Cyn

(Pondering my Orb)

In my time as a photographer, I have worked with people spanning the ages of 18-65. From boudoir, to promotional, and personal shoots, my favorite space to be in is the small gig space. With roucous music and bodies packed like sardines there is endless joy to be found in the little-known spots yet uncovered by the gentrification of palatability.

Moving from Colorado, to Bournemouth, to Portland, one theme has been consistent. The representation of work in artistic fields has and always will be gig centered. However, we are seeing a shift in the market of corporate jobs becoming more like artistic jobs. From the lack of benefits to the spotty at best guarantee of stability, workers have become a disposable, farmed amenity.

"It is projected that in 2027, 86.5 million people will be freelancing in the United States.

The highest-paying gig economy job in the United States is massage therapy — paying an average of $27.34 an hour."

Many of these jobs are untaxed, unsupported outside of contracting companies, and are not represented in collected date. Unfortunately, those that are, are representative of the shortfall of the US's economy and employment industry. According to Oysterlink's 2026 report linked above, $27.34 is the highest paying averaged gig work available within the US. With no context on location or average experience I would like to look at this average with a wide lens and compare it to the national averages needed for purchasing power in the generation prior to mine ('81-'96).

According to CPI's Inflation calculator, 1981's $27.34 has a purchase power of $100.16 today, leaving a 266.36% difference in utility from '81 to 2026.

In '96 the purchasing power would have been $58.03.

Looking at a table from the Department of Labor, we see an increase from Jan 1, 1981 at $3.35 for all covered, nonexempt workers (Federal Minimum Wage) to the last increase in Jul 24, 2009 at $7.25 for all covered, nonexempt workers.

https://www.dol.gov/agencies/whd/minimum-wage/history/chart

Returning to the CPI calculator we can observe an increase in the purchasing power of $8.92 from 1981-2026 resulting in a total of $12.27. The minimum wage in 1981, accounting for inflation should be AT LEAST the minimum wage today in order to fulfill the purpose of minimum wage. With that in mind we can look at a proposed "living wage".

Pueblo, CO:

Living Wage $21.05

Poverty Wage $7.67

Minimum Wage (State) $15.16

Portland, OR:

Living Wage $28.17

Poverty Wage $7.67

Minimum Wage (State) $15.05

https://livingwage.mit.edu/

Comparatively, the minimum and poverty wage doesn't differ, while the living wage does. In my experience (yes anecdotally), in both locations, the average service job ranges from $16-21ph averaging at $18.60 landing the monthly net income in OR at $2,260 and an annual income of $28,230 as per Smart Asset's calculator.

https://smartasset.com/taxes/oregon-paycheck-calculator#2kIN8yY3YQ

Observing the table from MIT's Living Wage Calculator, we can see a single adult with zero children needs to rake in around $46,000 post taxation in order to sustain a living wage.

With the acknowledgment of these stats and the current move toward a gig and rental economy, I expect the costs of living to continue to rise. This leaves the question of what occupation or passion even, is viable in the near future. As an artist who has tried to participate in the market community, I foresee a rise in venue dues, market table fees, consignment percentages, and the cost to create/produce.

There will always be art. There will always be life. The cost of living however, may come at the price of access to communities that have started in the heart of access.

Today we listen to Patricia Knapp, a creative, with a long treasure trove of experiences in fine art, design industries. Hear their experience with coming out, acceptance, and their dreams for a colourful future.

I was unfortunately ill and felt/looked rough during this interview, but was so happy to hear from an elder gay about their experiences in a shifting workspace and an uplifting sense of wonder about the future.

Music:

Bread - lukrembo

Night on the Docks (Sax) - Kevin Macleod

Noire #1 Music by Pedro

Pretext

This marks the end of my final submission for all of university. Through many years of academics and countless setbacks, I am simply glad to hand in this final submission after complications arose around my original final project. As I only had 20 days to complete this project the scope was well below what I had originally planned, although I am happy I was able to edit some funky effects in the short horror film.

Abstract

Going into this resubmission I realised my scope needed to be reduced due to the time constraint between when the assignment brief was posted and when the assignment was due. Originally I had created a piece based on diversity and design which proved to be far too large of a scope for me to grasp while I processed the difficulties of life and adversities I was facing in my own life. During pre production for this resubmission assignment and in realising the brief was the same word for word as the original document, I chose a medium that I felt comfortable in and familiar with in terms of content. This is when the idea of producing a piece of media related to Adult Swim arose. From the early 2000’s, Adult Swim was a staple of late night TV. Nights staying up watching programmes like “Robot Chicken” and “The Boondocks” instilling in me both a sense of wonder at the creativity in its stop motion (Hye Jin, 2022), “The Boondocks” cultural nuances, (even as a little kit “The Boondocks” was a significant part of media representation, being a brown child of two white parents shows like “The Boondocks” “Filmore” and “Jake Long American Dragon” posed leading characters with unique experiences and backgrounds as American kids of colour) and of course one of TV’s most iconic transitive pieces of 2000’s history (Hye Jin, 2022), Adult Swim’s “Bumps”. The following pieces of media designed by myself and produced by myself are representative of both the iconic Adult Swim “Bump” and their “Horror Short” blocks (Lara, 2020) that aired near midnight that have since become icons for cult pop-culture TV in America.

Introduction

Initially, I had decided to only produce a horror short shot in the same style as one of Adult Swim’s most recognisable short films, “This House has People in It”. The horror short “This House has People in It”, consists of a family celebrating their child’s birthday with the child’s friends playing in the yard. Through the duration of this film, a girl collapses from a mysterious disease and starts to sink through the kitchen floor. As the film progresses, the family is faced with an insurmountable problem both in relation to the girl falling through the floor and the eventual collective psychosis caused by the unanswerable questions posed by the supernatural cause of the girl falling through the floor. In addition, “This House has People in It” utilises retroactive technology to both cover its faults (Night Mind, 2016), create a sense of observance rather than participation, and several instances of supernatural activity stitched into the narrative through subtle means as not to detract too much from the experience of the main plot (Lara, 2020).

As seen above, we are introduced to the film through a display of surveillance cameras proceeding to flip through the frames until the plot develops and more substantial time is required to show the process of falling through the floor (Night Mind, 2016).

Intermittently, frames are spliced into the short film in order to show the perpetrator of the disease. Above we are able to see two spliced frames with a figure lurking in the background. These frames however only take up around 3 to 5 frames of footage (Night Mind, 2016). While originally intrigued with this prospect I wanted to create something more tasteful with elements of subtleness and overt supernatural elements (Lara, 2020). Something more akin to the frames shown below. The front yard lasted a couple seconds while the creature passing the window lasted about a second in totality.

