Another thing that was mentioned at the Womens Centrestage Symposium was:
Can you imagine a world without misogyny?
Is your imagination strong enough to believe patriarchy can end?
What will that look like?
I would love to explore this 'utopia'. And go on a journey of imagination, how would I deal with the internal misogyny? As we are a product of our environment, and I have been living for 28 years in patriarchy and a society that benefits from women feeling the need to do something to be enough. (simple example is women have 8 products to shower with and men have 4 in 1 shampoo) It would be very interesting to explore what blocks I walk against myself in a society where there wasn't any sexism, racism, homophobia. How would I deal when my privilege has disappeared? (When the bus won't stop for me when I'm running after it in my heels?) How would others react on me? How would the world take shape? This is a big wonder but I would love to find a little wonder within this and go on a Alice In Wonderland type of adventure and explore this new world. Perhaps a one-woman-play can come out of it at the end of my studies?
Let the imagination roll free, can I? Can you?
Monday, February 4, 2019
Sunday, February 3, 2019
The portrayal of women in storytelling
Something that really stuck with me at the Womens Centre Stage Symposium was something Timberlake Wertenbaker brought up. She said that people get really uncomfortable when actresses play powerful women who are not nice, who are not obeying.
This is because we are not used to seeing these characters. We are used to men in such positions, for example Richard III, but most female leads are missing a tragic flaw. Either they are 'nice' or they are a 'witch', a character with only flaws and fundamentally evil.
I will watch the following films and research the following characters from which I heard they (the main characters) are 'not nice', I am very curious to see how 'flawed' they are, how complex and detailed their characterisation is.
Monster - Charlize Theron
Destroyer - Nicole Kidman
Medea - Greek Mythology
Mary Stuart - Almeida Theatre
From Medea I know she is so full of pain because of a man. I am curious if the explanation for the others' flaw also lies with a man or have another explanation, if they even have one. I wonder if many 'flawed' male characters 'owe' their flaw to the pain from a women..
This is because we are not used to seeing these characters. We are used to men in such positions, for example Richard III, but most female leads are missing a tragic flaw. Either they are 'nice' or they are a 'witch', a character with only flaws and fundamentally evil.
I will watch the following films and research the following characters from which I heard they (the main characters) are 'not nice', I am very curious to see how 'flawed' they are, how complex and detailed their characterisation is.
Monster - Charlize Theron
Destroyer - Nicole Kidman
Medea - Greek Mythology
Mary Stuart - Almeida Theatre
From Medea I know she is so full of pain because of a man. I am curious if the explanation for the others' flaw also lies with a man or have another explanation, if they even have one. I wonder if many 'flawed' male characters 'owe' their flaw to the pain from a women..
Womens Centre Stage Symposium
Having just come from the Womens Centrestage Symposium in Hampstead theatre, I am very enthusiastic and motivated to order my thoughts. Hopefully it will bring more clarity as to what I want to focus on the rest of my study.
I am going to bring up questions that were asked with my own ideas as answers and answers from some of the speakers that were there today, but mostly just question after question after question, who knows what it will result in?
What is the most useful thing I can do?
There is nothing more powerful than the story --> What do we tell ourselves and others? Stories have the power to produce shame of the right kind.
Do I have enough imagination to believe that it will be different? Can I imagine the end of patriarchy?
Jude Kelly (Artistic Director of the Southbank Centre for 12 years, created WOW, Women of the World Festival, theatre and opera director and recipient of two Olivier awards and has founded METAL):
-How do I deal with internal misogyny (dislike of, contempt for, or ingrained prejudice against women)
--> Learn from the stories around us, from other women
-How do I deal with the things that are so ingrained that I don't even realise it's there?
On storytelling:
-Women are often not a protagonist but a decorative extra
On collaboration:
-You're not speaking about what you are in order to not get suspicion of a double agenda.
(For example; don't appear to feminine if you're speaking about women's issues, if you're more 'one of the boys' they take it on easier, how do you deal with and become aware of this?
