English Lyrics: https://lyricstranslate.com/en/instagram-instagram.html
Lyrics & Visuals - illustrative with lip syncing
Music & Visuals - amplified (guitar/skateboard & burned filter at bridge)
Genre - studio performance & conceptual (intertextuality to media & current issues, and black/white which multiple uses of post editing)
Close up - artistic branding (iconography of indie music with slightly 'edgy' clothing)
looking and voyerism - n/a
Intertextuality - clips of hacking, obama and other relevant issues
English Lyrics: https://genius.com/Genius-translations-sam-kim-feat-zico-its-you-english-translation-lyrics
Lyrics & Visuals - illustrative with lip syncing
Music & Visuals - cutting visuals to music & amplifying (objects and subject's movement)
Genre - studio performance & narrative (story of subject's thoughts and acceptance, there is even a physical discussion between the two subjects)
Close up - artistic portrayal
looking and voyerism - n/a
Intertextuality - n/a
English Lyrics: https://genius.com/Genius-translations-loco-and-gray-late-night-english-translation-lyrics
Lyrics & Visuals - illustrative with lip syncing
Music & Visuals - cutting visuals to music & amplifying (objects and subject's movement)
Genre - studio performance & conceptual (not quite a narrative, but shows inner mind of artists)
Close up - artistic portrayal & branding (video suit their personalities)
looking and voyerism - shots are set within a bedroom, but not for romantic intent
Intertextuality - pastiche of stereotypical rap videos in scene with television transition
English Lyrics: https://genius.com/Bts-blood-sweat-and-tears-english-ver-lyrics
Lyrics & Visuals - A mixture of two; there is illustrative (lip syncing), amplifying (dancing)
Music & Visuals - cutting visuals to music & amplifying (objects and subject's movement)
Genre - studio performance & conceptual (could be classed as narrative when watched with other connecting videos)
Close up - A mixture of all, but primarily artistic portrayal
looking and voyerism - men are wearing 'revealing' clothing that is loose on top, but wear tight trousers
Intertextuality - some religious inspiration, but again relies on the watching of other videos
I think my video is a perfect balance of humour and fact based opinions. I spilt this video much like my contextual one, more so because I find it easier to work that way; it also allows me to focus on one section at a time when rendering and fixing script errors. I chose to focus my work around Disney and Disney owned properties (Marvel & Star Wars) mainly because personally I wanted to see how heavily biased their films are, and more so because as much as people discuss feminism in related to Disney I don't think we actually take a close look and argue about how it is or isn't.
I think my best arguments fall into my Marvel section. This could be because I enjoy the marvel franchise most out of the ones I talked about, but again I think it is also because they try to represent strong independent women but keep holding them back or making their weakness a man. This is what I found most puzzling, and the hardest to talk about. As mentioned in the video, Disney own Marvel but (besides one relationship) didn't originate any of the source material so it's hard to pin point what is their fault and what is not. Still I think I balanced the argument soundly and has multiple pieces of evidence to further back it up.
My weakest argument has to be with the princesses. I think it is easy to say their looks are influenced from real life, but I think it can be argued that character's features are stressed in order to look cartoony which is Disney's preferred animation style. I think it was also a bit fo a stretch to compare Jasmine to a sexual object, because she does fight and confront people in the film to an extent. Her clothing was also inspired by the eastern culture, so it could be to say that her clothing is culturally appropriate and not sexual. Personally, I'm not offended by it but I could understand why someone would be.
There were some points I wish I had included, like how it's not clear whether or not the male superhero's figures were shot from the male gaze or the female one. I think this would have been good to argue about, and in fact i did prepare something. But it didn't fit the pace or overall theme of the video so i scrapped it. Looking back I think it would have gave me more opportunity to talk about the female gaze, so this is something I am disappointed in.
In this scene of Charlie and the Chocolate Factory we see Veruca Salt complain to her father about how she wants a squirrel, and in simple terms be a spoilt brat. She moans and wines as she lists all the animals her rather has bought her but how she wants a squirrel. Her father tries to comply but instead she goes over the gate to try and get one herself; even the squirrels think she is a 'bad nut'.
