Where do we start with telling a story? At the highlight to spark interest and come in with a BANG?
Or as I learned from The Sound Of Music 'let's start at the very be-gin-ning, it's a very good place to start'? (insert Julie Andrews voice).
Perhaps at the very end where you finish the mission, off to the new adventure and share the journey through reflections and flack backs?
Shaping my presentation makes me realise I have so much I want to share, and zero clue what is the 'best' one. So I decided to just start somewhere and see if I can keep juggling until it feels like the puzzle pieces of my journey through this course 'fit'.
How do you make these decisions? Intuition? Rationale? Would love to hear!
Cannot wait to share it with you on Tuesday!
Sunday, July 21, 2019
Tuesday, July 16, 2019
Internal vs external flaws
When I first looked at characters I tried to organise their flaws by internal and external flaws. If a flaw wasn't explained in the film, was not a direct cause of something I labelled it as an internal flaw. For example. In the film Black Swan you see the central character Nina steal things from the ex-principal dancer, probably because she wanted literally to have everything she had, in order to embody the principal dancer experience. Internal experience.
Or is it?
Was this flawed behaviour not the product of the highly competitive and (sometimes) destructive environment of being in a professional ballet company? Of the principal ballerina that might have ignored her many times? Of the company director that pressured her to be more like the principal? All very probable options of external factors.
But we don't see these in the film.
So I thought they came from an internal source.
But a film is a moment in time. We can't see all the external influences that cause flaws. And aren't we all a product of our environment?
Would love to hear your thoughts on this!
Or is it?
Was this flawed behaviour not the product of the highly competitive and (sometimes) destructive environment of being in a professional ballet company? Of the principal ballerina that might have ignored her many times? Of the company director that pressured her to be more like the principal? All very probable options of external factors.
But we don't see these in the film.
So I thought they came from an internal source.
But a film is a moment in time. We can't see all the external influences that cause flaws. And aren't we all a product of our environment?
Would love to hear your thoughts on this!
Monday, July 1, 2019
Thoughts on core text book 'Transforming Qualitative data' - Harry F. Wolcott
As I am working through the book 'Transforming Qualitative data' by Harry F. Wolcott I would like to share a few key things from this book that are really helping me at the moment and my thoughts on it. It's a massive book so hopefully these little 'nuggets of wisdom' are useful. Would love to share idea's and thoughts on them!
Page 10
Wolcott discusses the three major ways to 'do something' with descriptive data:
1. Stay close to the data as originally recorded. This may result in long excepts from fieldnotes, or reapeat informants' words so that informants themselves seem to tell their stories. --> Underlying assumption is that the data 'speak for themselves'.
2. 'Expand and extend beyond a purely descriptive account with an analysis that proceeds in some careful, systematic way to identify key factors and relationship among them'
3. Calling for interpretation. --> It does not claim to be as convincingly or compulsively 'scientific' as the 2nd. The goal is to make sense of what goes on, to reach out for understanding or explanation beyond the limits of what can be explained with the degree of certainty usually associated with analysis. --> can be starting point and culmination.
Page 44
On ways to approach interpretation;
Connect with personal experience;
-reference to I-witnessing from Geertz, 1988 pp. 73-101. --> two interpretations
1. personalize: 'this is what I make of it all'
2. 'this is how the research experience affected me'
For me this distinction was very interesting. I started to reflect on how this degree and my research is influencing my work as a filmmaker and how I am shaping my personal opinion on the research subject as I gather more data.
On analysing the interpretive process:
What seems to be holding you back? What piece of the puzzle are you still missing? 'Be aware how your analysis may reflect fashionable point of view rather than important underlying issues.'
These questions are very interesting as I move into my last interviews. What keeps me from asking certain questions? How can I change that? What do I really want to address in my next interview? How do I keep an open eye to the research at hand when my own stance becomes clearer and clearer?
Page 48:
A quote from Barbara Frankel (1987) that got mentioned and was really food for thought for me:
'While it has been trendy for some years to take sides ''for'' or ''against'' interpretive social science, no one has yet paused in the game long enough to explain how one would go about doing non-interpretive science of any sort. (p170)
Page 65:
Descriptive data need to be studied, not merely skimmed.