Choosing my audience was easy as I wanted to create a retroactive piece of media based in the socio-economic state of Adult Swim in the early 2000’s while referencing current shows to make it more relevant and recognisable to people in this era of TV. Though the environment in which Adult Swim had existed has greatly changed since the early 2000’s, I still wholeheartedly believe utilising their marketing tactics to maintain and further their brand culture through revitalising old tactics and forms would be beneficial to Adult Swim as a network both on cable and in streaming services. As such, and given the lack of communication between the university’s MP Admin within a timely manner, I was forced to rethink my media piece. I did develop a short form horror film to represent my initial idea, though I was unable to produce a risk assessment for it due to the lack of communication and information on who I was meant to send the assessment to. In the following paragraphs you will see the effort I had put into the initial concept as I truly thought I’d have enough time and information to put it together in a timely manner, as well as the secondary concept requiring no risk assessment and based on the animated bumps of Adult Swim’s night time programmes.

First Project

Referring to my introduction, my first project was based on the analysis of “This House has People in It”. Below are screenshots of my production, namely the frames with the subtle additions of supernatural elements.

1 A face behind me in closet. 2 Figure in the bathroom. 3 Hand reaching through a mirror.

4 A copy of me sitting in a chair while I walk by. 5 A figure traversing the stairwell.

Utilising the only camera I had at my disposal, a gopro, creating the motif of the security cameras as seen in “This House has People in It” (Night Mind, 2016). I felt that the version of this film should be more centred around a vlog or found footage aesthetic than the security cameras in the original. I had decided this due to the nature of the voiceover. A person existing within their house realises they are being followed. Much like “This House has People in It”, “Dysphoria” plays to the metaphysical through the embodiment of paranoia and psychosis (Lara, 2020). As the story progresses and the essence of the subject’s dysphoria grows, so does the intimacy of the camera angle providing an increasing sense of urgency eventually culminating in the climax. The protagonist stumbles and falls through the door shutting it, burying the thing that goes bump in the night behind a door of object permanence, shoving the emotions down and turning from their own self, that haunts them in the shadows of their own home.

Second Project

Through the years, Adult swim has cultivated a list of programmes broadcasted in block broadcasting format creating sub-sects or “sub-genres” ​​(Elkins, 2014) of the network ranging from their addition of the “Toonami” block. “Toonami” (Hye Jin, 2022) originally consisted of strictly anime such as “Space Dandy”, “Cowboy Beebop”, and “Death Note”, as well as american animations such as “The Boondocks” eventually branching out into novel animation consisting of 3D and 2D animation. Its “regularly scheduled broadcasts mainly consisted of shows such as “The Simpsons”, “Family Guy”, “Robot Chicken”, and a host of original animations based in the satiric and absurdist iconography Adult Swim viewers had grown to love. (Hye Jin, 2022) In more recent years, Adult Swim has shifted their views on revitalising the era of nostalgia. From buying Toonami back, to buying the rights to Uzumaki, one of Junji Ito’s most well known and revered works, Adult Swim has continued to fight for their position as the “anti-programming Programming” (Lara, 2020) In order to keep in spirit with this theme I have devised a “Bump” of my own. I first looked through Adult Swim’s archive of shows finding one that had previously been cancelled by HBO Max (Schwarz, 2022), part of a push that removed many other Adult Swim broadcasted shows from the streaming platform. Through landing on “Final Space” as the subject of the bump, I was able to utilise the animation style to create a frame by frame animation in the show’s style and colour scale. Next you will find examples of the frames I hand drew then digitally copied for the animation.

I created a blueprint for Adult Swim to promote their show “Final Space” on a TV screen that then turned into a monster eye, with many other eyes staring at you and blinking. This was done in order to keep with the tradition of creating subversive media bordering on the realm of absurdity and horror. There were almost a total of 100 different frames used in the creation of this animation. Other technical aspects of the animation include masking, keying, anchor points, vignetting, and key pointing motion frames in addition to the initial sketches.

This resulted in a 21 second animation including the title card and motion graphics. I have learned a lot from both creating this project, and experiencing a mishap mid project leaving me with little time to produce any media as fully as I would have liked to. I do believe however, this meets the required scope of understanding and difficulty.

Pros and Cons

In producing these two pieces of media, as well as working on another peer’s project previously, I have been able to identify the pros and cons of cultivating zero budget time sensitive group projects. To begin with the pros, settling on a prominent company and its subsidiaries such as Adult Swim and Cartoon Network provides a plethora of resources, community interactions, and preexisting data to base your projects off of. With so much of the context and genre already decided for your project, you don’t have to build a project from the ground up as I had tried to do with my previous submission. This scope was much more realistic though I still struggled to generate a project that I am proud of and is cohesive enough to belong in a preexisting meta universe. One point I did quite enjoy in this project was that I did not have any teammates or other responsibilities, being as I am in the US and live in the mountains/desert it would have been awfully difficult to coordinate between peers when the best time to meet was. This I found was easier in the UK. While working on Jake Easton’s project (The Unknown Hero), it was easy communicating with his team as we all were in the same time zone and I even filled in for a stunt actor as one of the introductory character actors had bailed on filming day. While these both have been extremely insightful projects to work on in terms of both a technical aspect and their cultural relevance, I do have some qualms with the process as it has unfolded. Firstly, as I noted previously, communication between student and the uni hasn’t been up to par though I understand this might be due to both the season and my extension on the original project being granted due to an incident. During the first projects I undertook for my final, I learned a lot about the interviewing process and interacting with people from marginalised communities. I also discovered finals season makes it really difficult to keep in contact with and retrieve forms from subjects you have interviewed. To mitigate this, I have since organised my calendar, contact information, and employed a weekly contact regime for the work in the industry I am doing currently. Providing a 1-2 times a week update to clients has proven to be particularly successful especially when the client is still deciding on what creative route they wish to take. One of the most difficult aspects of any part of all of these projects has been socialising and mingling with peers utilising common ground as a starting point. Had I had a team in this most recent project I am sure my communication of the editing process would have been made 1000% more difficult when I was 2000 miles away and unable to convey the feelings I wished to evoke. To mitigate this in the future I have started setting down roots in Colorado. Though university is over and I have a job working chainsaw crew (all trans, brown, or queer women team) in the mountains of Salida as fire mitigation, I have also started my own media production company and have just begun employment working as editor and illustrator for a sommelier wine blog. I have also become a member of the Pueblo Arts Alliance and have my first pieces in this month’s Pide exhibition in Liminal Space Gallery. By utilising all of these connections I intend to further my communication skills and social skills as to avoid future misunderstandings and forge strong business relationships.

Conclusion

As this project and era draw to a close, I feel that I have come away with an immensely greater understanding of both myself and others. I believe this “Bump” project is a success in that it helped me to come to the realisation that you always need a backup plan. I also experienced what animating through frames would feel like on a crunch schedule for a company, which I have come to learn likely isn’t the path I would like to take given the amount of time it consumes as well as the stress it has caused both my family and myself. I am very fond of the video piece I have created and intend to take it and expound upon it for my personal experiment. Delving deeper into the world of the absurd and horrific have long interested me and as of now continue to do so.

