essay draft

‘mechanical reproduction emancipates the work of art from its parasitical dependence on ritual…From a photographic negative, for example, one can make any number of prints; to ask for the “authentic” print makes no sense.’ Despite Benjamin’s theory covering a broad range of the types of art in this essay I will be drawing my focus on film as an art form and exploring whether digital technology has emancipated art or if digital advancements have done the opposite. Living in a time where technology is highly accessible and always has been it’s hard to imagine life without it. Therefore in order to understand the context in which Benjamin was writing  I will explore film from its roots and go through a brief historical timeline of films existence to have a clearer understanding outside the mind of a digital consumer. Using Benjamin’s views from his essay (ESSAY TITLE)I will apply the concept of authenticity and “aura” in reference to film in both the past and present, documenting any cultural or technological changes that may have influenced the growth of Film. Using this research I will place Benjamin’s theory of mechanical reproduction in a forwarding point in time, using John Berger view’s from his 4 part series ways of seeing (BBC, 1972) to highlight how our perception and reaction to film has adapted as a result of digital production, marketing and exhibition. To summarise these findings I will contrast Benjamin’s view with the views of Adorno and Horkheimer in relation to my personal experiences with digital advances in film and the effect of the internet.

Film started out as a photochemical process, an advancement of photography that gave still images the power to become moving imagery to tell a narrative. The first film ever made The Horse In Motion (Muybridge, 1878) portrays the basics of film shooting and despite being unimpressive in comparison to the contemporary films it revolutionised perception. “With the invention of the camera everything changed. We could see things which were not there in front of us appearances could travel across the world.” (Berger, 1972) Given the context the short film was produced it can be assumed in terms of the ‘aura’ audiences could feel a magical sensation wherever they saw the film as for the first time their perception can be ‘freed from the boundaries of time and space’ through the looking of a ‘mechanical eye.’ Taking Benjamin’s view into account this can be seen as the bench mark of the emancipation of art as authenticity is no longer a factor, as it was with paintings, because “from a photographic negative… one can make any number of prints; to ask for the “authentic” print makes no sense”

Films were shot, and edited, in this analogue format, “for almost one hundred years” (Side by Side, Reeves, 2012), and started as a silent means of production that was reliant on images filmed only in black and white. These films would then be exhibited in the cinema for audiences to enjoy and In relation to Benjamin’s concept of the ‘aura’ it places focus on the relationship the audience makes with art and within film this can be seen as almost a religious ritual, everyone is silent in the dark allowing themselves to subjectively make a connection to what they are viewing. However, as time progresses and technology advances the aura has to adapt with these changes to understand modern means of mass production. In terms of art being freed as a result of digital technology the introduction of film can support this as Benjamin believes reproduction is missing its presence in time and space, its unique existence at the place where it happens to be yet film detaches itself from this concept. Film can exist anywhere and authenticity isn’t a factor when it comes to shooting on film.

Side by side is an American documentary that investigates the progression of the film industry and how digital technology has revolutionised the way in which we watch and produce films It explains the process of film being “ shot, edited and projected using photochemical film.” (Side by Side, Reeves, 2012) Alongside, taking an “in-depth look at this revolution through interviews with directors, cinematographers, film students, producers, technologists, editors, and exhibitors” (Side by Side, Reeves, 2012) It examines all aspects of filmmaking — “from capture to edit, visual effects to colour correction, distribution to archive… at a time when digital and photochemical filmmaking coexist (exploring) what has been gained, what is lost, and what the future might bring.” (Side by Side, Reeves, 2012)

