Design Board Notes - OUGD501

The notes below are for my original essay question based on charity ad campaigns, this question has now been changed.

Design board 1:

• Charities/political awareness campaigns
• Branding
• Society
• Culture
• Client

Design board 2:

• age 18-65
• working
• England
• pop culture

Design board 3:

• See advertisements
• Political awareness campaigns, (NHS)
• Charity advertisements (Oxfam/CAFOD)

Study Task 02 Parody and Pastiche - OUGD501

Frederic Jameson:

What is this about?

The piece is about the disappearance of originality in art work within art (post modernism), parody and pastiche.

What is Jameson's definitions of parody and pastiche? Quote?

Nothing is unique parody is a copy or based on the work to make fun of the piece and pastiche is the imitation of another style, they're used together to make a mashed up style rather than a new one. "Pastiche is, like parody, the imitation of a peculiar or unique, idiosyncratic style"

Examples?





Linda Hutcheon:

What is it about?

A defence of post modernism.

What is her definition of Parody? How does it relate to Pastiche?

"It unsettles all doxa" Literally the idea of parody pokes holes at the ideas and questions the views of the style. Jameson believes that removing the piece from context it is destroying the idea but Hutcheon believes it is one and the same almost a continuation of the idea just moving it forward.

How does she criticise Jameson?

Hutcheon believes parody is parody whereas Jameson believes they are separate and parody becomes pastiche. He believes it's non political and capitalist, the past is code whereas Hutcheon thinks it is politically charged and critical. Modernism is the king in Jameson's mind, in Hutcheon's it is Postmodernism and both say the other is capitalist.

Study Task 01 Triangulation - OUGD501

John Storey:

• what we experience as reality is reality. There’s no limit to what we can do if we live like this.
• we think we are so we are

• we long for what we don’t have until we get it
• we want to be in a time where labels do not exist, a simpler time where everything is what it is an nothing else

• Love is said to be the ultimate fulfilment so we all long for it
• Analysing pleasure destroys it; showing a woman (a mans desire) as this and then as another form of castration destroys pleasure

• Popular cinema shows scopophilia objectifying people; we watch people but not as people as actors as things something else that isn’t real so we make them into objects this comes across into real life

• Cinema also teaches narcissism showing the viewer that they should care about looks. I think in this day and age cinema isn’t the only promotion of this act but any celebrity status and idol is looked at in this way.

Laura Mulvey:

A British feminist film theorist.

• A woman is used in film to control the males actions and nothing else, spur him on to be the hero and afterwards isn’t needed.

• Men take on the role of what they see on the screen. They see an ideal and would prefer to be that.
• Identification 

Richard Dyer:

• Stars are an ideal of what we would like to be. Moviegoers like to see what we could be as a dream and this is what stars are.

• Men are made to look manly and not feminine to show off their physique and lack of interest in the viewer.

• Hidden homosexuality relating star to viewer not just identification 

The articles talk about the 'Male Gaze' in hollywood cinema using psychoanalysis. The first text from Laura Mulvey, a pioneering feminist sets the discussion by talking about a male viewer gazing and objectifying upon women.  John Storey seems to simplify or summarise the ideas of Mulvey's text in a way that suits the media. Dyer goes on to criticise or challenge the idea stating that Mulvey only sees the viewer as a hetrosexual male. Dyer is a well respected academic specialising in queer rights, he brings about the point that homosexuals or females could be the viewer objectifying or gazing upon men. He also challenges the idea of hetrosexual men surpressing their male on male desire from male actors in film.