Bibliography

Elkins, E., 2014. Cultural Identity and Subcultural Forums: The Post-network Politics of Adult Swim. 1st ed. [ebook] Madison: University of Wisconsin, pp.601-608. Available at: <https://citeseerx.ist.psu.edu/viewdoc/download?doi=10.1.1.816.9940&rep=rep1&type=pdf> [Accessed 3 August 2022].

Hye Jin, L., 2022. All kids out of the pool!: brand identity, television animations, and adult audience of Cartoon Network's Adult Swim.. [ebook] Iowa: University of Iowa, pp.3-12. Available at: <https://iro.uiowa.edu/esploro/outputs/doctoral/All-kids-out-of-the-pool/9983776710402771> [Accessed 2 August 2022].

Lara, W., 2020. Late Night Terrors: The Surreal Horror of Adult Swim’s Short Films. [online] Bloody Disgusting!. Available at: <https://bloody-disgusting.com/editorials/3607641/late-night-terrors-surreal-horror-adult-swims-late-night-short-films/> [Accessed 29 July 2022].

Night Mind, 2016. Explaining: This House Has People In It. [video] Available at: <https://www.youtube.com/watch?v=mjBTAnCUbZc&t=539s> [Accessed 7 August 2022].

Schwarz, J., 2022. HBO MAX Removes Final Space ; Other Adult Swim Animated Series Purged As Well 

Business Proposition

Based on my research of Adult Swim I have created a conceptual project based around low budget for a “Bump” illustrator that has potential to move into marketing or shifting towards animation based on Adult Swim’s animation style. “Recalling watching ‘Dead Bart’ (2010), for example, a harrowing ‘lost’ episode of The Simpsons, the writer is keen to emphasise the “very poor quality animation”, drawing parallels to… the low-quality representation as relative to the high level of horror” (Lamont, 2019) Based off this analysis and observation of Adult Swim programmes, we can assume the illustration budget would be on the lower end of the spectrum equating to around 40-60k in annual salary (Illustrator Career Guide - Sessions College, n.d.).

“The U.S. Bureau of Labor Statistics lists the 2020 average salary for Fine Artists (including Painters, Sculptors, and Illustrators) as $65,020.” (Illustrator Career Guide - Sessions College, n.d.). With an expected growth of 14 percent from 2020 to 2030 a prediction of an increase in demand for digitally “savvy” illustrators is expected for corporate work commissioned from fine artists. 

While many illustrators work freelance, hiring an illustrator full time would lower salary while costing the company benefit fees. In the long run however, it would be more financially stable for Adult Swim to hire someone full time. For this specific project the mean entry level wage for illustration work per hour is around 35USD (Illustrator Career Guide - Sessions College, n.d.) and the time scope for a fully fledged “bump” would take around a month to a month and a half to complete with all revisions and full attention.

Lamont, R., 2019. View of From raped childhood to ruined childhood: Developing an aesthetic of childhood trauma in digital culture from 2001 to 2018 | First Monday. [online] Journals.uic.edu. Available at: <https://journals.uic.edu/ojs/index.php/fm/article/view/11615/10661> [Accessed 2 August 2022].

Welcome to episode 2! Today we follow the experience of Candela Sáenz Arena (They/She), a Spanish fashion designer and leather artisan. Utilising their identity and unique style to navigate the degree at Arts University Bournemouth, we learn about their process of design and hopes for the future.

Welcome to the podcast.

Interviewee: Jason Daly

Instagram: @jasondaly_actor

Music: Notions - LethalNeedle

Audio only: https://soundcloud.com/saian-hudspeth/sets/pancake-podcast

Portfolio: https://armanhudspeth425.wixsite.com/ramen450k

Abstract:

With the previous essays I have produced based on diversity and ethics I concluded the best course for me to take in this analysis would be to analyse a company who is doing proportionately well in comparison to Netflix. I settled on A24 by observing the films associated with that company and the positive receptions they have garnered both online and in the film community. As I had not formally done the formative assessment previously due to health reasons I have been researching the possible social effects and reception of A24’s business model and Netflix’s shortcomings to approximate what Netflix may improve on. Through this analysis I will cover the current climate of diversification in the film industry specifically and A24’s structure, films and impact. I will then take the results and translate them into current applications that Netflix is a part of. As the climate of diversification and representation has grown (specifically since the inception of the Hollywood Diversity Report), films that bolster a diverse range of cast and culture produce an elevated source of revenue. A24 while doing so, also participates in performative allyship in some cases, however, the effort in creating authentic minority stories has catapulted them to the forefront of film. While Netflix’s programs are growing in diversity as well as their staff, albeit at a slow pace, Netflix still participates in performative allyship by giving problematic and harmful creators a platform while using content people in those harmed communities, have made to elevate their face value leaves room for Netflix to improve its business model by supporting meaningful diversification and representation.

Non Performative Diversification of the Film and TV Industry:

The diversification of media has become a driving source of inspiration, profit, and social progress in the West. With the current pandemic and recent rise of accessible streaming companies, the industry’s focus has switched from the silver screen to streaming. With the rise in social awareness and equality movements such as #oscarssowhite , Black Lives Matter, and Stop Asian Hate, films have seen a surge in telling stories characterised by experiences shared by minoritised communities. (Commun 2018) Most notably, films such as “The Farewell”, “Encanto”, and “Moonlight” have burst into front pages and broken barriers with their high percentage of diversity, authenticity, and quality. (Hammond 2017) Understanding why and how these films are received by the general public will provide an understanding of how better to connect with Netflix’s audience. In this analysis, I will be reviewing A24’s contribution to diversifying the film industry and how Netflix may learn from its growth due to diversification. (Williams 2020)

In a Vice article entitled “Why Seeing Yourself Represented on Screen Is So Important”, Carlos Cortes, an author focusing prominently on representation in media states, “First, whether intentionally or unintentionally, both the news and the entertainment media 'teach' the public about minorities, other ethnic groups and societal groups, such as women, gays, and the elderly,” (Lawson 2018) Visual representation is a primary source of emotional connection between those with and without knowledge of the “othered”. We are able to see this in the inception of the “Birth of a Nation” in which black people were shown to be violent, animalistic, and sexually motivated while white people were shown as elegant, literate, and civilised. (Disclosure 2020) This being produced during the Jim Crow era in 1915, was screened in the white-house. As social equity movements such as the suffrage, civil rights, and stonewall have come to fruition, so has the rising need for authentic representation as opposed to harmful representation. “Minorities realize—supported by research—that the media influence not only how others view them, but even how they view themselves.” (Lawson 2018) The Opportunity Agenda, based on a 2011 study, found that black men in media are overtly portrayed in a negative light, this coincides with “positive” attributes that only exist within stereotypes. Many of the characters, lost in the story to limitations placed on them through lazy storytelling. (Disclosure 2020) For a film to be considered diverse, it must meet requirements including providing minorities speaking, supporting and main cast roles. In 2017, USC Annenberg report showed 25% of the 900 movies reviewed didn’t have a speaking or named black character. (Lawson 2018) The result of such confined representations can lead to repercussions such as harsher sentencing in the legal system and elevated racial bias amongst the general public. Since then however, representation and diversity has risen and has shown an equally growing contribution to the success of films.