The technique of reproduction detaches the reproduced object from the domain of tradition. This appears true in a digital age of film making as very little remains manual, unless chosen to be, which has revolutionised cinema and how films are made as “Digital technology opens a door of possibility that you can’t do with film” (James Cameron) that can be viewed as either something “scary or liberating”(Side By Side.) Whilst shooting Danny Boyle’s 28 days later they had to “stop traffic which we didn’t have the money to do” however, with the power of cheap digital cameras they “could use 10 of them because they were so cheap and hold the traffic briefly to get the shots needed and from all angles.” This is something that supports the democracy of film in the digital age as it means more is possible with a smaller budget such as being able to “shoot illegally, do unconventional things and disrupt the rhythm of things.” (Boyle, Side by Side, 2012) The fluid use of these cameras allows everything to become much more voyeuristic and makes the cinematographers job much more exciting this revolution comes with a required level of “Technical expertise (that) can be seen as a new form of craftsman shipment in an age where digital technology dominates over analogue technology. The visual language of digital cameras differs away from the static-ness of film, taking cinematography to a new level” (Rodriguez, Side by Side, 2012)

Digital technology “comprises certain factors of movement … of the camera, not to mention special camera angles, close-ups, etc.” Meaning in terms of perspective we can “discover something about ourselves and the situation in which we are living” through entering this fictional world which “permits the audience to take the position of a critic, without experiencing any personal contact with the actor” as a result of the free movement of digital cameras creating an almost intimate relationship with a stranger. This enables a new reaction to films which we never had before with the only downfall being that with films shot digitally “quality wise if you put it against an exact copy on film, film would be superior” (Boyle, Side by Side, 2012) However, as previous stated digital technology requires “craftsmanship” therefore if the resolution of digital technology is an issue disguise it through the films content.

This style was utilised within the making of Paranormal activity (Oren Peli, 2007) that took the concept of  digital cameras being  the ‘re-invention of a social medium that has worked its way through our culture and brought it onto another level’ (Scorcesse, Side By Side, 2012) into the hands of the public which wasn’t accessibly possible 10 years ago. The film had a limited budget of $15,000 according to IMDB and managed to gross over £107,918,810 (Box Office Mojo) as result of high demand on social media site Twitter. “The film received 1 million hits on the Internet where people “Demanded It” (Marisa Porter, 2007) to be exhibited in their town. As a result conglomerate

Paramount decided to financially exhbit the films into cinema and DVD/BLU-RAY format. This emphasises the emancipation of art as a result of the internet as without this powerful form of viral marketing, that was unavailable ten years ago, it is unlikely to film would have never been seen to an audience this broad. Since the release of this film it has had four sequels and has set off a chain reaction of films similar in cinematic style including The Devil Inside (Bell, 2012) and The Last Exorcism (Stamm, 2010.) This revolutionary achievement allows hope to be given to aspiring film makers as what was once seen as an “Amateur way of shooting” (Ambrosi, Side by Side, 2012) can now match the achievements of “the gold standard of making movies” (Ambrosi, Side by Side, 2012) film. “Paranormal Activity marks one of the first films to successfully use viral marketing and integrate social media into their advertising” (Marisa Porter, 2007) and has made the cinematic style favourable and inspirational to others.

However, what comes after cinema is reliant on reproductions which are produced to benefit the audience as well as the producers. Without reproductions the profit of a film would stop at cinema which would force producers to make more films faster to ensure they stay in business which could be very expensive to do and lack essential pre-production planning that can determine the creative outcome. With reproductions it grants the film an eternal life which could potentially bring in a profit forever meaning the copy of the original can be placed into situations which would be out of reach for the original itself as a result of digital technology. Having been spoilt by the power of modern technology and having witnessed the power of digital technology when reproductions emerge there is currently a choice to purchase DVD or BLU RAY. In a time where quality is highly valued according to the BVA in 2012 there was a ‘10% rise in Blu-ray Disc spending’ and a  ‘year-on-year increase in the value of the video market of 0.5% (that) effectively maintain(ed) the overall market value as consumers shift their viewing habits.’(BVA, 2012) This same year the highest grossing films were The Avengers grossing $623,357,910 (Box office mojo, 2012) and The Dark knight Rises grossing $448,139,099. (Box office mojo 2012.) Aside from the obvious reason for this profit being the fact they have both evolved from comics, making them franchise property with a pre-sold audience, they we’re both shot using IMAX cameras and the closest way to replicate this cinema exclusive viewing is on BLU RAY.