Toni Racklin (Head of Theatre and Dance at the Barbican Centre since 2010, launched BITE, the yearly programme of dance, drama and music theatre from around the world. In 2018 the Barbican presented the Art of Change season exploring how artists respond to, reflect and can potentially effect change int he social and political landscape):
-If people believe and trust in you, you rise to that challenge
-Smaller theatre of The Barbican used to support New Voices.
Winsome Pinnock (award winning playwright; Leave Taking, The Wind of Change, Picture Palace):
-The world is going to change, so you better be prepared. You, we will be leading it so know what you're doing.
- Theatre is about change
- Reference Womens Playhouse Trust Jules Wright (1948 - 2015)
http://www.bristol.ac.uk/theatre-collection/explore/theatre/womens-playhouse-trust-archive/
Recommended reading: 50 shades of feminism
I am going to bring up questions that were asked with my own ideas as answers and answers from some of the speakers that were there today, but mostly just question after question after question, who knows what it will result in?
What is the most useful thing I can do?
There is nothing more powerful than the story --> What do we tell ourselves and others? Stories have the power to produce shame of the right kind.
Do I have enough imagination to believe that it will be different? Can I imagine the end of patriarchy?
Jude Kelly (Artistic Director of the Southbank Centre for 12 years, created WOW, Women of the World Festival, theatre and opera director and recipient of two Olivier awards and has founded METAL):
-How do I deal with internal misogyny (dislike of, contempt for, or ingrained prejudice against women)
--> Learn from the stories around us, from other women
-How do I deal with the things that are so ingrained that I don't even realise it's there?
On storytelling:
-Women are often not a protagonist but a decorative extra
On collaboration:
-You're not speaking about what you are in order to not get suspicion of a double agenda.
(For example; don't appear to feminine if you're speaking about women's issues, if you're more 'one of the boys' they take it on easier, how do you deal with and become aware of this?
Toni Racklin (Head of Theatre and Dance at the Barbican Centre since 2010, launched BITE, the yearly programme of dance, drama and music theatre from around the world. In 2018 the Barbican presented the Art of Change season exploring how artists respond to, reflect and can potentially effect change int he social and political landscape):
-If people believe and trust in you, you rise to that challenge
-Smaller theatre of The Barbican used to support New Voices.
Winsome Pinnock (award winning playwright; Leave Taking, The Wind of Change, Picture Palace):
-The world is going to change, so you better be prepared. You, we will be leading it so know what you're doing.
- Theatre is about change
- Reference Womens Playhouse Trust Jules Wright (1948 - 2015)
http://www.bristol.ac.uk/theatre-collection/explore/theatre/womens-playhouse-trust-archive/
Recommended reading: 50 shades of feminism
Saturday, February 2, 2019
Wonders
Big Wonders, little wonders, isn't all life a wonder?
I find it very difficult to choose what my wonder will be for Module 2. Therefore I am just going to list all the possibilities and perhaps slowly eliminate them to come to the one that is suitable for me in this moment.
Big Wonders:
Film making
Feminism
Theatre
Writing
Little Wonders:
Typecasting
Feminist Storytelling
Accents in acting
Writing one woman show
Writing short film
Producing short film
Performing (acting/dancing)
Combining acting+dancing
Filmlandscape (current)
Theatre landschape (current)
Independent Cinema
I would love to hear how others choose and what factors they take in consideration to make their choice!
I find it very difficult to choose what my wonder will be for Module 2. Therefore I am just going to list all the possibilities and perhaps slowly eliminate them to come to the one that is suitable for me in this moment.
Big Wonders:
Film making
Feminism
Theatre
Writing
Little Wonders:
Typecasting
Feminist Storytelling
Accents in acting
Writing one woman show
Writing short film
Producing short film
Performing (acting/dancing)
Combining acting+dancing
Filmlandscape (current)
Theatre landschape (current)
Independent Cinema
I would love to hear how others choose and what factors they take in consideration to make their choice!
Tuesday, November 6, 2018
Ethics - BAFTA new diversity requirements film awards
I went over the handbook section of ethics again this morning and I couldn't get the new BAFTA guidelines out of my head.
Here is the article I am talking about:
http://www.bafta.org/media-centre/press-releases/new-diversity-requirement-film-awards
In short, taken from the article:
From 2019, entries for Outstanding British Film and Outstanding Debut by a British Writer, Director or Producer will be accepted if they can demonstrate their film has addressed and improved inclusion and representation in at least two of these areas.