As stated previously, we have seen a spike in diversity and representation, albeit marginal considering the controlling party within visual media still belongs to cisgender, white men.

(Williams 2020) Image 1

According to a Hollywood Diversity Report in 2020 from 2011 to 2018, racial diversity in the director’s role of Oscar winning films has risen from 0% to 36% with a small spike in 2013 to 25%. Considering the base percentage in 2011 was 0%, the amount of diversity attributable to critically acclaimed films has risen significantly (Williams 2020), yet this is not as representative of the industry as a whole. Based on the prior year’s diversity report, 77% of all film roles in 2017 were given to white people (image 2) showing a stark imbalance of power dynamics on set. While observing this report, the gendered section of the diversity analytics in cast on films didn’t even contain a measurement for trans actors (image 3) while the episodic TV portion does. (Darnell 2019)

(Darnell 2019) Image 2

(Darnell 2019) Image 3

While a lack of representation has been duly noted, the proceeds from diverse films have as well. With the emergence of progressive films, the box office ratings and profits have risen significantly giving way to more opportunities for people in minoritised groups in the name of profit as opposed to for the education and representation of minority communities. This is known as “performative allyship”.

Issues with diversifying organisations and pieces of media at face value only, create a shallow backdrop for a serious issue of inequity. Diversity matters, as stated by Aisha Thomas in her TEDTalk at Bristol in 2020. “...it provides an opportunity for your existence to be acknowledged in this world.” Through exploring racial representation through anecdotal and analytical data, she realises that though time has progressed not much has changed in the way of social acceptance saying “Is it different now?” (TEDx 2020). A sentiment backed by many vocal minorities online with the hashtag, #representationmatters . Representation matters is a hashtag used to both celebrate and call attention to diversity or lack thereof. In the digital age, the dissemination of information has become more accessible and fast creating both good and bad exposure for products, people, and pieces of media (State of Indiana 2021). Due to this heightened ability to organise and spread information, lack of representation or lack of meaningful representation may have a serious adverse effect on the film’s profit margin.

Aside from the representation that is readily available to the public (the cast in films), the diversity of production’s crews are more veiled than visible. “There has been reluctance amongst UKF&TV institutions, organisations and bodies responsible for diversity funding, training and support to be open and transparent about the success and impact of their diversity plans… the disinclination of organisations to make the data collected through their diversity schemes publicly available has curtailed the ability of subsequent diversity programmes and discussions to build upon previous initiatives by responding to the gaps and problems that may have emerged in the policy evaluation.” (Nwonka 2021) A reality in which face value diversity is readily observable, yet the installation of programmes put in place for the retention and fulfilment of diversification has been hidden means at a structural level the general public and anyone outside of those organisations is not privy to knowing if companies are in fact taking action towards dismantling systemic oppression at its core or if their refusal and lack of transparency is a product of performative allyship.

One film company that does seem to be advocating for diversification and representation is A24. A powerhouse cultivating films such as Moonlight, Ladybird, It Comes at Night, and Ex Machina, has and is bringing box office hits one after another earning a name as the “Super Brand” of cinema. “While Spielberg does have an immense brand, the main way he communicates with his audience is through mass media and expensive, metric-resistant platforms such as billboards and television commercials. By contrast, A24 has a direct relationship with a young, active audience and personal relationships with filmmakers who themselves enjoy close connections to their audiences.” (Philips 2021) Being at the forefront of film as A24 is, analysing its outlook on staff, productions, and reception by the media will provide an idea of how they have garnered such a title.

With a total of 25 Academy Award nominations, A24 (A24 Films) boasts an employment number of 306 (Linkedin). Valued at around 3 billion dollars and earning over $55 million on their film “Moonlight” (Hammond 2017), A24 is considered a mini major and is one of the most highly coveted companies in the industry. As such, a lot of internship opportunities for this company exist. However, when examining such opportunities, we stumble upon the reality of the film industry even in the “indie” production scene. A company that vies for diversity in their productions, telling stories of the minoritised and forgotten people while cultivating a toxic and non diverse environment at its core is worth mentioning (Images 4-7).

(Glassdoors 2021) Image 4/Image 5

Image 6/Image 7

This is a direct indication that though promotion of diversity or utilisation of diversity initiatives, at the base of the film industry, a fervent lack of ethics exists within companies. Marketing oneself as diverse to the public draws in consumers and workers with interests in upholding that diversity, and as some of the reviews suggest, when that promise has not been met there is a loss in faith and hope in what had previously been advertised. That being said, A24 is coveted for a reason. Their productions are always high value, promote stories that may not have been told, and give way to upcoming actors.

One of A24’s crowning achievements has been Lady Bird. Lady Bird is a film about a “quirky” teen girl experiencing the coming of age and the struggle to fulfil expectations. Being touted by the general public as one of A24’s most influential films for its focus on a feminist coming of age story, Lady Bird is also one of A24’s greatest shortcomings and expresses the meaning of performative allyship perfectly (Daniels 2016). “white feminists have managed to avoid dissecting these cultural and racial components of white femininity, although they have become eager to hear what black women have to say about their racialized and gendered identities”, as quoted by Ware in the publication “Beyond the Pale” (Daniels 2016). This, a sentiment shown explicitly in the film Lady Bird. with a plethora of can do attitude, lack of self awareness, the inclusion of only one gay character and two of colour whilst telling a story of “the hardships of white, bourgeoisie female adolescence without true concern for any other form of diversity.” (Daniels 2016) As such, white feminism as shown in Lady Bird becomes a film that is about a well to do girl with little to no repercussions and no other sense of diversity than the three token background characters, in turn avoiding the dissection of intersectional feminism, while providing white feminism as an alternative to what femininity means.

Another of A24’s greatest achievements has been Moonlight, a film accounting the experiences of a closeted black man in search of himself throughout his tumultuous life (A24 2016). Moonlight, a film directed by Barry Jenkins displays the complex hardships of growing up as a queer black man in the ghetto, taking into account homophobia, financial deficit, and race while creating powerful visuals and a plot that connects on an emotional level. Barry Jenkins attributed the success of this film to personal experiences living in Miami, and utilising the experiences of the script’s author to create an authentic representation of the original story. To represent the hardships of having an addict in the role of a mother is difficult to represent authentically especially when others are writing it (Vice 2016). With a complex history behind the discrimination of Black Americans through systemic segregation such as redlining, ghettos, and the Crime Bill. Contrast to Lady Bird, A24 and Barry Jenkins have created a unique, relatable, and touching piece of cinematic history highlighting the inequities of a black queer coming of age story.