 

From this image its clear to see blu-ray allows the highest resolution however, with DVD not coming close to this high quality it can be argued that domestic sales destroys the authenticity of film. This challenges Benjamin’s view that digital technology ‘emancipates art’ as it appears, unless the consumer has a high disposable income, to do quite the opposite through stripping down the authenticity of a piece through the removal of its original resolution ,  and replacing it with something that is released in two different formats, both with very little originality remaining.

Being at what most claim to be ‘the peak of digital technology’ 

Angela McRobbie

The aftermath of feminism notes

'femisnism' is intstrumentalised, it is brought forward and claimed by Western governments, as a signal to the rest if the world that this is a key part of what freedom now means (pg 1)

The young woman is offered a notional form of equality , concretised in education and employment, and through participation in consumer culture and civil society, in place of what a reinvented feminist politics might have to offer. (pg 2)

'the idea of a global, through highly differentiated feminist politics would indeed be a considerable challange to the current global and still patriarchal system of economic power and domination. (pg 2)

(Feminists) 'this small force for change has neverless has had enormous potential to create disruption and to bring about change.' (pg 2)

'ordinary women, or indeed girls, who created their own, now seemingly autonomous pleasures and rituals of enjoyable femininity from the goods made available by consumer culture (e.g television programmes like sex and the city)' (pg 3)

(in the 90s) 'women were being increasingly invited, by the fources of consumer culture that were now throughly tuned into, and able to adopt a feminist voice, to pursue new freedoms including sexual pleasure as a kind of entitlement that was now being granted' pg 4 - use cosmo as an example its focus on sex changing to adapt with the new cultural changes in what is socially acceptable - compare to a cosmo from a previous date that may not be as sexually open as current issues.

Comparing and contrasting Wedding items

1) Setting

Traditionally, Wedding ceremonies are held within a church . This tradition derived from the Victorian era as a result of the population consisting of mainly Roman Catholics as weddings were seen as a holy sacrament.  In terms of semiotics, study of signs, a church connotes religion therefore religion roots can be attached to Western culture as a result of these culturally inflicted relations.

Essay - Attempt 1 (Notes need compiling)

'Culture is ordinary, that is the first fact' but what is it that makes culture ordinary? It starts with society and how we choose to bind ourselves into groups based upon morals, income, shared interests and anything else that allows us to become relate-able to each other in some sense. How a society is run on the other hand and how 'culture' is created can be strongly based on politics and what we are conditioned to be believe and abide by. Our westernised ideas rooted from a right-ring led system teaches us to make an honest living and encrypts a '10 commandments' style of morally right acts in which we should perform to avoid various consequences such as imprisonment. The fact most people  follow these acts, or rules, and avoid 'wrong doing' such as theft and murder is because we 'are trained to.' What does this say about culture? Culture is something that is taught therefore lacks originally, are we honestly 'individuals' or are we subliminally controlled by a higher dominant force? Through comparing and contrasting two celebratory events, two weddings, I will aim to answer the question 'is culture ordinary.' With focus on Wedding iconography, class differences and gender references supported by the work of Raymond Williams, Karl Marx and Roland Barthes  I will critically analyse Western Culture from a contemporary perspective.

