The Gaze: Questions to Ponder
Bong
S. Eliab
The following
will be asked during the oral recitation in the next class/ sessions. Please
read the article “Notes on the Gaze” by Daniel Chandler.
- Why does viewing a recorded image
have a voyeuristic dimension?
- What is the difference between a gaze and a look?
- Why does a gaze of indirect address
represent an offer?
- Why does a gaze of direct address
represent a demand?
- Why do glamour photographers
enhance their photographs by dilating the pupil of their models?
- Why is it common for male models
to look off or up?
- Why do actors in conventional narrative film gaze very rarely directly at the camera?
- Why is peripheral gaze more
common to Asians?
- Why is an expert presented
in a profile or in an interview rather than in a direct
gaze?
- What is the intention of seeing
the back of a depicted person?
- Why does a frontal portrait have been associated with the working class?
- In Michael Watson’s study what
group of people chose to stand closest together? What group stood farthest
apart from each other?
- Why is BCU seldom used for
important figures? – BCUs may emphasize interviewee’s tension, guilt, may
suggest lying?
- Why does the camera turn the
depicted person into an object, thus distancing viewer and viewed?
- What is photographic seeing? Why
is it a “controlling gaze”?
- Why is it the voyeuristic mode of
gazing more intense for the cinema spectator than television viewer?
- What constitutes the suspension of
disbelief? – Identification of the viewer with the camera: my eyes are the
camera.
- Why does the film spectator re-enact “mirror image” of Jacques Lacan? Why does a camera become a tool of self-reflection and surveillance?
Kindly read also this article by Laura Mulvey, I will also ask some questions about it:
