Manifestations: Appears. Comes to be clear to the eye.
Vacuous: Open space. Empty. Nothing. Blank. Air head.
Banal: Boring or dull.
Shamelessly conformist: No shame in being conformist. Just go with the flow.

Questions

1) What are dominant ideologies that transfer to the screen "fairly transparently" according to Benshoff?
They were the well known stories/fairy tales/fables. Already had a good story.

2) What point is Benshoff trying to make that he supports with a Theodor Adorno quote?
The messages are, don't dream, be normal, conform. You are a simple mouse, not a bird. Don't even try or people will laugh at your failure.

Paragraph Ten
Define
Allegories: Story/poem/picture with a hidden meaning or morals. Like how politics are involved.
Utopian human communities: Utopian = perfect and amazing. So this statement means to have the perfect human like society.
Harmoniously: Harmony. Happy. Synced.
Naturalize: To make normal. Natural way of being.
Heterosexual bourgeois romance: Heterosexual = man and woman relationship. Bourgeois = Middle class. So this statement means the middle class man and woman romance.
Psychical adjustment: Effecting the mind. Changing menially.
Subaltern communities: Subaltern. Sub = under. Alt = high. This is pro middle class. Not high. Outside power structure of the high class.
Heterogeneity: Diversity.

Questions

1) According to Benshoff, what films can be read as allegories of Utopian human communities and in what way?
Fantasy films of animals living together happily with no deaths from killing and eating each other.

2) Explain how the films "naturalize an ideology of heterosexual bourgeois romance" according to Benshoff. Give an example.
They show the classic middle class man and woman interacting like in 'Moth and the Flame'.

3) How might these act as "social cement" by appearing to celebrate subaltern communities?
Propaganda. By making it good to be middle class though media.

4) Do these films celebrate subaltern communities according to Benshoff?
No. They still want people to not dream or be different.

Paragraph Eleven
Define
Pseudo-individualization: Pseudo = Fake. Fake individual people.
Endowing: Giving to Endowed with jewels. Provide
Standardization: Creating own normal. Conform. Stranded. 

Questions

1) What is Theodor Adorno's concept of pseudo-individualization and why is it referenced in the context of Benshoff's argument?
It appears different but is the same. Benshoff mentions this because it suits his argument and/or point of view.

2) Describe what you think is meant by "a halo of free choice or open market"?
They have heaven doors of the market opened to them. Halo.

3) Who is "kept in line" by making them forget what they listen to is "pre-digested"? Explain what.
Costumers. If a song has a label like 'it's in the top ten' we already think that it's a really good song without even hearing it. We are being told what to like and not notice the receptive nature.

Paragraph Twelve & Thirteen
Define
Individualized trappings: Environment. Contained within.
Protagonists: The main, good character in a story. Usually the hero.
Narrative trajectory: Direction of the story.
Idyllic:  Perfect. Happy. Peaceful.
Wanton behavior: Unmoral. Bad. Sinful. Leading them on. Prostitute.
Interloper: The guy who shouldn't be there. In the way. Unwanted.
Bourgeois white male propriety: Middle class, white male ownership/strandeds/rights.

Questions

1) Explain what you think Benshoff means by the "individualized trappings" used to make each of each of the "Sillies" seem different? Give an example?
He means that there is always a unique environment for each story/character. Disney goes from the trees in a meadow to a candy land full of candy people.

2) Benshoff claims the protagonists behave the same in every "Silly". Describe what you understand to be the standardized behavior for protagonist in the "Sillies".
A middle class male as the underdog hero. The genial man who gets the only girl. A middle class woman get's herself into trouble with a bad man, so the underdog hero comes and saves her as they live happily.

3) Describe in your own words the classic narrative trajectory according to Benshoff. Do you agree? Why/Why not?
Yes, basically. 'Moth and the Flame' and 'Flowers & Trees' share this same story basses.

4) What is, according to Benshoff,, "shown to operate in film after film"? Do you agree? Why/Why not?
The ideology of the bourgeois white male propriety. They are targeting the audience in the middle classed people and want a 'good' male to save the girl. I agree with this. It is seen clearly the racism in the different characters and the 'white' man is always the hero.