The Last Black Man in San Francisco, is also a good example of viewing films in an intersectional light. While being directed by a white man, The Last Black Man in San Francisco tells an authentic story of gentrification and masculinity. The film, a collaboration between the director Joe Talbot and writer Jimmie Fails who plays the lead. Utilising pieces of Jimmie’s life experiences, Joe and Jimmie crafted a film around their relationship with each other and the relationship between them and the others in their community where the facade of masculinity is greatly valued. By casting locals and drawing on the realities of that community The Last Black Man in San Francisco earns its place in meaningful representation. (TIFF, 2019) 

Due to the freedom of expression and diversity in their film acquisition, A24 has branched out into one of the most defining series of the century. Euphoria accurately represents the LGBTQIA+ community showing the strifes of going through high-school as queer teens.

“Euphoria flips the “sexually-deviant” sociopath trope on its head.” (Sapra 2021) Euphoria shows LGBTQIA+ stories in a light that is relatable to teens both queer and straight while detailing associations with substance abuse, sex, and pain in a way that focuses not on its relation to queerness but the characters themselves. While we like to think that stereotypes have digressed as the years have grown in number, however, shows such as Killing Eve, House of Cards, How to Get Away with Murder, and CSI all in recent episodes or as a key plot element utilise sexuality or gender as a motive for violence or punchline of a joke (Sapra 2021). As stated previously, stereotypical representations of minoritised communities can cause harm such as vilifying an entire community due to an identity they have no control over. “Rue is only able to become clean when she embraces her same-sex attraction. Jules smiles blissfully at nothing in particular when she is able to transition.”(Sapra 2021) making Euphoria a positive and meaningful ode to representation.

Due to the rise in a cultural awareness of the need for representation and diversity, Netflix should take this opportunity to capitalise on the shift in social standings minorities have been gaining for the past decade in not only a face value way, but an impactful way as well. “At the time when we were thinking about this report, it was on the heels of Black Panther, Coco, Crazy Rich Asians coming out…” said Gerald Higginbotham in a response to Greater Good’s journalist Kira Newman. The movies mentioned have both diverse representations as well as a more authentic representation of culturally diverse characters in reference to their backgrounds and ethnic makeup. (Newman, K., 2021) Netflix has primed itself for progress.

(Smith 2021) Image 8-10

From 2018-2019, Netflix has shown little significant increase in positions of power for women of colour and people of colour leaving the only possible line of progression to be upwards for both cast and crew. “...researchers at the Ralph J. Bunche Center for African American Studies at UCLA have produced a study that just might stick a pin in that defence, sorting through over 1,200 films and TV shows to reach a provocative conclusion:

Diversity makes more money and brings bigger audiences.” (Newman, K., 2021) In addition, the monetary value of productions with minority casts has proven to draw in a more stable source of revenue for companies as seen in the following image.

(Williams 2020) Image 11

In 2019, films that had 41%-50% minority cast represented, drew the most financial success. A measurement that includes global sales, profits and opening gross profit according to the annual Hollywood Diversity Report. In addition, films with the lowest diversity, those with 11% minority cast or fewer, have had the poorest financial results in history. (Deggans 2014) To admonish the oversight of not contributing to diversity efforts past face value characters Netflix has the opportunity to address their shortcomings and fix the disparities within its own organisations. One example of this is the Dave Chappelle Closer debut on Netflix. While promoting shows and progressive films such as Disclosure and Sense 8, Netflix provides platforms to creators who have a long history of demonising and othering minority communities. (Netflix's support of Dave Chappelle is setting a dangerous precedent.) There is so much room to grow, Netflix just has to look at their audience and participate in corporate ethics.

Disclosure. 2020. [film] Directed by S. Feder. Netflix.

Lawson, K. 2018. Why Seeing Yourself Represented on Screen Is So Important. [online] 

Available at: 

<https://www.vice.com/en/article/zmwq3x/why-diversity-on-screen-is-important-black-panther> [Accessed 9 December 2021].

Williams, J. 2020. Diversity in Hollywood: New Oscar rules, box-office profits driving change. 

[online] Available at: 

<https://www.spglobal.com/marketintelligence/en/news-insights/latest-news-headlines/dversity-in-hollywood-new-oscar-rules-box-office-profits-driving-change-60733184> 

[Accessed 3 December 2021].

Commun, H. 2018. Underrepresentation and Symbolic Annihilation of Socially Disenfranchised 

Groups (“Out Groups”) in Animated Cartoons. [ebook] Maryland: NHS, pp.1-10. Available at: <https://www.ncbi.nlm.nih.gov/pmc/articles/PMC6124697/pdf/nihms-985713.pdf> [Accessed 29 November 2021].

Hammond, P., 2017. A24 Hits The Festivals & The Oscars With Diverse, Artist-Driven Slate. 

[online] Deadline. Available at: <https://deadline.com/2017/05/a24-the-lovers-the-killing-of-a-sacred-deer-good-time-cannes-disruptors-news-1202094063/> [Accessed 3 December 2021].

Darnell H. 2019. Hollywood Diversity Report 2019. [ebook] Los Angeles: UCLA, pp.23-52. 

Available at: <https://socialsciences.ucla.edu/wp-content/uploads/2019/02/UCLA-Hollywood-Diversity-Report-2019-2-21-2019.pdf> [Accessed 19 December 2021].

State of Indiana. 2021. Authentic Disability Cultural Representation. [online] Available at: 

<https://events.in.gov/event/disability_awareness_month_insilc_representationmatters_authentic_disability_cultural_representation> [Accessed 4 November 2021].

TEDx, 2020. Why Representation Really Matters. [image] Available at: 

<https://www.youtube.com/watch?v=-X-taPvKWbY> [Accessed 9 December 2021].

Nwonka, C. and Malik, S., 2021. Racial Diversity Initiatives in UK Film & TV. [ebook] London: 

Film and TV Charity, pp.2-3. Available at: <https://filmtvcharity.org.uk/wp-content/uploads/2021/09/Racial-Diversity-Initiatives-in-UK-Film-and-TV-FilmandTVCharity.pdf> [Accessed 4 December 2021].

Philips, A., 2021. Why A24 is the future of film, and a super-brand in the making.. [online] 

Available at: <https://theageofideas.com/a24-future-film/> [Accessed 7 November 2021].

Linkedin n.d. A24. [online] Available at: <https://www.linkedin.com/company/a24/people/> 

[Accessed 7 November 2021].

Glassdoors. 2021. A24. [online] Available at: 

<https://www.glassdoor.co.uk/Reviews/A24-Reviews-E1327786.htm> [Accessed 12 November 2021].

Daniels, J., 2016. The Trouble with White Feminism. [ebook] New York City: CUNY, pp.4-15. 

Available at: <https://academicworks.cuny.edu/cgi/viewcontent.cgi?article=1212&context=gc_pubs> [Accessed 8 December 2021].

A24, 2017. Lady Bird | Official Trailer. [video] Available at: 

<https://www.youtube.com/watch?v=cNi_HC839Wo> [Accessed 10 December 2021].

