Week 6 2 28 1 The politics of identification 1 Identification can only be made through recognition and all recognition is itself an im plicit confirmation of the ideology idk the status quo Stuart Hall 2 What happens when you do not recognize yourself in the representation It s hard to enjoy to identify or to lose oneself in the narrative 3 What happens when you always recognize yourself in the representation 1 1 You never notice that you re being represented or that others are and how 2 Linear model of communication 1 Assumes sender message receiver 2 Stuart Hall encoding decoding 3 Encoding decoding 1 Decodings do not follow inevitably from encodings 2 Dominant hegemonic position 3 The negotiated position 4 The oppositional position 4 Dominant hegemonic readings 1 Audiences accept the preferred meaning of the sender picture 1 5 Negotiated readings 6 Oppositional reading 1 Audiences recognize the meaning of the sender but resist it in part picture 2 1 Audience decodes the message in ways contrary to sender s intent picture 3 the Witcher and the golden girls Wizard of OZ 7 Bell hooks and black female spectatorship picture 4 night school the wood black coffee 1 Black men could gaze at white society in safety 2 Black women could find power in deconstructing the images 3 2 8 Constructions of race and masculinity 1 How is masculinity constructed negotiated in martial arts film 2 How is race construed negotiated in martial arts film 3 How are race and masculinity used together 9 Eastern martial arts films The Chinese hero often fights for and part of a community Tasker p 504 1 2 Often faces an evil villain symbolizing colonial power Japan Russia US Europe 3 The context of anti colonial narrative is crucial for thinking about the racial discourses of masculine identity that are worked through in Hong Kong marital arts cinema Tasker p 504 10 Korean cinema A hypermascuilne response to Japanese colonialism 1 Japan colonized Korea Not yet dived into North and South and used cultural assimila tion Tactic 2 The first feature length Korean film Arirang 1926 is an anti Japanese film that features the Korean man as justifiably violent The main character kills in order to project his young sister and thus he becomes the hero of the story 3 Arirang marks the beginning ofd hyper mascuilnity as a response to Japanese colonism The Korean response to being dominated by the Japanese 11 The wailing 1 The man character has no trouble believing that the Japanese man is evil because they once dominated Koreans and stole Korean property culture and women 2 The twist is that the real villan ghost in the film us the young looking Korean Gil 3 But to the end the main character cannot believe that 4 1 The Japanese man s not a evil person and a Korean Girl can be so powerful Japanese colonialism produced this national Korean identity a hyper masculinity who knows that Japanese men are evil and that Korean 12 Eastern martial arts films 13 Masculinity in eastern films 1 Stereotype Asia is soft Men and women are passive and compliant 2 Martial arts films construct asian men a resistant to stmviic colonial power hard and inpenetable taster p 505 3 The hero uses his body as a weapon against mascuilian 14 African American viewership admiration of eastern martial arts films 1 While the assertion of a powerful Chinese has an obvious appeal for Asian audiences both 15 Western martial arts films 1 Sometimes lone hero sometimes mixed race buddies Narratives centered on class conflict Tasker p 504 2 3 Often allude to past trauma Vietnam or other war death of loved ones as source of skills 16 Masculinity in western films 1 Americans are damaged the male action hero is a walking wound Tasker p 503 2 Martial arts films construct American masculinity as emotionally fragile but physically strong 17 Differences between east and west 1 East empowerment reclamation fantasy 2 West homoerotic fantasy 18 Scopophilia in martial arts films 1 2 The martial arts film has evolved as cinematic form that allows men to look at men Tasker p 506 They allow an identification with a male figure who other men will look at and who will enjoy being the object of that admiring gaze Tasker p 506 Used as a space within which to stage homoerotic fantasies primarily working through issues and anxious around while make sexuality 507 19 Masculinity us shared by social and historical conditions 3 1 East colonialism 2 West pain damage 20 D 21 D 22 D 23 D 24 D