This childish nature is one of the main premises of Lacan's Lack and here it is explicitly said how she isn't satisfied with everything she already has, which leads to her ultimate exist of being sent down the garbage shoot. I think having this shown in a child is quite easy to present because they still have a childish mindset after all, however throughout the film we see how she tries to present herself as a woman rather than a child; this includes her articulate accent and correct tone, besides her constant use of the word 'daddy' and 'I want'. I think even in they way she presents herself in quite formal clothing with neat hair shows how high she thinks of herself too.
Throughout the film she also makes comments about other's appearances and often looks down upon the other children and adults. She even frowns at Mr Wonka when he says they aren't up for sale and does an insulting impression of her father (this is rude because they are in his building). I think this pretentiousness is a side-effect of Lacan's lack as she has always been given what she desires, and so thinks she has the best/will get the best possible.
I think one of the best characters to discuss when talking about freudianism is Deadpool. Frudeian's theory is split into three sections: Id, Ego and Superego. This is similar to Deadpool's personality as he continuously has inner monologue that is more predominantly seen in the comics and games, but also seen in his constant 4th wall breaking conversations.
I think the side of him that breaks 4th wall so often is the Ego side of him, as usually it is his subconscious trail of thought directing the comment. If anything he usually just does it for comic relief, and often talks about what is going to happen rather than a violent or moral motive.
In this scene we see him going through his costume design and along the way battle some antagonists (though Deadpool is an anti-hero) for information about another character called Francis. We see him plan out his attacks but also makes jokes about how messy it is going to be. This is an element from the Ego which likes to plan what they are going to do before they attack; but it could be argued that the numerous failed attempts for a correct outfit could be from The Id side of Deadpool that is so desperate for revenge and action. The SuperEgo side comes out when he debates wether or not he can hit a woman cause he doesn't know if it is sexist or not. This is used for comedic relief, but it also shows that he does have an incredibly minor side of control and morality. Though this is quickly ignored and brought back to the Id/Ego as continues to kill men looking for Francis again.
Deadpool as mentioned is an anti-hero more, and is so more lenient towards his Id side rather than his Superego which falls into how the Ego is more submissive to the Id. His name is a literal example of this and he goes and kills whilst enjoying himself; in this extract we can see this as he laughs about running a man over cause it's moving so slowly. It's almost sadistic and animalistic which is whats is a trait of the Id.
In this scene from Who Framed Roger Rabbit, we see Jessica Rabbit performing seductively to a group of men. She wears a red dress with connotations of sexual desire, that includes a high leg cut and a low neck line. She also has large features and red lips, which we physically see all the men crave after as she walks down the stage to numerous dog calls and yelling. The men here are meant to be animalistic in this way, but the camera also focus on features like her legs and chest as she pays attention to the men, further showing the heterosexual male gaze.
Noticeable shots are the extreme close ups of her legs when she walks down the stage and the mid-two shot where the camera is focused on Jessica's figure. Though this is an animation, this a shot that would be scene in other action genres. These are no doubt shot through the male gaze, and i think the male protagonist's reaction is appropriate as he even forgets she is singing and throughout the entire performance can't keep his mouth closed. This makes it arguable that she is in control and in the active role, however she never lingers with the men and doesn't stop any of them from calling to her which makes her submissive.
The lyrics of the song even talk about running away and having the man feed into the luxury Jessica desires. She sings softly and almost breathes the words out. I think this effortlessness to be perfect that she portrays is desirable because of how stereotypically perfect she is; if you were to look at a woman from a magazine even now, she has the ideal proportions you would want to see; and these are ideals that can be related back to Lack as a male society has had a heavy influence too.
Hello everybody. In today's film we will be discussing the male gaze. And no, i'm not talking about a local Specsavers trip. [laugh] You silly fool. Listen carefully, and I will teach you all you need to know.