A24, 2016. Moonlight | Official Trailer. [video] Available at: 

<https://www.youtube.com/watch?v=9NJj12tJzqc> [Accessed 20 November 2021].

Vice, 2016. Director Barry Jenkins on Creating Empathy Through His Film 'Moonlight'. [video] 

Available at: <https://www.youtube.com/watch?time_continue=318&v=NIgkDjqZQCo&feature=emb_title> [Accessed 21 December 2021].

TIFF, 2019. THE LAST BLACK MAN IN SAN FRANCISCO is an Ode to Male Friendship. [video] 

Available at: <https://www.youtube.com/watch?v=4WlAWB64uSg> [Accessed 29 December 2021].

Sapra, M., 2021. From Clueless to Euphoria: The Precipitous Rise of LGBTQ+ Representation 

in Films. [online] Available at: <https://honeysucklemag.com/clueless-euphoria-lgbtq-representation-films/> [Accessed 31 November 2021].

Newman, K., 2021. Diverse Films Make More Money at the Box Office. [online] Culture. 

Available at: <https://greatergood.berkeley.edu/article/item/diverse_films_make_more_money_at_the_box_office> [Accessed 5 November 2021].

Oliver, D., n.d. Netflix's support of Dave Chappelle is setting a dangerous precedent.. [online] 

Available at: <https://eu.usatoday.com/story/entertainment/2021/10/15/dave-chappelle-netflix-the-closer-set-dangerous-precedent/8450189002/> [Accessed 10 November 2021].

Deggans, E., 2014. Redefining Hollywood: 'Diversity Makes More Money'. [online] Available at: 

<https://www.npr.org/sections/codeswitch/2014/02/12/275907930/redefining-hollywood-diversity-makes-more-money> [Accessed 26 November 2021].

Smith, S., 2021. Inclusion in Netflix Original U.S. Scripted Series & Films. [ebook] Los Angeles: 

An examination of the “Grammar of the Edit”.

Sources:

Thompson R. 2003. Grammar of the Edit. [ebook] Focal Press, pp.47, 72-91. Available at: <http://www.tlu.ee/~rajaleid/montaazh/Grammar-of-the-Edit.pdf> [Accessed 21 December 2021].

CD92.9 FM 2021. Crew SC Announcer Neil Sika predicts the MLS Cup. [video] Available at: <https://www.youtube.com/watch?v=-s6ylOunV6A&list=PL-WNfga2wDi2GAI9-ToL5UMnZIKc6OPhA&index=2> [Accessed 23 December 2021].

CD92.9 FM 2021. World-Record powerlifter Julius Maddox is ready to bench press 800 pounds. [video] Available at: <https://www.youtube.com/watch?v=debSkujer3Q&list=PL-WNfga2wDi2GAI9-ToL5UMnZIKc6OPhA&index=8> [Accessed 24 December 2021].

Redrup Z. 2018. Seafoal to continue on as ZAND!. [online] Available at: 

<https://www.deadpress.co.uk/news-seafoal-to-continue-on-as-zand/> [Accessed 21 December 2021].

Observe, Analyse, Criticise 2015. Wes Anderson, Moonrise Kingdom and Cinematography.. [online] Available at: <https://differentscenarios.wordpress.com/2015/09/13/8/> [Accessed 23 December 2021].

Bridge City Sinners 2017. St. James Infirmary. [video] Available at: <https://www.youtube.com/watch?v=xdhofcwpkaw> [Accessed 24 December 2021].

Novo Amor 2021. Haven. [video] Available at: <https://www.youtube.com/watch?v=YIqXnirQlvM> [Accessed 24 December 2021].

Life is Strange True Colors 2021. Think of the Children - Alabaster Daydreams. [image] Available at: <https://www.youtube.com/watch?v=aWqfbmhq-oE> [Accessed 24 December 2021].

CD92.9 FM 2021. Crew SC Announcer Neil Sika predicts the MLS Cup. [video] Available at: <https://www.youtube.com/watch?v=-s6ylOunV6A&list=PL-WNfga2wDi2GAI9-ToL5UMnZIKc6OPhA&index=2> [Accessed 23 December 2021].

Cold Ones 2019. PewDiePie. [video] Available at: <https://www.youtube.com/watch?v=h-GQlkyU7p4&t=3219s> [Accessed 22 December 2021].

A short Audio recording for an illustration piece on “The Grammar of the Edit” I’m doing for my editing class.

CC-

“Cassidy - Aaaaand that was Think of the Children by Alabaster Daydreams.

Cassidy - Thank you for tuning in, this has been Two River Radio playing you all the hits, all the time.

Cassidy - Now we’ll be switching over to our talk show from 8 to 9 hosted by yours truly

Tom - And yours!

Cassidy - After the break!

Tom - If you’re tuning in now, it is a cool 23°F in Aspen, ColoradoIf you are tuning in locally, be sure to stop by the Bear Den Aspen on South Monarch Street for a hot cup of Joe and some hearty food.

Cassidy - Breakfast from 8 to 11, and open 7-10pm daily.welcome to the Empty Tins portion of our programming where Tom and I talk about bands that are up and coming progressive musicians.

Tom - Todays we’re looking at “Zand”, an industrial pop artist and social issues advocate.

Cassidy - Born in Blackpool, Zand, AKA Zander Sweeney, began writing and releasing acoustic folk music at the age of 20 as “Seafoal” to now being an out and proud nonbinary musician producing music in the, self described, “ugly-pop” genre.

Tom - , Zand channels their queer identity into vocalising social issues such as gender, abuse and discrimination. Interested for more? Stay tuned for an exclusive interview after this song. Now here’s Religion, by Zand.“

Songs: In Order

Think of the Children - Alabaster Daydreams

https://www.youtube.com/watch?v=aWqfbmhq-oE

Novo Amor - Haven

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

Bridge City Sinners - St. James Infirmary

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

ZAND - Religion

An article for you ---.