The areas of under-representation the Standards address are all the protected characteristics from the Equality Act 2010, as they pertain to the act. These are gender, gender identity, age, carers (including working parents), pregnancy/maternity, disability, race/ethnicity, religion or belief, sexual orientation and marriage/civil partnerships. The Standards also seek to address under-representation of people from lower socio-economic groups and ensure wide regional participation.
At first I was absolutely delighted with this announcement. It is a big step, as far as I know BAFTA has not taken diversity as a requirement for any of their entries.
After I went to BFI London Film Festival and saw a film together with an upcoming filmmaker we talked about how well the film was made but it raised many questions for us. I found it very odd that an indie film that was very realistic in many areas did only have white people in it. If you look at the ethnicity landscape of the city in which the story took place this is highly unlikely. It raised questions of the filmmakers choices, of her own experiences, the climate she grew up in and how she was 'taught' or conditioned how to tell stories. The film did address a foreigner living in the UK, she was white- European. As a European myself I loved seeing this character represented in an UK film, as most British films do not recognise all the European emigrants living and working in the UK and take that as a given, rather than making that the focus or 'problem' of the film.
So this film in which I, as a white, European, emigrant living in the U.K. I found myself being represented a bit in this one character. On the other hand, she had a completely different experience in the U.K in terms of diverse landscape as the people in my life are a lot from under-represented areas. And that aspect made the film leave a bitter taste. I mentioned the new requirements for BAFTA to my colleague and she said that the rules only were enforced for the upcoming season, and that this film could still qualify. I went over the article again and more questions came up: Why does this only apply to two categories? Why only two out of the four areas? (these are the areas: A: On-screen representation, themes & narratives
B: Project leadership & creative practitioners
C: Industry access & opportunities
D: Opportunities for diversity in audience development)
It was a reminder for me as a filmmaker that awareness for all under-represented people is important. I am focusing myself a lot on sexism and racism in my film making journey but why not look at disability and gender identity?
It would be great to hear your thoughts on representation in art and on the new submission requirements for BAFTA.
Here is the article I am talking about:
http://www.bafta.org/media-centre/press-releases/new-diversity-requirement-film-awards
In short, taken from the article:
From 2019, entries for Outstanding British Film and Outstanding Debut by a British Writer, Director or Producer will be accepted if they can demonstrate their film has addressed and improved inclusion and representation in at least two of these areas.
The areas of under-representation the Standards address are all the protected characteristics from the Equality Act 2010, as they pertain to the act. These are gender, gender identity, age, carers (including working parents), pregnancy/maternity, disability, race/ethnicity, religion or belief, sexual orientation and marriage/civil partnerships. The Standards also seek to address under-representation of people from lower socio-economic groups and ensure wide regional participation.
At first I was absolutely delighted with this announcement. It is a big step, as far as I know BAFTA has not taken diversity as a requirement for any of their entries.
After I went to BFI London Film Festival and saw a film together with an upcoming filmmaker we talked about how well the film was made but it raised many questions for us. I found it very odd that an indie film that was very realistic in many areas did only have white people in it. If you look at the ethnicity landscape of the city in which the story took place this is highly unlikely. It raised questions of the filmmakers choices, of her own experiences, the climate she grew up in and how she was 'taught' or conditioned how to tell stories. The film did address a foreigner living in the UK, she was white- European. As a European myself I loved seeing this character represented in an UK film, as most British films do not recognise all the European emigrants living and working in the UK and take that as a given, rather than making that the focus or 'problem' of the film.
So this film in which I, as a white, European, emigrant living in the U.K. I found myself being represented a bit in this one character. On the other hand, she had a completely different experience in the U.K in terms of diverse landscape as the people in my life are a lot from under-represented areas. And that aspect made the film leave a bitter taste. I mentioned the new requirements for BAFTA to my colleague and she said that the rules only were enforced for the upcoming season, and that this film could still qualify. I went over the article again and more questions came up: Why does this only apply to two categories? Why only two out of the four areas? (these are the areas: A: On-screen representation, themes & narratives
B: Project leadership & creative practitioners
C: Industry access & opportunities
D: Opportunities for diversity in audience development)
It was a reminder for me as a filmmaker that awareness for all under-represented people is important. I am focusing myself a lot on sexism and racism in my film making journey but why not look at disability and gender identity?