'The Male Gaze is the act of depicting women and the world, in the visual arts and in literature, from a masculine, heterosexual perspective that presents and represents woman as sexual objects for the pleasure of the male view' Laura Mulvey is a British feminist theorist and professor of film and media studies at Birkbeck, University of London. Her most famous work would probably be her essay "Visual Pleasure and Narrative Cinema" written in 1973, then published in 1975 which includes her theory of 'the male gaze'. In her paper , Mulvey proposes that sexual inequality is a leading factor and social force when it comes to filmmaking and the cinematic representations of women within film and media as a general. Within media and feminist theory, the male gaze is conceptually derivative from characteristics of voyeurism, scopophilia and narcissism. The men are seen as the active role and the woman are to be looked as a passive; they are under control of the male gaze and therefore only exist for visual pleasure. Basically, her theory was that film is shot from a heterosexual, male perspective and so it was made through the eyes of men, for men. Throughout this video i'm going to discuss why this theory is factual, but also not completely seamless or inarguable. [Walt disney introduction to Disneyland] Disney has always been a controversial company, especially when it comes to the projection of women and their roles as protagonists. Their classics like Snow White, Cinderella, The Little Mermaid and Aladdin all have the stereotyped characteristics of a 'damsel in destress'. Snow White for example is petite, pale and speaks in a soft, innocent tone; her gestures are slightly oversized but delicate as she glides from scene to scene. This right here is a stereotyped character. Her innocent actions and motive are comparative to an angel, which men of that time would be seeking; unlike nowadays women were expected to be a certain way, rather than an individual. One of the most noticeable things about her being her dark curled hair and soft blushed cheeks and lips; this can be related back to the male gaze because she is so remarkably similar to the fashion ideals then. He poses even match that of the models, which were no doubt all told to be positioned that way to 'look attractive' in a traditional sense. Here we see Snow White walking around whilst singing about she waits for a prince.
The song is literally about her desire to fall in love with a handsome prince, because through the male's eyes that is what all women should want. Right? [sarcastic clip] Similar narratives follow in other princess stories like Cinderella who waits for her prince to come find her, and relies on the prince falling for her based on her looks. Ariel from The Little Mermaid is also the same as she trades her voice so that a man can fall for her based on looks alone, and somewhat sadly it works. Should of listened to Ursula if you ask me, she was telling the truth. This reinforces the male gaze in a different way of your typical theorem, because Disney almost makes the male gaze the driving narrative instead of filming style. We do get shots of the princes and the crowds reacting to the girls; but ultimately it is the men who must go after their 'dream girl' for the happily ever after to happen. That is not to say Disney does not have sexualised characters however. Jasmine from Aladdin is a mild example of this as she wears a crop top with low waisted trousers. She also moves by swaying her hips and even seduces Jafar later in the film as a distraction. Her actions to watch are somewhat uncomfortable, yet this is Jafar's desire as he can't stop himself from grinning and playing along. Again, this is the male's desire; though she is pretending to be bewitched, she is submissive. This isn't the only character in Aladdin to be like this either as we see numerous girls that look to be in a brothel earlier in the film, which even Aladdin himself looks happy to have seen. All female Disney characters as a general however have unrealistic body standards that have been both implemented and inspired by society's standards of beauty. Ariel for example has an incredibly small waist that has often been commented upon by feminists and reviews alike. There is also a question of whether her outfit is appropriate considering she is 16 years old in the film. But this small waist, skinny arms, long necks and legs are seen throughout numerous characters, including ones from newer Disney films too. This again exemplifies the male gaze as it follows a stereotype of what women are expected to look like proportionally. Then there are more explicitly sexualised characters like Jessica Rabbit and Esmeralda. Jessica Rabbit is the more famous out of the two, and is a featured character in the Roger Rabbit film's and series. She is literally classed as a sex icon, and has been jokingly and not-so jokingly been described as many boy's sexual awakening. I think she is meant to be designed this way as almost like a joke for when she is compared to Roger, her boyfriend. Her introduction scene is shot in the typical way of the male gaze.