A good reminder to keep going over the recordings and to keep referring back to the original artefacts. My first interpretation of it might not be the only/right one. There is no right one.
Page 67:
'Overburdening readers with data seems an academic cop-out on the part of a researcher holding too tightly to the belief that data speak for themselves.'
Everyone's interpretation of data is different; this research is a way to share my interpretation through critical analysis. It's not up to the reader to analyse my data.
Page 113:
On generalisation of a case study:
'There must be a capacity for generalisation; otherwise there would be no point to giving such careful attention to the single case. The art of descriptive research, I believe, is in portraying the case at hand so well that readers themselves make the generalisations for us.'
For me a particular film is a case study. I want to keep the analysis to the film I am reviewing. Not generalise to every film. At the same time my analysis must be so careful and through that the reader (hopefully) find their own examples of other films that my analysis might apply to.
Page 407:
About preparing for qualitative data, these questions are helpful:
-If I want to shed light on this topic, I will need such-and-such data?
-What kind of data would I have to get?
This made me review my preparations and tailor some of the questions to be more specific. And others to widen the point of view to allow a variety of answers/data to shine through.
Page 10
Wolcott discusses the three major ways to 'do something' with descriptive data:
1. Stay close to the data as originally recorded. This may result in long excepts from fieldnotes, or reapeat informants' words so that informants themselves seem to tell their stories. --> Underlying assumption is that the data 'speak for themselves'.
2. 'Expand and extend beyond a purely descriptive account with an analysis that proceeds in some careful, systematic way to identify key factors and relationship among them'
3. Calling for interpretation. --> It does not claim to be as convincingly or compulsively 'scientific' as the 2nd. The goal is to make sense of what goes on, to reach out for understanding or explanation beyond the limits of what can be explained with the degree of certainty usually associated with analysis. --> can be starting point and culmination.
Page 44
On ways to approach interpretation;
Connect with personal experience;
-reference to I-witnessing from Geertz, 1988 pp. 73-101. --> two interpretations
1. personalize: 'this is what I make of it all'
2. 'this is how the research experience affected me'
For me this distinction was very interesting. I started to reflect on how this degree and my research is influencing my work as a filmmaker and how I am shaping my personal opinion on the research subject as I gather more data.
On analysing the interpretive process:
What seems to be holding you back? What piece of the puzzle are you still missing? 'Be aware how your analysis may reflect fashionable point of view rather than important underlying issues.'
These questions are very interesting as I move into my last interviews. What keeps me from asking certain questions? How can I change that? What do I really want to address in my next interview? How do I keep an open eye to the research at hand when my own stance becomes clearer and clearer?
Page 48:
A quote from Barbara Frankel (1987) that got mentioned and was really food for thought for me:
'While it has been trendy for some years to take sides ''for'' or ''against'' interpretive social science, no one has yet paused in the game long enough to explain how one would go about doing non-interpretive science of any sort. (p170)
Page 65:
Descriptive data need to be studied, not merely skimmed.
A good reminder to keep going over the recordings and to keep referring back to the original artefacts. My first interpretation of it might not be the only/right one. There is no right one.
Page 67:
'Overburdening readers with data seems an academic cop-out on the part of a researcher holding too tightly to the belief that data speak for themselves.'
Everyone's interpretation of data is different; this research is a way to share my interpretation through critical analysis. It's not up to the reader to analyse my data.
Page 113:
On generalisation of a case study:
'There must be a capacity for generalisation; otherwise there would be no point to giving such careful attention to the single case. The art of descriptive research, I believe, is in portraying the case at hand so well that readers themselves make the generalisations for us.'
For me a particular film is a case study. I want to keep the analysis to the film I am reviewing. Not generalise to every film. At the same time my analysis must be so careful and through that the reader (hopefully) find their own examples of other films that my analysis might apply to.
Page 407:
About preparing for qualitative data, these questions are helpful:
-If I want to shed light on this topic, I will need such-and-such data?
-What kind of data would I have to get?