“375 Transgender People Murdered In 2021-‘Deadliest Year’ Since Records Began“ - (Wareham, 2021)

In my 23 years of experiencing this world, I have come to realise many things that had not previously aligned with my upbringing. I’ve been through the ringer granted less so than some, yet I have and am having experiences of multiple minoritised and discriminated social groups. One of those being the trans/sex worker experience, my eyes have been opened to many dichotomies associated with the fetishisation and discrimination within both the LGBTQIA+ and cis-het community. Firstly the realisation that I am not straight and secondly the fact that hyper-femininity resides as a prerequisites of the acceptance of trans women due to the scrutiny they face daily. To be a trans is not something anyone wishes, but people ARE who they are and YOU CANNOT CONSTRUE THE EXISTENCE OF IDENTITY. Due to social norms and fetishisation of taboos (The Role of the Illusion in the Construction of Erotic Desire, 2016), we both place an importance on the male gaze, heterosexuality, and the ‘“Feminine Ideal”. According to a study by Cult Health Sex on the attraction of men to trans women, trans women fall into three categories of perceived attraction, “Three general patterns of erotic attraction were observed: (1) attraction to an individual who happened to be a trans woman rather than an attraction to trans women as a group; thus, the individual desire for sexual partnership dominated the interactions; (2) attraction to trans women because of their challenge to the traditional gender binary, in which case political or philosophical desire motivated sexual attraction; and, (3) an explicit interest in the trans body, a trans woman’s physical appearances, and an attraction to eroticised femininity or hyper-femininity or the specific physical anatomical features of some trans women.” (Danielle, 2020) This displays the contrives of western acceptance, in the mindset of colonising not just the mind of the individual but the standards of women and people of colour (POC). This view contrasts with the individual’s struggle with gender creating a divide of what exists and what is accepted. The dehumanisation of the western gaze already provides an excuse for the “norm” (cis-het white men) to label cis-women of colour “WOC” as masculine and are only provided recognition when their “femininity” is on display 24/7, a factor that is multiplied when you live as a trans woman of colour. Western society sees women as feminine objects in outward appearance only. “In order to situate the findings of this study, and to understand the context in which transgender people exist in the West (parts of Europe, Australasia, and specifically North America), it is important to explore the history of transgender people and their rights. As the current study is situated in the West, only the history of Western transgender people will be explored. However, many countries and cultures have their own histories. The “first” accounts of transgender people are varied and sparse; this could possibly be due to a lack of recognition of transgender people in the past, as transgender people have always existed. There are more concrete records when it comes to surgeries performed.” (Danielle, 2020)

In an academic setting I would deconstruct the views of individual groups indoctrinated into the male gaze both female and male, however, I have neither the energy nor time to construe an argument to why my mind works the way it does without doing hours of research into the psychological validity of the trans experience. What I am able to do, is denounce the male gaze and embrace my femininity as it appears to me. I know who I am for once in my life and even if I am not accepted outwardly as a woman, it’s what is on the inside that counts to me and me alone. I am not “doing this” for the sake of men, I am doing this for the sanctity of my own body and mind. Comp-het (The Role of the Illusion in the Construction of Erotic Desire, 2016) and traditionalism has made my life a living hell and as someone who grew up in such an isolated environment, I had no vocabulary to embody my feelings. Now I do, and I am angry. I have been offered conversion therapy, doubted all my life, shamed, and ostracised from a tight knit society because of who I was. At least now I am at home with my own existence, away from what I associated with acceptance (the male gaze and heteronormativity) and now nothing can take that away from me. I am proud to not be straight and sure as hell not be a “Man”.

Danielle, L., 2020. Transgender Women and the Male Gaze:. [ebook] Calgary: University of Calgary. Available at: <https://prism.ucalgary.ca/bitstream/handle/1880/111822/ucalgary_2020_lefebvre_danielle.pdf?sequence=4> [Accessed 7 December 2021].

Daniels, J., 2015. The Trouble with White Feminism. [ebook] New York City: CUNY, pp.4-15. Available at: <https://academicworks.cuny.edu/cgi/viewcontent.cgi?article=1212&context=gc_pubs> [Accessed 8 December 2021].

2016. The Role of the Illusion in the Construction of Erotic Desire. [ebook] NCBI. Available at: <https://www.ncbi.nlm.nih.gov/pmc/articles/PMC4914457/> [Accessed 6 December 2021].

Wareham, J., 2021. 375 Transgender People Murdered In 2021-‘Deadliest Year’ Since Records Began. [online] Available at: <https://www.forbes.com/sites/jamiewareham/2021/11/11/375-transgender-people-murdered-in-2021-deadliest-year-since-records-began/?sh=30a930a9321c> [Accessed 8 December 2021].

https://gic.nhs.uk/referrals/gp-referrals/

I, not bound by the cruel confines of man. I am more, past the contrives of those trapped in bubbles.

“I think therefore I am” The gift of relative consciousness and further realisation of self. To exist I must fit a box our past has created, though I am so much more than a box.

See me as I am and bask in the divinity of knowledge while the bliss of ignorance diminishes.

LGBT Visibility in Media

Sai Hudspeth

s5126293

Media Production

Throughout film’s history, documentaries have served to educate and provide visibility for marginalised communities. One of those communities being the LGBT community. In this essay I will be exploring how two documentaries, “Disclosure” (2020) and “Pray Away” (2021), provide information that supports LGBT activism. In visual media specifically, there has been a history of vilifying the LGBT community. This caused major detriments to these marginalised groups because of the image portrayed in mainstream media and in American culture. “Disclosure” and “Pray Away” utilise two main methods of providing an impactful message, those being the use of clear evidence and personal experiences.

While the status quo has viewed the LGBT community as immoral and dangerous, to change it we must understand why. “Disclosure” does an amazing job of this through providing evidence for why this has become the status quo. Throughout the film, “Disclosure” (Disclosure, 2020) references famous and revered pieces of cinema that start and uphold troupes of trans people. At 17 minutes into the film, Nick Adams, GLAAD Director of Trans Media and Representation is introduced and opens with a quote that perfectly represents the film industry’s relationship with trans people. “For decades, Hollywood has taught audiences how to react to trans people...” This quote, followed by examples such as a scene from “Beyond the Valley of Dolls” (1970) in which a trans man murders another character, a scene from “Terror Train” (1980), and “Psycho” (1960), provides both evidence and a visual connection to his words. He ends the quote with “...and sometimes, they’re being taught that the way to react to us is fear. That we’re dangerous, that we’re psychopaths, that we’re serial killers, that we must be deviants or perverts.” This use of visual evidence tied in with Adams’ rhetoric provides an understanding of why transphobia is such a prevalent issue, especially when it is revealed that a GLAAD study shows 80% of Americans do not know any trans people (Disclosure, 2020). In a BBC interview, Genna Terranova, Director of Programming at the Tribeca Film Festival, said “In the age of social media that’s where the conversation starts and that’s when hopefully change will start...” (Brook, 2014).

“Pray Away” however, focuses on a singular storyline following the inception and dismantling of an organisation called Exodus. By using testimonials from the executives of Exodus, news reels, and photos, and footage from events, “Pray Away” provides a historically accurate timeline of events with a driving emotional force. At 20 minutes and 50 seconds, (Pray Away, 2021) Julie Rodgers begins her testimony. She describes the reality of growing up in a conservative christian household and what messages she heard during her time at home. To preface her experience, the film shows TV reels of the christian conservative activists. These activists include Dr. James Dobson and Jerry Falwell, a televangelist who capitalised on the idea that “Homosexuality is moral perversion and is always wrong, period.” (Pray Away, 2021) Later, it backs up these reels by showing old Exodus ads with testimonials of “ex-gays” saying there is hope, there is a way to get rid of your immoral thoughts and actions (Pray Away, 2021). The use of visual evidence solidifies Julie’s testimony while also providing more context for the current narrative. The use of visual aids in these two films both provide more information and an immediate emotional reaction.