She wears a red dress with connotations of sexual desire, that includes a high leg cut and a low neck line. She also has large features and red lips, which we physically see all the men crave after as she walks down the stage to numerous dog calls and yelling. The men here are meant to be animalistic in this way, but the camera also focus on features like her legs and chest as she pays attention to the men, further showing the heterosexual male gaze.
Esmeralda from The Hunchback of Notre Dame is another example of pure sexual attraction and desire. She is the pinnacle character of the film, and what ultimately leads the antagonist into his lustful spiral of madness. The antagonist, Claude Frollo is an archdeacon of Notre Dame and is very particular in his structure of the city. When he meets Esmeralda he can't help but want to be with her and in the feature song 'HellFire' he confronts his subconscious as he sings of his disgust. For context, Esmeralda is a gypsy and he even believes her to be a witch, so he torments himself to destroy her as he blames her fro putting a spell on him to fall for her. I think this can be related to the male gaze because women are classed as distractions when it comes to narrative, rather than important aspects; and here we see Esmeralda changing the course of a character's being by just dancing. It could even fall into the category of scopophilia and how Frollo doesn't want it, or at least not with her.
In the scene at the festival, she dances for the audience and teases the antagonist who watches in disgust; however the guard and multiple men in the audience cheer loudly and whistle for her as she glides along the stage. Her tight red dress accentuates her curves, and again there are a couple shots that linger on these particular elements. There is also a shot-reverse-shot where she looks at Quasimodo who gets bashful at just the sight of her. This is related to the male gaze because the camera gives opportunity for the woman to directly look into the eyes of the male spectator.
I was surprised there was quite so many minuscule and not so minuscule links between the male gaze and Disney. From a company that makes quite a large portion of their money from 'showing girls how to a princess', it seems the view is almost biased from a male view.
So, the question is. Are there any female character's that break the male gaze?
Besides a few exceptions like Mulan, Kida, Pocahontas, and Rapunzel to an extent, it seems that it is only now recently that women have begun to break the male gaze in Disney films. With new licensed property like Pixar, George Lucas and Marvel, Disney is almost give like a structure on how the women in their films should be portrayed.
My first example of this is Rey from the 'Disney Era' Star Wars movies. Much like Princess Leia, Rey does not rely on the men surrounding her unless it follow her plan. She is covered in wrapped cloth and has her hair tied back in a futuristic manner. We even see her hunched over and live in a messy home, and she argues with a trader too. She doesn't care about how people view her, unless they see her as weak which is the premise of the male gaze. But unlike the female gaze which i will discuss later, she isn't infatuated by a man explicitly either and even tells Kylo to put a shirt on when they meet. Leia however int he earlier films was forced to become a slave and we see multiple shots of her wearing next to nothing. Her storyline to save Han is also romantic based which related to the male gaze because she is submissive to him. For the most part. [short montage of Leia hitting Han Solo]. Furthermore none of the men in the later franchises are sexualised either despite that brief moment of Kylo, which again breaks the female gaze. Personally, I find this refreshing as the films become more story based and allow you to enjoy the characters for their involvement with the story rather than their looks or romantic relationships.
This is arguable within the Marvel franchise however. The Marvel films have been stereotyped as films for men, and besides the new Captain Marvel coming out later this year there has only been featured men films with women appearances. However it is hard to blame Disney directly for this as they have to follow source material created by Stan Lee, Martin Goodman, Joe Simon and other Marvel originators. However you could say that films are shot through the male gaze nevertheless. Black Widow for example wears a tight leather outfit that leaves little to the imagination; it could be argued that she needs the outfit to be slim fitting due to her martial arts, but that doesn't explain the need to have the front zipper slightly down. Wanda or Scarlet Witch as she is also know is similar, but in the comic she is arguably wearing less clothing so it could be considered a mild improvement. In the comics her powers are also considered over powered, and in the movies her powers are barely shown to her full potential. It could be argued that this is simply done for run time, or the ability to see other heroes powers too; yet it also falls into the male gaze because she is still made inferior to the other male characters. However both the characters, whilst still strong and independent are both submissive to their male counterparts; Vision and Wanda's romance is more prominent in the comics, but the romance between Bruce Banner and Black Widow was entirely created fo the films. Which thinking now seems unnecessary, but it falls into the male gaze because she still wants him more than anything else and even cries when he says they shouldn't be together. Their weaknesses are the men they fall for.