Starting with my parents wedding an importance aspect to consider is the class differences as the bride came from a middle class and the groom came from a working class background. With this in mind  it would make sense to see influences from both cultures present due to incorporation of two different societies, defined by their class, in one setting. However, despite this the dominant influence came from the middle class, supporting the Marxists view of us living in a class dominating culture, this was emphasised through the following of 'wedding traditions' seen through the items featured in the ceremony. These traditions conformed to the conditioning of middle class culture who have the ability to spend money to conform "the best day of my life " attitude, an expectation middle class culture encourages. However is this truly the best day because of the act of love a wedding proposes or it is due to the amount of money spent to create a form of art after years of saving...The main division between middle and working class is the income. Being a working class citizen, from a Marxist perspective, means you willingly sell your labour to dominant classes in exchange for the value of money which conforms to the 'survival of the fittest' mindset of a right-wing system in which we currently live in. However, as a middle class citizen you stand higher in terms of hierarchy and have a greater disposable income to afford more than just the basics of survival. Middle class have the ability to be materialistic and a product of Media consumption influence in which the media can use different forms to influence those with disposable income, such as 'unique' selling points of products, in order to win over that income to make a profit. With this in mind what can be said about culture? Marxism states the media is in favour of the upper classes and therefore media products such as newspaper and TV are put forth to only serve to them. However, is this truly the case? As without the upper classes making the decision to indulge in media consumption industries wouldn't be able to survive without profit. Therefore are the media truly supportive of the middle class as a way of setting an example to society to form a culture enriched with the ideas of upper class ideology or are the upper classes merely targeted and focused on as oppose to the working class as they are the ones who fuel the finance of the Media.

Conformity has replaced consciousness, in the sense that culture is no longer dominated by the individual initiatives of society to make decisions, but rather the passive nature of conforming to the mainstream 'idolised' way of life we're conditioned to aspire to. 'culture is ordinary' (Williams) if this is factual it would imply no thought or action is original therefore culture, in terms of progression, has plateaued. This would find truth in the eyes of The Frankfurt school and when looking at western culture it can be argued it stands close too fact, years after Williams writings, in a highly standardised society. However, although hundreds of examples can be given That approve these ideas, such as the assembly line reproduction of boy bands capturing the desire of a teen girl cult, its the rejection through many art forms which is interesting. Looking at the expansion of mainstream culture the visceral pessimism felt is natural for art enthusiasts yet deeper exploration of culture is needed to stimulate the thought provoking that culture may not be so ordinary.

Upon arrival to my Cousins wedding the distinctive feature was the florescence of everything being pink. From a westernised perspective our society is 'trained' to make certain association with colours from birth. Pink in this case in terms of semiology has connotations of feminism and is known for being a "female" colour as even from birth pink is the colour culture teaches us to dress girls in so they can be distinguished from the boys. The choice of this colour scheme could hint at the feminisation of weddings and how in contemporary times it stands as a celebration for the woman as oppose to conforming to traditional religious values of a wedding being (almost a ritual, get from blog) to celebrate the bond of a couple. This appears to be a reoccurring theme across weddings and is influenced by celebrity culture and the "beauty" of having the money to recreate an ever long fantasy of the bride. This is further emphasised through reality TV such as my 'big fat gypsy wedding' or 'don't tell the bride' all of which centre around the bride and her wants and desires for her "big day." my big fat gypsy wedding puts a strain on cultural norms through divorcing traditions from wedding ceremonies as their aim is to go extremely over the top to the point it evokes a shock factor from audiences outside that lifestyle. Even in terms of ideology girls are raised to watch Disney films filled with princesses, marriage and happy ending which has seemed to become woven into western culture

Due to technological advancements it has allowed Western culture to become highly standardised to the point very little remains 'original.' As a result of manufactures means of mass production allowing everything to duplicate a single product it grants society the ability to purchase the same product over and over. This westernised way of living has become encrypted into the ideologies of most classes who live with this modern way of thinking. Instead of travelling to a farm to obtain fresh produce its now more convenient for most to simply go to the supermarket to purchase food and this is what we are conditioned to believe. Print adverts, TV Advertisements and Radio all support supermarkets through advertising stores for their low prices and providing deals to benefit a mass audience. However, independent farms for example don't have media power in the sense they aren't funded by a company to advertise there products thus taking the simpler route, which we are encouraged to, powers over the traditional way of life.