Paragraph Fourteen
Define
Subversion: Underminding. The power.
Catharsis: Emotion. Desplaying emotions. Release. Express.
Reconcile: Recall. Remember. Get over it. Normal. Reconcile.
Wolfish displacement: Wolf = metaphor for bad things. Symbolic. This thing is displaced by bad things.
Fantasized blinders: Portend. Blinders. Tunnel vision. Only focused on fantasy.

Questions

1) Why does Benshoff believe the potential for subversion in the "Sillies" is minimal?
Because it is a mass produced cartoon. If made by power, it won't/can't go against power.

2) Benshoff supports his assertion in an Adorno quote suggesting the medium "deprives it of social significance". Explain what you think he means by this. Do you agree? Why/Why not?
He says that a good thing for society that is mass produced, looses it's good effect. I do agree with this. It's all related to the fantasy tunnel vision, being only focused on the certain aspects of the messages/meaning for entertainment.

3) How does listening to musical confessions of unhappiness according to Adorno, reconcile listeners to their social dependence? Do you agree? Why/Why not?
It lets them release their own emotions on a cartoon instead of a real life problem. I do agree with this. When I watch a cartoon on someone who lives in a broken world, it makes my world better. I don't think once about my world's brokenness.

4) Describe how Benshoff supports his assertion that the cartoon is catharsis for, and control of, the masses?
Real life problems. Expressed to cartoons instead of real life. A sad song about someone being lonely would relate to every person who has felt alone. The are emotionally engaged in the song.




References

http://www.animationjournal.com/abstrats/essays/Benshoff/html 
1) https://www.iep.utm.edu/adorno/

Essay Anylazing

Essay Body Analysis no. 1

Paragraph Three, Four, Five and Six
Analyzing Harry M. Benshoff's, Heigh-Ho, Heigh-Ho, Is Disney High or Low? From Silly Cartoons to Postmodern Politics
http://www.animationjournal.com/abstrats/essays/Benshoff/html 

Paragraph Three
Define
Aesthetic: The look of something's outer appearance including the different details and styles.

Realist impulse: The desire to create a real looking image.

Modernist: The person who likes to be modern.

Live-action: Real living people/animals acting out/posing for reference for artist to recreate in their work.

Popular culture: The most popular actions/beliefs done by the public/country.

Abstract: Taking reality and changing it into a different, unique prospective/view/idea. It doesn't have to make scene.

Pictorial realism: Art that looks real and shows real things/objects.

Questions
1) Describe in your own words what the key to Disney's success in according to Benshoff.
They were really good at appealing to the large masses of views from all over the world.

2) What according to Benshoff has become the popular measure of the quality of all commercial animation and why?
the "Disney style" This was because Disney was the monopoly of all animation and because of Disney's study with realistic movements with people and animals. The stranded's were high.

3) On what is the Disney style dependent according to Benshoff?
The very good representation of the realistic movement seen in their animations. This was from live people and animals to reference from.

4) What influences emerged in the 1940s and 50s and how does this fit into Benshoff's "high/low art" argument?
Modernism and abstractness. Disney was trying to be "high art".

5) What examples does Benshoff use to support his argument that a less realist, more abstract style of animation was being created? Explain how these examples are aesthetically "less realist" and more "abstract".
The example was McMoing-Boing and Mr Mcgoo. This style is less on realistic proportions and more on a exaggerated/unexaggerated features. This was when the head measure was coming into play like the three head measure. 

6) Describe how Fantasia, 1940 demonstrates Disney's "flirtation" with the idea of bringing "high art" into animation.
In Fantasia, Disney used a very high classical music-score and also a very famous conductor called Leopold. Disney tried to use abstractness to capture the audience.


Paragraph Four
Define
High-low dichotomy: Dichotomy means two different ideas. This means that this the two different ideas of both either high art or low art.

Musical score: It is the piece or paper that has all the different types of instruments on it.

Folksy ease: This is the music that the folk listen to. It is usually easy to listen to with a calm chill vibe to it.

High brow: This is the music that the high class men listen to. It is usually fancy and intense music.

Questions
1) Describe in what way the high-low dichotomy is evident in the classical musical score in Fantasia.
Classical music was very "high" music, along with Leopold to make it "high art". The folk music was condurered the "low" music, along with Deems Taylor making it even more like "low art".