Marvel is still good at representing women however, and has based the bechdel test on numerous occasions. It is possible the only reason it fails is because the male characters have to be discussed for a plan, but it is rare that personal discussions about the men occur.
I think one of the best films to discuss when talking about breaking the male gaze is 2018's Black Panther. Some of the strongest and overall best characters in the film are all female including Shuri and Okoye. It has been confirmed that Shuri is the smartest character in the MCU, and personally I wouldn't want to get on the wrong side of Okoye either.
Both throughout the film outsmart, play around and intimidate the men; this makes them more active than submissive, and therefore falls into the female gaze. Their outfits are also not sexualised and follow traditional African designs. The only time they 'dress up' is when they go to Korea undercover, but quickly they use their disguise to their advantage. The only way they could be considered part of the male gaze it that their main priority is T'Challa, making them somewhat submissive to him; but again they save him and help him out constantly, especially Shuri with all her high tech gear.
Back to animation, Merida was the first Disney Princess not to have a romantic relationship and the film is shot and drawn through the female gaze. As we follow her story, she makes it explicit she does not want to get married and enjoys sports like Archery. This is a big step for Disney as we instead have a story about family relationships where Merida will save her mother to get the 'Happily Ever After', instead of a man. She also rips her dress and messes her hair to suit her style, instead of trying to look attractive to her male suitors. This means its shot through the female gaze, because otherwise she would have ripped it shorter or even in more 'sexual locations'; it is also shot through the female gaze as her ultimate desire is to help her mother and her family, rather than become a mother herself by natural instinct.
So as we can see, it is not terribly clear whether or not Disney is completely innocent of using the male gaze or not. Personally, i think Disney has improved their use of women in narrative in both animated and live action films; however, i do agree there is almost an underlying tone of misogyny and use of stereotyping that can flaw and limit their female characters massively. I will though continue to watch and enjoy their films, as i did before writing the script for this video. I still enjoy classics like The Little Mermaid just as much as newer ones like Moana, and in fact i enjoy that Disney is taking more care in character design and representation. I hope you enjoyed this video and perhaps learned something. Take care and don't forget [insert outro] Sources:
https://www.one.org/us/blog/black-panther-movie-women/
https://ginacalnan.pbworks.com/f/themalegaze.pdf https://en.wikipedia.org/wiki/Laura_Mulvey
Laura Mulvey is a British feminist theorist and professor of film and media studies at Birkbeck, University of London; she was also a filmmaker with 7 films under her belt. Her most famous work would probably be her essay "Visual Pleasure and Narrative Cinema" written in 1973, then published in 1975.
Male Gaze:
'The Male Gaze is the act of depicting women and the world, in the visual arts and in literature, from a masculine, heterosexual perspective that presents and represents woman as sexual objects for the pleasure of the male view'
In her paper (as mentioned above), Mulvey proposes that sexual inequality (the unbalanced social and political power between women and men) is a leading factor and social force when it comes to filmmaking and the cinematic representations of women within film/media as a general. Within media and feminist theory, the male gaze is conceptually derivative from characteristics of voyeurism, scopophilia and narcissism. The men are seen as the active role and the woman are to be looked as a passive; they are under control of the male gaze and therefore only exist for visual pleasure.
The main thesis is that film is shot from a heterosexual, male perspective; it was made through/for men. Women are objectified rather than an engaged protagonist within the film narrative. So films like James Bond, where there is constant action with a male lead that will end up with a beautiful, sexy girl. The term 'Bond Girl' is the appropriate example of this, as nowadays we even associate the women in the films as Bond's girl rather than their own character; this mixed with the ideal visualisation of a 'perfect woman' further shows her point. The woman is meant to be an 'erotic object' like an 'object of fantasy'.
