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deconstructive post

deconstructive post - 1 Untitled film stills 2 3 6 10 14 35...

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1. Untitled film stills- 2, 3, 6, 10, 14, 35, 39, 76 2. History series- attacks traditional western art portraits 3. deconstructive post-Modernism 4. if we acknowledge femininity as a discursive construction, how can we authentically construe a feminine esthetics and identity apart from the patriarchal framework upon which they are grounded?- critc. 5. he implicit aggression of the photographic act--aiming the camera, shooting the picture--is literalized when the image examines the female body. In Sherman's photographs, however, active looking is through a woman's eyes, and this ambiguity makes them both seductive and confrontational. 6. Perhaps the most extreme case against pornography is made by Andrea Dworkin, who holds "pornographers" responsible for "eroticizing inequality in a way that materially promotes rape, battery, maiming, and bondage," and for making a product "that they know dehumanizes, degrades and exploits women."(1) 7. In adapting pornography for female audiences, this clean-up operation rejects the "demoralizing" impurity of the excremental, the improper, the dangerous and disgusting. Avgikos, Jan. "Cindy Sherman: burning down the house." Artforum International 31.n5 (Jan 1993): 74(6). Expanded Academic ASAP . Gale. UC Santa Barbara. 23 Oct. 2007 a. http://find.galegroup.com/itx/start.do?prodId=EAIM 1. hat analysis, having begun by pointing to Sherman's success in putting on display the culture industry's production of female sterotypes as so many "images of woman," went on (several years later) to understand her enterprise in far more (Lacanian) psychoanalytic terms, and to see her as manifesting the fact that, within patriarchal culture, woman is nothing but "image." Terms like "masquerade" and "male gaze" figure importantly in this latter analysi 2. "Untitled (Film Stills)," 1977-80, will be described in terms of "a woman walking down a dark street at night; another, scantily clad, with martini in hand, peering out the sliding glass door of as cheap motel."[4] From the other side, Mulvey will write of the "centerfold" series, 1981-82, "The young women that Sherman impersonates may be daydreaming about a future romance, or they may be mourning a lost one. They may be waiting, in enforced passivity, for a letter or telephone call. Their eyes gaze into the distance. They are not aware of their clothes, which are sometimes carelessly rumpled, so that, safe alone with thier thoughts, their bodies are, slightly, revealed to the viewer."[5] 3. her passivity, her dependence, her condition as fetish, as "nothing but image."
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4. The same is also true of the situations Sherman projects. Mulvey's general law for the "Untitled (Film Stills)" (as for much of the rest of Sherman's work) is that they are "about" voyeurism: "The camera looks; it 'captures' the female character in a parody of different voyeurisms. It intrudes into moments in which she is unguarded, sometimes undressed, absorbed into her own world in the privacy of her own environment. Or it witnesses a moment in which her guard drops as she is suddenly statled by a presence, unseen and offscreen, watching her."[6] Yet it is demonstrable that while Sherman uses many
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