Rear Window

In film and theatre, the concept of the fourth wall implies a separation between the audience and the actors. The actors engage in a drama while the audience passively spectates. The fourth wall is “broken” when the audience is confronted directly by the actors and stage activity. This engagement places the audience in an active role. Another example has actors speaking directly to the audience. A more extreme example might be a theatre production with audience participation.

Film Screening: Thursday, 4/14, in class, digital lab.

Please read before and after screening:

1. Michel Chion article (handout)
2. Kate Bellmore blog article: (below)

https://reelclub.wordpress.com/2013/08/04/dont-be-afraid-to-stare-rear-window-a-film-in-support-of-voyeurs/

Q&A
Based on reading, film and other sources you might find, please prepare answers to following questions for class discussion Thursday, 4/21

Rear Window Questions

1. The main character L.B. "Jeff" Jefferies (played by James Stewart) was based loosely on the famous war-correspondent photographer Robert Capa. What significant traits do the real and fictional versions of this photographer share, especially with regard to photography?
2. The modern usage of the word camera has origins in the Camera Obscura, or dark chamber. How can Jeff's apartment be considered analogous to a large camera?
3. In the most general sense, what defines the fourth wall in photography? Is this the same for film/cinema?
4. How does the film Rear Window call attention to the fourth wall (and perhaps challenge it) through visual means? Pay attention not only to the set itself, but to camera work.
5. How does Rear Window call attention to the fourth wall through the storyline/plot/narrative?
6. Describe the most poignant moments in which the fourth wall is challenged or broken in Rear
7. Overall, what seems to be Hitchcock’s attitude towards voyeurism here? Who is looking or spectating? Who is being observed? Are we as audience complicit in any way with Jeff’s fixation on his neighbors?
8. How does the concept of fourth wall relate to the notion of point-of-view? How could you use some of these ideas to engage your audience more directly in you own work?

Balancing Ambient and Strobe Exposures

f7.1 @ 1/60th second

ambient : strobe = 1:1

f7.1 @ 1/125th second

ambient : strobe = 1:2 

Ambient exposure is half as bright as strobe exposure.

f7.1 @ 1/250th second

ambient : strobe = 1:4 

Ambient exposure is one fourth as bright as strobe exposure.

Project/Phase 2

Prelim Critique: 3/10
Final Critique: 3/31

Directorial Mode

https://vimeo.com/27206443

https://www.youtube.com/watch?v=So_FK4qnz5Q

https://vimeo.com/123074890

https://www.youtube.com/watch?v=S7CvoTtus34

SM and SGAG Gallery Visits and Discussion of Reading

Thursday, 2/11

We will share a class discussion, based on the readings/discussion questions.

Focus questions for discussion:

1. Describe the historical, social and cultural background from which the "pictures generation" emerged. 
2. The author, Douglas Eklund, describes the pictures generation as the last cohesive art movement. What were some of the main concerns that these artists took up?
3. The term "hipster" might be what the author, Douglas Eklund, describes as a "commercialized pastiche of rebellious stances prepackaged for consumption." (Think about it...) This would surely cause some to bristle. How might the attitudes and methods of the pictures generation artists be categorized as proto-hipster (even if such as question might cause some to bristle)? 
4. What are the main ideas or concepts Laurie Simmons engages in her work?
5. What are some distinct differences between the conceptual approaches of Cindy Sherman and Laurie Simmons?

Grad student question:

1. Describe the important components (and problems) of postmodernism, as author Andy Grunberg describes them, such as pluralism, structuralism/poststructuralism (deconstruction), artifice, pastiche, media self-referentiality, appropriation, etc.

Useful Links:

Conceptual Art:

http://www.tate.org.uk/learn/online-resources/glossary/c/conceptual-art

Pop Art

http://www.theartstory.org/movement-pop-art.htm

Metro Pictures

http://www.metropictures.com

The Met, The pictures generation

http://www.metmuseum.org/exhibitions/listings/2009/pictures-generation

Richard Prince

http://www.richardprince.com/photographs/cowboys/#/detail/1/

Sherrie Levine

http://blog.art21.org/2011/04/15/how-to-explain-sherrie-levine-to-your-grandmother/#.VrYr7kJwWWU

Cindy Sherman

http://www.moma.org/interactives/exhibitions/2012/cindysherman/#/3/

Laurie Simmons

http://www.lauriesimmons.net/photographs/

Class Demo Schedule

1/28 Lighting Studio Orientation and Demo. Basic portrait set-ups
2/2 Darkroom demo: Split filtration techniques, toning, matting/finishing
2/4 Work Day
2/9 Prelim Critique

Revised Critique Schedule

Critique Schedule

2/9 (project/phase 1, Preliminary)
2/18 (project/phase 1, FINAL)

3/9 (project/phase 2)
4/20 (project/phase 3)
4/27 Final Portfolio