She even relates her points to Freudianism with the idea of scopophilia which is the 'pleasure in looking'. This can then be brought back to the initial idea of freudianism and Lacan in which nature and pure inherited sexual desire controls the narrative of human decision. This relates to film in a literal way of that they're meant to be enjoyed by an audience, and by filming through this sexual objectifying framing, they are fulfilling a need of the audience.
Opposing Arguments/Theories:
Of course when Mulvey had written her paper, perspectives of women in society and film were different to how they are nowadays. Though the 21st century is not a massive improvement and still could be considered as living in a patriarchal/men dominated society, there are now more female dominated films, programmes and general media outlets.
The Female Gaze is another feminist film theoretical term; it is the same as the male gaze, but instead is shot from the female perspective. The concept is that it is a refreshed and different view in a film compared to the view of the subject from a male's subject. Examples of this can include films like Wonder Woman (2017) or the soon to be released Captain Marvel. However earlier films of this concept like 27 Dresses or The Devil Wears Prada quickly evolved the theory into 'chick flicks'which whilst shows the 'typical desires of a woman', can also stereotype and ignore women's strength as most films of this genre focus around a heterosexual romance.
"Desire is a relation to being to lack. The lack is the lack of being properly speaking. It is not the lack of this or that, but lack of being whereby the being exists"
Context:
Jacques Marie Émile Lacan was a psychoanalyst and psychiatrist, known for his very controversial critical & film theories. His theory of Lack (manque) is a concept that is always brought back to desire; He states that lack is what causes desire to arise. The main basis to take from Lacan's theory is that one will never be satisfied with themselves or the life they live; the subject will always desire something more or what they consider 'better' than what they have. There are different types of lack, as there are equally a number of things to desire.
Imaginary Phallus:
- also known as the symbolic castration.
- the symbolic is a linguistic dimension; it is not equal to language however. It is focused around the domain of culture rather than nature. The concepts of death and lack intertwine to create the 'pleasure principle', which creates almost like a pattern of repetition due to death being almost like a driving course for the subject.
Real Breast:
- also known as the imaginary frustration.
- the main images of this 'order' are synthesis, autonomy, duality and similarly. The Ego (as previously discussed in Freudianism) and the imaginary order live in a place of radical alienation; they live in a narcissistic relationship.
Symbolic Phallus:
- also known as the real privation.
- 'the real' in Lacan's opinion is not synonymous with reality. He instead seines it as "the impossible" because it is simply impossible to image, impossible to integrate into the imaginary phallus which in turn makes it impossible to attain.
Mirror Stage:
At first, Lacan proposed that the 'mirror stage' was part of an infant's development, but by the 1950s he has adapted and evolved his theory for he no longer considered the 'mirror stage' to be momentary; but instead a permanent structure of ones life. It was the idea that this infant's first view of themselves would be the most perfect being they had lay their eyes on, and so they would live to be as perfect as that reflection. But as the person would grow up, it could develop into more materialistic things or status or even their personal appearance. This constant guideline or what could be considered as an expectation would then lead to a constant game of expectation and reality; when the subject would have what they desired, they would never be truly happy as their expectations or idealised emotion would not be satisfactory enough, and so they would continue or move on to the next best thing. We see this in media, and in particular film in genres like drama or 'coming of age films' where the protagonist strives to get what they want but they aren't happy still.
