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- All Subjects: Subjectivity
- Creators: Collis, Adam
Description
This dissertation considers why several characters on the Early Modern Stage choose to remain silent when speech seems warranted. By examining the circumstances and effects of self-silencing on both the character and his/her community, I argue that silencing is an exercise of power that simultaneously subjectifies the silent one and compels the community (textual or theatrical) to ethical self-examination. This argument engages primarily with social philosophers Pierre Bourdieu, Alain Badiou, and Emmanual Levinas, considering their sometimes contradictory ideas about the ontology and representation of the subject and the construction of community. Set alongside the Early Modern plays of William Shakespeare, Ben Jonson and Thomas Kyd, these theories reveal a rich functionality of self-silencing in the contexts of gender relations, aberrant sociality, and ethical crisis. This multi-faceted functionality creates a singular subject, establishes a space for the simultaneous existence of the subject and his/her community, offers an opportunity for empathetic mirroring and/or insight, and thereby leads to social unification. Silence is, in its effects, creative: it engenders empathy and ethical self- and social-reflection.
ContributorsKrouse, Penelope (Author) / Perry, Curtis (Thesis advisor) / Thompson, Ayanna T (Thesis advisor) / Fox, Cora V (Committee member) / Arizona State University (Publisher)
Created2011
Description
Directors make choices on how a movie is film, these choices effect everything in the film and there are multiple factors that go into that decision-making process. Directors usually make decisions based on the entire story and their vantage point of know everything. For example, a director might choose to make a piece of information known to the audience before the character’s know so that it raises tension. The creative project refers to this type of filmmaking as: “objective cinema”. The alternative is when a director makes decisions not based on the overall story but on the reality of a character(s). That is, filmmaking techniques are used in service of communicating a character’s emotional and situational reality.
The goal of such an exercise is to bring the audience closer to a character, typically the main character. A film is driven by the audience’s connection to the plot and the main character, who is typically the driving force behind the narrative. Having an audience closer to the main character is advantageous to give the audience something personal to latch onto. Getting invested in a single character’s story is a tactic that most films use and while some use traditional filmmaking styles to narrate the film, some put in these subjective moments.
Most movies include a mix of objective and subjective scene; however, the vast majority of screen time is usually objective. Subjective moments are just that, moments within a film where the filmmaking is visually distinct from before in order to communicate the transition into a character’ subjective experience of reality. The process of using cinematic techniques: sound, images and actors to create emotion is the focus of the thesis. What specific techniques do director and other filmmakers use to create these moments from the perspective of a specific character? The research on this creative project included reverse engineering scenes to firgue out the technical specifications that the filmmakers use. What kind of lighting, cameras and sound design where employed? Why were those techniques chosen to represent a character’s subjective reality? And most importantly, why do those techniques evoke those emotions?
The goal of such an exercise is to bring the audience closer to a character, typically the main character. A film is driven by the audience’s connection to the plot and the main character, who is typically the driving force behind the narrative. Having an audience closer to the main character is advantageous to give the audience something personal to latch onto. Getting invested in a single character’s story is a tactic that most films use and while some use traditional filmmaking styles to narrate the film, some put in these subjective moments.
Most movies include a mix of objective and subjective scene; however, the vast majority of screen time is usually objective. Subjective moments are just that, moments within a film where the filmmaking is visually distinct from before in order to communicate the transition into a character’ subjective experience of reality. The process of using cinematic techniques: sound, images and actors to create emotion is the focus of the thesis. What specific techniques do director and other filmmakers use to create these moments from the perspective of a specific character? The research on this creative project included reverse engineering scenes to firgue out the technical specifications that the filmmakers use. What kind of lighting, cameras and sound design where employed? Why were those techniques chosen to represent a character’s subjective reality? And most importantly, why do those techniques evoke those emotions?
ContributorsKaufman, Jacob Aryeh (Author) / Collis, Adam (Thesis director) / Klucsarits, Philip (Committee member) / Lawrence, Sher (Committee member) / School of Film, Dance and Theatre (Contributor) / Barrett, The Honors College (Contributor)
Created2019-05