The main division between middle and working class is the income. Being a working class citizen, from a Marxist perspective, means you willingly sell your labour to dominant classes in exchange for the value of money which conforms to the 'survival of the fittest' mindset of a right-wing system in which we currently live in. However, as a middle class citizen you stand higher in terms of heirachy and have a greater disposable income to afford more than just the basics of survival. Middle class have the ability to be materialistic and a product of Media consumption influence in which the media can use different forms to influence those with disposable income, such as 'unique' selling points of products, in order to win over that income to make a profit. With this in mind what can be said about culture? Marxism states the media is in favour of the upper classes and therefore media products such as newspaper and TV are put forth to only serve to them. However, is this truly the case? As without the upper classes making the decision to indulge in media consumption industries wouldn't be able to survive without profit. Therefore are the media truly supportive of the middle class as a way of setting an example to society to form a culture enriched with the ideas of upper class ideology or are the upper classes merely targeted and focused on as oppose to the working class as they are the ones who fuel the finance of the Media.  

Edward B. Taylor (1871) ‘Culture includes socially acquired knowledge, beliefs, art law, morals, customs and habits.’  – To adapt from this it emphasises the role society plays in not only formulating culture but growing culture to create societal norms in which individuals follow through gaining ‘socially acquired knowledge’ highlighting we are taught how to act and believe in from a young age which becomes encrypted into our ideologies and allows us to join a formulated culture one enriched with civilization and ‘morally right’ actions. e.g we are conditioned to abide by the law and recognise acts of violence, vandelisation and theft are morally wrong acts and should be avoided. 

George P. Murdock (1930) – Human relation area files to identify and sort distinctive cultural variations – Imporatant when it comes to comparing and contrasting.

n terms of culture being ordinary‘Every human society has its own shape… purposes, its own meanings. Every human society expresses these, in institutions, and in arts and learning’ – Williams, culture is ordinary (1958) pg 93 However, this is expressed differently depending on the class of individuals which leads onto the effect class has on culture and society. Living in a working class society with little income resulting in different tastes and interests in which will cater to those with less money to pay for luxuries attached stereotypically to the upper classes such as the opera which is know for being a upper class art form. The working class on the other hand don't have the disposable income to appreciate the opera therefore they find their appreciation for the arts in different art forms such as 

Products of human manufacture sold to society for materialistic consumption to emphasise someone’s wealth or to simply praise an individual for their hard work a trophy of achievement. – can be applied to weddings, we are often taught when it comes to weddings the bigger the celebration the better which ties into our competitive nature to succeed. Thus the materialistic items seen in weddings can work as an investment to impress guests with their wealth – westernised ideology derived from American culture portrayed in TV shows, films and magazines the celebrity ‘wow factor’ the working class are striving for to perhaps cover up their own culture which isn’t as idealistic. (Material culture)

TV Production Storyboards

An intro to popular culture notes

'The coming of the mass media and the increasing commercialisation of culture and leisure gave rise to issues, interests and debates.' pg 2 Dominc Strinati

'What or who determines popular culture? Does it emerge from the people themselves as an autonomous expression of their interests and modes of experience, or is it imposed from above by those in positions of power as a type of social control?  ... Or is it rather a question of an interaction between the industrialisation upon popular culture.' pg 3 Strinati

'Does the emergence of culture in commodity forms mean that criteria of profitability and marketability take precedence over quality, artistry, integrity and intellectual challenge? Or does the increasingly universal market for popular culture ensure that it is truly popular because it makes available commodities people actually want?' pg 3 Strinati

'The mass production and consumption of culture, the rise of fascism and the maturation of liberal democracies in certain western societies' pg 4 Strinati


Due to technological advancements it has allowed Western culture to become highly standardised in the sense that nothing is original. As a result of manufactures means of mass production allowing everything to duplicate a single product it grants society the ability to purchase the same product over and over. This westernised way of living has become encrypted into the ideologies of most classes who live with this modern way of thinking. Instead of travelling to a farm to obtain fresh produce its now more convenient for most to simply go to the supermarket to purchase food and this is what we are conditioned to believe. Print adverts, TV Advertisements and Radio all support supermarkets through advertising stores for their low prices and providing deals to benefit a mass audience. However, independent farms for example don't have media power in the sense they aren't funded by a company to advertise there products thus taking the simpler route, which we are encouraged to, powers over the traditional way of life.