Context:
Sigmund Freud was an Austrian neurologist and the founder of psychoanalysis (the clinical method of psychopathology treatment through dialogue between a patient and a psychoanalyst). He proposed that the human psyche could be sectioned into three parts: the id, ego and superego. He compared the relationship to that of a charioteer and his horses - 'the horses (the id and superego) provide the energy and drive, while the charioteer (the ego) provides direction'. The Ego 'that part of the id which has been modified by the direct influence of the external world' - (Freud, 1923, p.25)
The Ego mediates the unrealistic id and external real world; 'it is the decision-making component of personality'. The Ego still seeks pleasure (like tension reduction) and avoids pain where possible. The ego's priority is devising realistic strategy to obtain this pleasure, however it has no concept of what is right or wrong. It's main goal is to achieve its satisfaction without causing harm to itself nor the Id; however it is usually inferior to the Id and usually has to try to point the id in the correct direction with help from the supergo.
If the Ego fails to use the 'reality principle' the person can feel anxious and use 'unconscious defence mechanisms' to ward off unpleasant feelings. The uses rational, realistic and orientated thinking processes to solve problems; so if the plan doesn't work, the ego thinks through repetitively till a solution is found.
The Id
'The id engages in primary process thinking, which is primitive, illogical, irrational, and fantasy oriented.'
'The id is the primitive and instinctive component of personality'. It has inherited instincts (like sexual gratification and impulsion) and the aggressive instinct (death and destruction). It is completely impulsive and responds immediately due to their instincts.
The id operates on the 'pleasure principle'; this is the idea that every impulse or desire should be satisfied immediately. This can make it dangerous because it doesn't care about consequences. It isn't affected by reality, logic or even basic morals (unlike the superego).
The Superego
The superego is based around morals and values, usually influenced by the subject's upbringing or society surrounding them. It's main job is to control the id's impulses, or more so the 'dangerous' impulses; but like the id, it also tries to persuade the ego to their side of view. The Superego strives for perfection, and seeks moralistic goals rather than just realistic ones.
The supergo could be considered to be the human conscience. It can 'punish the ego through feelings of guilt'. Similarly it can also be seen as one's 'ideal self', and so can create more pressure due to the sometimes overwhelming pressure for success and perfection; It can represent career aspirations, a 'perfect person of society' and an almost imaginary picture of how oneself should be. Sources:
https://en.wikipedia.org/wiki/Sigmund_Freud#Id,_ego,_and_super-ego
https://en.wikipedia.org/wiki/Psychoanalytic_film_theory
https://www.simplypsychology.org/psyche.html
https://www.theguardian.com/film/2001/jun/17/features.review
http://www.arasite.org/nfreud2.htm
http://freudquotes.blogspot.com/2015/12/psychoanalytic-film-theory-and-rules-of.html
https://www.youtube.com/watch?v=YJRZQGFYpZY
'The Health and Safety at Work etc Act 1974 is the primary pieced of legislation covering occupational health and safety in Great Britain' [1].
'Slip and Trip' Hazards
A 'slip and trip hazard' is simply when there is something that could be hazardous to anyone present is on the floor. Typically the manager or 'head' of the shoot and location will run a trip and hazard control assessment. Risk Assessments taken should be as followed:
- Identify the hazard - looking for the hazards around the location and shooting site.
- Decide who might be harmed and how - looking at an employment list and consider whether or not they are at risk.
- Consider the risks, and decide whether or not enough precautions have been taken or more needs doing.
- Record all findings
- Review regularly and revise if necessary
Risk Factors
The type of environments can vary between shoots which will affect the amount of danger and the type of hazard it is; it will also affect the way the hazard can be dealt with. Each risk will need to be assessed separately and multiple practical measures will be taken to control the risk, which are all dependent on the assessment. Risk factors to consider include:
- Environmental - floor, steps, slopes, etc.
- Contamination - water, food, litter, etc.
- Organisational - task, safety, culture, etc.
- Footwear - 'sensible footwear' for the office might not always be appropriate, for example the shoot could be at an industrial site which would require boots to be worn at all times.
- Individual Factors - training, supervision, pedestrian behaviour, animal and trainers, etc.
Sources:
1 - HSE Gov Official Website [online] available at: http://www.hse.gov.uk/legislation/hswa.htm [Accessed 24th October 2018]
2 - https://www.michaelwayneplant.com/health-safety-photographers/