It would be great to hear your thoughts on representation in art and on the new submission requirements for BAFTA.
Monday, October 29, 2018
Thoughts on: A Handbook Of Refelctive And Experiental Learning - J. A. Moon
If you want to read the book but have not got your hands on it yet, this is a summary of my thoughts and collection of knowledge on it so far.
-All learning is based on experience --> All learning is therefore 'experiental learning', the book is more about consious learning.
-Want to explore the use of Reflective Writing for my own essay/artifact (maybe interviews)
Human minds 1992 - Margaret Donaldson --> inspiration
Marton and booth 1997
Baxter Magolda 1992
Quotes:
-To deal properly with a topic requires focus and boundaries or the discussion will be woolly.
It is not always easy to see ideas are missing if the words are not present. We relay on words and ideas as tools of investigation and if we do not have them, the investigation process is distorted.
-It is not possible to assume that, when confronted with any particular methods of instruction, all learners react by learning in the same manner.
-Process of learning is not about the accumulation of material of learning, but about the process of changing conceptions. Given that learning usually implies that a person becomes progressively wiser and better at learning and understanding, a better phrase might be 'transforming conceptions'.
-Meaningfulness is a judgement to be made by the learner in the context of the sense of her cognitive structure. --> many different interpretations but it is an individual judgement.
-With each change may come new learning that, in turn, will have an impact on the state of the cognitive structure, perhaps challending again the initial major change.
-We do not build meanings alone, but in conjuction with the collected experiences of others who may be teachers or scholars, or peers, past or present and all embedded in a culture of learning that is also socially agreed. p20
We're missing words in the vocab of learning; How do you define the material you're learning? And the material you're teaching? These things are not always the same.
Difference between skill and knowledge:
'To learn something can mean to come to know or to have knowledge or it can mean that a person is able to do something. Sometimes this is clarified as 'knowing that' and 'knowing how'. Skill is a form of the representation of learning and it is the ability to do something that has been learnt. '
Different types of skills:
-cognitive
-presentation
-physical/practical
-study
Ways learning is affected by its social context:
-The manner in which understandings have been contructed in past social situations.
-The toold used in order to develop those understandings (e.g. language)
-The conventions associated with the knowledge
-The manner in which learning is expressed
-The manner in which there is learning from the representation of learning
Understandings of learnings: p38
Absolutist - knowledge is certain or absolute
Transitional stage - there is partial certainty and partial uncertainty
Independent knowing - learning is uncertain, everyoine has her own beliefs
contextual knowing - knowledge is contructed and any judgement must be made on the basis of the evidence in that context.
External experience: the material of learning when we are learning about something outside of ourselves. it is the object, idea, the concept, the image -whatever it is that the leraner wants to assimilate.
The internal experience: the experience that the learner brings to the learning situation from her current cognitive structure. It is the sum of prior experiences of the object. It is what she sees as related ideas with the effects other understanding of the nature of knowledge, relevant emotional influence and the influence of how she sees the learning task.
Appresentation: the manner in which a part of something that is percieved as an external experience can stimulate a much more complete or richer internal experience of the 'whole' of that thing to be conjured up.
epistemological:relating to the theory of knowledge, especially with regard to its methods, validity, and scope, and the distinction between justified belief and opinion.
Ill-structured broblems: have no right or wrong ansqwer, but require resoning and personal judgement. Ethical issues provide a good example.
-All learning is based on experience --> All learning is therefore 'experiental learning', the book is more about consious learning.
-Want to explore the use of Reflective Writing for my own essay/artifact (maybe interviews)
Human minds 1992 - Margaret Donaldson --> inspiration
Marton and booth 1997
Baxter Magolda 1992
Quotes:
-To deal properly with a topic requires focus and boundaries or the discussion will be woolly.
It is not always easy to see ideas are missing if the words are not present. We relay on words and ideas as tools of investigation and if we do not have them, the investigation process is distorted.