In both “Disclosure” (2020) and “Pray Away” (2021), professionals and prevalent members of the LGBT community are featured to provide both meaningful evidence and emotional connections between the viewers and them. Bianca Leigh at 15 minutes 37 seconds (Disclosure, 2020), talks about her experiences as a young trans woman pre-transition. One of her anecdotes is about the film “Dress to Kill” (1980) in which she identifies with the heroine because of her elegance, and femininity while the villain of the film is portrayed as a man who dresses up as a woman in order to kill the heroine. The juxtaposition of these two characters, one she identified with and the other who is supposed to be a trans person left her speechless and confused, representing perfectly the feelings of a trans person in comparison to how they are portrayed in mainstream media. This allows the audience to experience the thought process and empathy of being a trans person with little to no representation. In Vanity Fair’s interview with Sam Feder, the director of “Disclosure”, they discussed how “Disclosure” had become a pivotal point for people who have never viewed film through the trans perspective. “When I hear people say that it’s affected how they’re seeing things, that’s really exciting because this is a new way of seeing. It’s talking about a way of seeing and its use of the trans perspective as a case study, but it can be applied to every identity.” (Nast, 2021) Later in the film (Disclosure, 2020), Leverne Cox shares her personal experiences of the beginning of her transition. “I was so viciously harassed on the streets of New York early in my transition… I knew I would immediately feel unsafe just walking down the street…” This, further showing the personal connection between the participant’s life experience and an empathetic situation any audience can empathise with.

“Pray Away” however, utilises personal experiences in a different way. The executives of Exodus met with a small group of “survivors” of Exodus and listened to their testimonies. At 1:21:42  (Pray Away, 2021), each executive gives their initial emotional reaction to what the survivors had to say and how it changed their ideas of what Exodus was doing to people. Later, Julie Rodgers provides her experience with coming out of Exodus and back into christianity, reflecting on how detrimental Exodus had been and how she realised that it did not represent her religion as a whole. As the film closes out, each contributor to the film reconciles how much harm they have caused through creating the largest, longest lasting provider of conversion therapy. Rather than show the negative impacts it has had on them, “Pray Away” humanises their mistakes by providing them the opportunity to empathise with the members of their community who they have hurt. It is a moving ending to a horrific story and provides food for thought from those who have not experienced it personally.

Though “Disclosure” (2020) and “Pray Away” (2021) utilised different storytelling methods, both were incredibly informative and moving. By providing visual evidence of the experiences in each film, people are captivated by the sense of reality it provides. Had there been no visual representation of villainous trans characters, or no evidence of the indoctrination caused by Exodus, the films would have been much less impactful. In addition, providing in depth personal experiences and the reconciliation of Exodus’ actions allowed the audience to feel each film on a higher personal level. These two techniques combined made each film easy to consume and easy to understand, especially for those who are not familiar with each topic to begin with. With these topics specifically it is difficult to provide enough base information to ensure people can watch, understand, and not lose interest. “Disclosure” provided more opportunities for engagement by providing constant historical context, while “Pray Away” utilised the individuals’ story lines to break up the story shifting between the present and past.

Sources:

Brook, T., 2014. Activist documentaries: Preaching to the converted?. [online] Available at: <https://www.bbc.com/culture/article/20140423-preaching-to-the-converted> [Accessed 8 July 2021].

Disclosure. 2020. [film] Directed by S. Feder. Netflix.

Pray Away. 2021. [film] Directed by K. Stolakis. Netflix.

Playlist photos from London

Songs:

Mendeleyev - Girl from the North Country (Bob Dylan Cover)

https://www.youtube.com/watch?v=yVWcN7LJPLY

Gregory Alan Isakov - Idaho

https://www.youtube.com/watch?v=8WXzjrgftZQ

Gang Of Youths - Achilles, Come Down

https://www.youtube.com/watch?v=n5aMav6q-o0

Ricky Montgomery - Mr Loverman

https://www.youtube.com/watch?v=DPn1jwz3Wqk

Mitski - Washing Machine Heart

https://www.youtube.com/watch?v=-047ko4v05s

Mitski - A Pearl

Model: Hanna Kihlgren

https://www.instagram.com/hanna.s.kihlgren/

A delve into a feeling of hopelessness.

Despite producing media and doing photography for what feels like much too long, I often feel inadequate. Part of me knows it is unreasonable for me to think in this way while another part is in a perpetual state of fear that one day, like a light switch, everything I am able to do now will suddenly disappear. An unreasonably absurd notion that everything I have tried to accomplish will ultimately be erased from existence.

The fragility of humanity in this way and others serves as a daily reminder that I may in fact lose everything with no prior notice. To be at the whim of the universe is both freeing and utterly terrifying. Should my life result in the termination of all that I am, what is the purpose to living or rather the purpose of life. Though life may have meaning, life may not always have purpose and in that we find a jarring dilemma.

Where are we to find purpose as in this world it is already difficult to find meaning. A current state of being may create meaning through experiences granting our lifespans, however small they may be, minuscule ripples within time and if our purpose is to attempt to influence the world with more than a minuscule ripple, the crushing pressure of even attempting to do so can be overwhelming.

Exoticism in Western Media

One of the running themes of Western media, specifically Hollywood, is the othering of the “far East”. As written by Edward Said in his 1978 exploration into Orientalism which is considered a foundation of post-colonial theory. ‘Orientalism is a style of thought based upon an ontological and epistemological distinction made between “the Orient” and (most of the time) “the Occident.”’ In Layman’s terms, Orientalism is the contrast between the Orient (including areas from Turkey to Japan in the Northern Hemisphere) and the Occident (the USA to Europe). Often the contrast being civilisation compared to barbarianism, or  modern vs mystical/traditional. This ideation of othering the Orient has lead to many films, texts, and political rhetoric being pushed with Orientalism as their foundations. By exploring how films both use Orientalism unintentionally and ironically, we are able to understand the potential impact of creating and distributing Western narratives on foreign countries and cultures. Films such as “The Last Samurai”, “47 Ronin”, “Sex in the City”, and “Aladdin” can be directed and used to further an understanding of intrinsically problematic troupes. Countries such as Africa and India are considered 3rd world countries and impoverished, Middle-Eastern countries labelled as barbaric, the far East as mystical, and the Western world as saviours who bring civilisation to an uncivilised people. In my next posts I will be exploring Peter Barry’s four key points of post-colonial theory: representations of the non-European as exotic, immoral, or other, the use of language as a power dynamic, placing an emphasis on one’s identity being hybrid or unstable, and an implicit highlighting of cross-cultural interactions (Barry, 1995).

Barry, P. (1995) Beginning Theory. Manchester: Manchester University Press.

Nicholas, T., 2018. WTF? An Intro to Postcolonial Theory. [video] Available at: <https://www.youtube.com/watch?v=jbLyd0mQwIk&list=WL&index=2> [Accessed 22 January 2021].