This made me review my preparations and tailor some of the questions to be more specific. And others to widen the point of view to allow a variety of answers/data to shine through.
Wednesday, June 26, 2019
Keep questioning
I met with a colleague this week and we discussed my research about the complexities and perspectives on flawed female characters in Western 21st Century film. He asked me why.. Why do I do this study? What has it given me so far? Why research female characters? Why now? Why is this important? For who is this important? What would I love to come out of this study? What would I hate to come out of this study?
I found myself going around in circles with these questions in the days after our conversation, in the same way we went around in circles for the research inquiry. Every time you ask the same questions you go further, deeper, as you gain more knowledge and self awareness. It brought me a lot of clarity.
I also found myself arguing with myself, especially about the questions regarding the outcome. I am a firm believer as a qualitative researcher that if I want to discover something within my research I will be able to find ways to support my statement and hypothesis. Therefore I will probably not perhaps discover new idea's on insights but instead gather more proof for my view on things. But to find a sense of direction without a strong statement feels like floating on open sea, no clue where you will land. I decided to really sharpen my opinion on my matter in my reflective journal. So instead of trying to be as objective as possible, I will know very clearly where I stand and what my views are on female characters in film. Then I will use this as just one of the views, next to the feminist film theorists like Mulvey and Silverman, and filmmakers like W. Allen and Q. Tarentino.
What are the questions that help you further in your research? Do you ask them once or do you keep coming back to them, every time with a slightly more refined (or completely different) answer?
I found myself going around in circles with these questions in the days after our conversation, in the same way we went around in circles for the research inquiry. Every time you ask the same questions you go further, deeper, as you gain more knowledge and self awareness. It brought me a lot of clarity.
I also found myself arguing with myself, especially about the questions regarding the outcome. I am a firm believer as a qualitative researcher that if I want to discover something within my research I will be able to find ways to support my statement and hypothesis. Therefore I will probably not perhaps discover new idea's on insights but instead gather more proof for my view on things. But to find a sense of direction without a strong statement feels like floating on open sea, no clue where you will land. I decided to really sharpen my opinion on my matter in my reflective journal. So instead of trying to be as objective as possible, I will know very clearly where I stand and what my views are on female characters in film. Then I will use this as just one of the views, next to the feminist film theorists like Mulvey and Silverman, and filmmakers like W. Allen and Q. Tarentino.
What are the questions that help you further in your research? Do you ask them once or do you keep coming back to them, every time with a slightly more refined (or completely different) answer?
Monday, April 1, 2019
What are flaws?
As I went to see Emilia at the Vaudeville theatre in London as artefact for my literary review I realised that I haven't defined 'flaws' as clearly for myself and I need to have a serious look at it. I want to write and portray female flawed characters, but what is a flaw? It is so subjective to the social, cultural, political and historical context of the piece.
Because, as I saw it, I found Emilia a heroine, she did everything right and to the best of her ability. The people around her were highly flawed and some even thus far that they became caricatures. However, in the time period that it was written (around 1600) Emilia was highly flawed, she was a women who cheated, wrote, taught, and shared poems that were seen as highly rebellious.
So would I classify her as a flawed character? She has good intentions and is generally good to others around her. But is generally good enough? In the play she hurts William Shakespeare, the same as Lord Henry Carey, but not in a vicious way or intentional. It's the kind of hurt that you can't avoid in romance and love (or not love). Would Emilia be staged not in 1609 but 400 year later in 2019 she would probably not be seen generally as flawed, but merely as a women surviving by the means she has. Especially in the way she has been created in this production. She is strong and in inspiration for those around her (and for me)..
I would love to hear your thoughts, what roles of (flawed) women come to mind? And what do you think are character flaws within film and theatre? Have you seen Emilia?
sources:
https://www.whatsonstage.com/london-theatre/news/emilia-west-end-cast-drama_48304.html
https://www.londontheatredirect.com/news/full-casting-announced-for-west-end-transfer-of-emilia-at-the-vaudeville
https://www.shakespearesglobe.com/discovery-space/previous-productions/emilia
Because, as I saw it, I found Emilia a heroine, she did everything right and to the best of her ability. The people around her were highly flawed and some even thus far that they became caricatures. However, in the time period that it was written (around 1600) Emilia was highly flawed, she was a women who cheated, wrote, taught, and shared poems that were seen as highly rebellious.