-It is not possible to assume that, when confronted with any particular methods of instruction, all learners react by learning in the same manner.
-Process of learning is not about the accumulation of material of learning, but about the process of changing conceptions. Given that learning usually implies that a person becomes progressively wiser and better at learning and understanding, a better phrase might be 'transforming conceptions'.
-Meaningfulness is a judgement to be made by the learner in the context of the sense of her cognitive structure. --> many different interpretations but it is an individual judgement.
-With each change may come new learning that, in turn, will have an impact on the state of the cognitive structure, perhaps challending again the initial major change.
-We do not build meanings alone, but in conjuction with the collected experiences of others who may be teachers or scholars, or peers, past or present and all embedded in a culture of learning that is also socially agreed. p20
We're missing words in the vocab of learning; How do you define the material you're learning? And the material you're teaching? These things are not always the same.
Difference between skill and knowledge:
'To learn something can mean to come to know or to have knowledge or it can mean that a person is able to do something. Sometimes this is clarified as 'knowing that' and 'knowing how'. Skill is a form of the representation of learning and it is the ability to do something that has been learnt. '
Different types of skills:
-cognitive
-presentation
-physical/practical
-study
Ways learning is affected by its social context:
-The manner in which understandings have been contructed in past social situations.
-The toold used in order to develop those understandings (e.g. language)
-The conventions associated with the knowledge
-The manner in which learning is expressed
-The manner in which there is learning from the representation of learning
Understandings of learnings: p38
Absolutist - knowledge is certain or absolute
Transitional stage - there is partial certainty and partial uncertainty
Independent knowing - learning is uncertain, everyoine has her own beliefs
contextual knowing - knowledge is contructed and any judgement must be made on the basis of the evidence in that context.
External experience: the material of learning when we are learning about something outside of ourselves. it is the object, idea, the concept, the image -whatever it is that the leraner wants to assimilate.
The internal experience: the experience that the learner brings to the learning situation from her current cognitive structure. It is the sum of prior experiences of the object. It is what she sees as related ideas with the effects other understanding of the nature of knowledge, relevant emotional influence and the influence of how she sees the learning task.
Appresentation: the manner in which a part of something that is percieved as an external experience can stimulate a much more complete or richer internal experience of the 'whole' of that thing to be conjured up.
epistemological:relating to the theory of knowledge, especially with regard to its methods, validity, and scope, and the distinction between justified belief and opinion.
Ill-structured broblems: have no right or wrong ansqwer, but require resoning and personal judgement. Ethical issues provide a good example.
How to stay logged in and be able to comment
Hello!
I think I finally worked out why I could not comment. It had to do with staying logged in and third party cookies to be allowed.
Adjust the setting on your browser and not your laptop. These sources helped me:
https://www.youtube.com/watch?v=_4a1IsoU41o
https://blogging.nitecruzr.net/2010/10/testing-for-problem-with-cookies.html
https://blogging.nitecruzr.net/2009/06/why-need-for-third-party-cookies-in.html
https://blogging.nitecruzr.net/2011/06/iframes-layered-security-and-following.html
I went to content settings in my Google Chrome and switch off "keep local files only until closing the browser" from the cookies section. I also allowed 'third party cookies'.
If there are any problems please let me know and hopefully I can help you out. I will be attending the campus session tomorrow also if anyone wants to ask me about it.
Best wishes
I think I finally worked out why I could not comment. It had to do with staying logged in and third party cookies to be allowed.
Adjust the setting on your browser and not your laptop. These sources helped me:
https://www.youtube.com/watch?v=_4a1IsoU41o
https://blogging.nitecruzr.net/2010/10/testing-for-problem-with-cookies.html
https://blogging.nitecruzr.net/2009/06/why-need-for-third-party-cookies-in.html
https://blogging.nitecruzr.net/2011/06/iframes-layered-security-and-following.html
I went to content settings in my Google Chrome and switch off "keep local files only until closing the browser" from the cookies section. I also allowed 'third party cookies'.
If there are any problems please let me know and hopefully I can help you out. I will be attending the campus session tomorrow also if anyone wants to ask me about it.
Best wishes
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