2) According to Benshoff, what was the thinking behind the combination of the Philadelphia Orchestra and Deems Taylor?
The Philadelphia Orchestra's were the "high art" in the animation and Deems Taylor was to narrate the music so people had an idea on what was going on. Making Fantasia easier to understand. 

3) In what way does the experience of Oskar Fischinger illustrate the project's inherent problem?
He believed that "high art" music was not good in Disney studio's. And that Disney was going to be always "low art".

4) Why do you think Fischinger "disowned" the possibility of combining "high art" with Disney cartoon?
Fischinger didn't want his name to be associated with a "low art" failure project. He wanted to remain high art with nothing that could bring him down.

5) Explain what you think Fischinger means when he says "no true work of art can be made with that procedure used in Disney Studio".
I think that he didn't think that Disney's style and ways of production could meet the "high art" slandered's of an original piece of artworks and one true create.


Paragraph Five
Define
Burlesqued: A dark, forlorn, despicable voice exaggerated to be very dark.

Musical idioms: Musical idioms refer to the writings, parts and performing things.

Good Neighbor Policy: It was a foreign policy that mean that the other country was to not be interfered with but was to be included in different activities.

Appropriated: This is past tense for appropriate.

Questions
1) Why do you think Fantasia was a financial failure and why do you think this caused Disney to shy away from "high art" artists?
Fantasia didn't appeal to the mass public because there was no story, boring, and it was hard to understand. Disney's shy away from "high art"artists because if the hardship that came from working Fischinger. They didn't want a repeat to damage their name again.

2) In what way does Benshoff reinforce his statement that there was still artistic experimentation happening in Disney studios in the 1940s?
His examples were the short films between Bambi and Cinderella. One being the bumble boggie.

3) In what way can the examples discussed be characterized as abstract?
The visual abstractness. With the bumble boggie, it was with the blast of colour as the horns blasted a loud sound. This was seen as abstractness.

4) Why do you think voice over narration was employed to "temper" the use of classical music (as in "Peter & the Wolf")?
It was to tune down the intense music. It made it friendlier and calmer. Easier to watch and understand.

5) Why do you think contemporary vocalists were used "in lieu" of Beethoven and Bach in the "Ballade Ballet"?
The same idea as question four, to tune down the intense music and make it easier to watch and understand.

6) Describe in your own words why you think South American musical idioms were appropriated--What did this have to do with the Good Neighbor Policy?
To not be rude. It was include to Good Neighbor Policy and appeal to the other viewer down below. The Good Neighbor Policy was to include the different cultures and countries.



Paragraph Six
Define
Theoretical: The theory behind different ideas/practices.

Reified: This means it is more real, repeatable.

Conformist: Going with what everyone else wants. Going with the flow.

Questions
1) Benshoff says Disney films incorporated a modernist tendency in response the American popular culture as a whole-- explain what you think he means by this. What was this modernist tendency and in what way/s was it demonstrated in American popular culture as a whole?
He is thinking that Disney could be conformist. That Disney changed to appeal more to the masses. Is is shown through Disney experimenting with the new abstract style and the music for the folks. Also with their realizum in the animations appealing to the masses.

2) Benshoff states that Disney's films can be considered as more than a reflection of popular aesthetics-- what are the questions he suggests would be worthy of further analysis?
Are Disney ultimately reified and conformist for the public? Or has the masses changed and excepted the Disney style as time goes by?

3) Who is Theodor Adorno and why is his name used in the context of Benshoff's argument?
Theodor Adorno wrote stuff about sociology, psychology, and musicology. 

4) Do you think that Disney's productions are "ultimately conformist" because of their status as a mass produced artifact? What do you see as the relationship between mass production and conformity?
I don't view Disney as conformist. But, if they did conform, Disney would appeal more to the masses easier.

5) In paragraphs three to six titled The High and Low of It identify and explain how the author has: presented a logical development of ideas and included quotation or other sources to support/illustrate him argument.
He has shown many different ideas and point of views to contrast new and also different examples. Benshoff has shown the progress of Disney going though high and low art stages. Disney learnt that "high art" was a bust but "low art" was a go.