So would I classify her as a flawed character? She has good intentions and is generally good to others around her. But is generally good enough? In the play she hurts William Shakespeare, the same as Lord Henry Carey, but not in a vicious way or intentional. It's the kind of hurt that you can't avoid in romance and love (or not love). Would Emilia be staged not in 1609 but 400 year later in 2019 she would probably not be seen generally as flawed, but merely as a women surviving by the means she has. Especially in the way she has been created in this production. She is strong and in inspiration for those around her (and for me)..
I would love to hear your thoughts, what roles of (flawed) women come to mind? And what do you think are character flaws within film and theatre? Have you seen Emilia?
sources:
https://www.whatsonstage.com/london-theatre/news/emilia-west-end-cast-drama_48304.html
https://www.londontheatredirect.com/news/full-casting-announced-for-west-end-transfer-of-emilia-at-the-vaudeville
https://www.shakespearesglobe.com/discovery-space/previous-productions/emilia
Friday, February 15, 2019
Female characters vs Male characters in Theatre
Yesterday I attended a playread at Monobox where we read Annie Bakers' play Aliens.
Here are some facts about the play:
Here are some facts about the play:
The Aliens premiered Off-Broadway in 2010,
The play premiered in London at the Bush Theatre in September 2010
The writer of an article in the Boston Globe noted: "At least one-third of her play 'The Aliens' should be silent, uncomfortably so, a note in the text says
Baker won the Obie Award for Best New American Play (with a check for $1,000), for The Aliens, jointly with Baker's Circle Mirror Transformation. The play also won the Obie Award for Directing (Sam Gold) and Performance (Dane DeHaan).
The Aliens was a finalist for the Susan Smith Blackburn Prize for 2009-2010.
After the read we had a discussion and the subject came up; How would this play and especially the characters be perceived if they were female?
You see, the characters are two males in their 30s and one younger male who is 17 years old. The older ones are lost, have no direction and hang outside at the back of a place where the youngster works.
Often, when women in their 30s are portrayed as being lost, there is often a cause of it that has to deal with men. They have been abused, abandoned, and as a result are lonely, desperate, and often alone hiding in their home or prostitutes.
We started discussing why this could be. Someone brought up that a lot of women don't have the luxury of time to figure their lives out. That there is a lot more pressure for women to either be married, have children or have a successful career in their 30s. This results in that the women who do not feel like they have accomplished one or all of these things often are ashamed. They won't sit outside all day and 'show' that they have nowhere to go or nothing to do.
In my opinion, it would be very interesting to see a production about 'lost' or 'unaccomplished' women (according to Western Society norms), being open and unapologetic about it. Where the cause of their wondering is not caused by men or being influenced by it.
I would love to hear thoughts on this. Do you know a production where they show this or something similar? Or another one with men?
Thursday, February 7, 2019
Thoughts on Skype session 02/02/2019 research as mapping to build understanding
Very useful Skype discussion today with Adesola, below are some ideas and things that got mentioned that really stuck with me:
Avoid trying to want to change something or convince someone/something
About inquiry:
Avoid trying to want to change something or convince someone/something
About inquiry:
- Don't assume you know your topic
- Practise based inquiry is by nature something you haven't looked into yet
- What different people have written/done research about your inquiry? Parents, age, genders etc?
About mapping:
- By mapping we mean understanding the context of the field I'm interested in
- Know the context of what you're researching
- What are the main theories, ethical considerations, discourses around the inquiry, different conversations people have around it. Then look at the side roads of different theories, talking to people in the field about that topic, getting more specific. You're able to after this tell someone about it.
About research:
- How do people in your practise do research? the thing that only you can do within your professional practice, it's different than others.
- Focus on different research methods - how do you really observe? can you draw, write poetry, taking part, how do you document that?
- Push boundaries of what you think research is, esp. practise based, more than just writing
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