The main division between middle and working class is the income. Being a working class citizen, from a Marxist perspective, means you willingly sell your labour to dominant classes in exchange for the value of money which conforms to the 'survival of the fittest' mindset of a right-wing system in which we currently live in. However, as a middle class citizen you stand higher in terms of heirachy and have a greater disposable income to afford more than just the basics of survival. Middle class have the ability to be materialistic and a product of Media consumption influence in which the media can use different forms to influence those with disposable income, such as 'unique' selling points of products, in order to win over that income to make a profit. With this in mind what can be said about culture? Marxism states the media is in favour of the upper classes and therefore media products such as newspaper and TV are put forth to only serve to them. However, is this truly the case? As without the upper classes making the decision to indulge in media consumption industries wouldn't be able to survive without profit. Therefore are the media truly supportive of the middle class as a way of setting an example to society to form a culture enriched with the ideas of upper class ideology or are the upper classes merely targeted and focused on as oppose to the working class as they are the ones who fuel the finance of the Media.  

'Human beings as individuals and as social actors, make their own history, while they can merely observe the history of the natural world.' Samir Amin ( Spectres of Capitalism: A Critique of Current Intellectual Fashions, New York, 1998, pg 27-47)

'A general equilibrium is produced through the self-regulating nature of the market' -Samir Amin

'Among the entirety of conceptions making up the bourgeois thought, that one which responds best  to the demands posed by the particular phase of captialist development under consideration easily wins its place of itellectual dominance; it becomes the 'single thought' of the moment' - Samir Amin

Social thought & Social power
bourgeois = Belonging to the middle class, typically with reference to its perceived materialistic values or conventional attitudes. e.g a bourgeois family

Commercialization is the process or cycle of introducing a new product or production method into the market

Facism - an authoritarian and nationalistic right-wing system of government and social organization.

Right- wing system - conservative = survival of the fittest, they believe that if you have more money, you should get to keep it, and buy better education and health services for yourself

Left wing system - Labour = progressive in nature, they look to the future, aim to support those who cannot support themselves, are idealist and believe in equality. People who are left wing believe in taxation to redistribute opportunity and wealth - things like a national health service, and job seeker’s allowance are fundamentally left wing ideas. They believe in equality over the freedom to fail

Is culture ordinary? Before we can determine whether or not culture is ordinary we must ask ourselves what exactly culture is, paying close attention to the effects of a class specific society

Raymond Williams quotes - Culture

In terms of culture being ordinary‘Every human society has its own shape… purposes, its own meanings. Every human society expresses these, in institutions, and in arts and learning’ – Williams, culture is ordinary (1958) pg 93 However, this is expressed differently depending on the class of individuals which leads onto the effect class has on culture and society. Living in a working class society with little income resulting in different tastes and interests in which will cater to those with less money to pay for luxuries attached stereotypically to the upper classes such as the opera which is know for being a upper class art form. The working class on the other hand don't have the disposable income to appreciate the opera therefore they find their appreciation for the arts in different art forms such as 

‘A culture has two aspects: the known meanings and directions which it’s members are trained to; the new observations and meanings which are offered and tested. These are the ordinary processes of human societies and human minds and we see through them the nature of culture; that it is always both traditional and creative; that it is both the most ordinary common meanings and the finest individual meanings.’ - Williams, culture is ordinary (1958) pg 93

‘We use the word culture in these two senses: to mean a whole way of life – the common meanings… The special process of discovery and creative effort’ - Williams, Culture is ordinary (1958) pg 93

"'Culture' has been heavily compromised... Many reached for their chequebooks; now a growing number, now, reach for the latest bit of argot" - Williams, Culture is ordinary (1958) pg 94

"A desire to know what is best, and to do what is good, is the whole positive nature of man." Williams, Culture is ordinary (1958) pg 95