March 25th-29th, 2019:

Updated: Apr 1, 2019

DSN 6400 (DAIM Graduate Studio):


During our Tuesday class, the time went to the remaining students who had yet to present their Phase I projects. After Tuesday's class though, Abby and I sat down together and started to plan what we needed to get done for our demos next week (4/2 and 4/5).

Moving forward throughout the week, my focus went towards the Graduate Fellowship. It was due in class on Thursday, and then due to the submission page on Friday. Thankfully, Maria looked at my statement multiple times and aided me on corrections and modifications before turning it in. Because of this process, I am thankful to now know how to write a grant and prepare for it. But also, this puts me behind in contacting my advisers about Phase II. So tomorrow I will be emailing them to get feedback on the direction I want to take these next 5 weeks.

ACCAD 5194.01 (Performance and Narrative in VR):

Class this week was primarily a work day. After our group met up to figure out the plot point of our VR experience, I was instructed to:

1. ) Finish rigging our character

2.) Texture our character for unity

3.) Texture our scene for unity

4.) Add extra object into the scene


During the process of rigging the character though, there were many updates and changes that needed to happen due to aesthetic choices. Tomorrow, I aim to have the finalized version completed.


FILM 7001 (Feminist Film Theory):


This week's subject matter was Post-Revolutionary Iranian Cinema. The assigned screening was The Day I Became A Woman (2000).


From here, we read the following articles, and then discussed the methodologies behind them. I place my response questions beneath them.

Dempsey, “Telling the Girl’s Side of the Story”

- The importance of the Iraninan woman’s veil appears throughout this piece often. Though on page 188, Dempsey writes, “Her breathing gets heavier and the non-diegetic change becomes a plaintive human lament. Surprisingly, her veil now stays firmly in place.” Does this suggest that the veil is an extension of the human? Almost like the edges of the frame of the paragon in this matter? Without it, Ahoo could not have stood firm in her choice to get divorced? What does this say about Iranian women’s internal struggles?

- Can we compare the roles of Iranian children in films to those of American children? Who’s getting the overall better representation? Morally? Professionally?

Langford, “Allegory and the Aesthetics of Becoming-Woman”

- How can we connect Langford’s ‘allegorical’ cinema to Dempsey’s ‘heterotopia’ with both of them containing hidden spaces?

Seyed-Gohrab, Asghar. “The Day I Became a Woman”

- The framework of this piece goes over each of the metaphors and themes found within the narrative. Is this effective? If Seyed-Gohrab focused on just one theme instead of all of them, would we appreciate this piece more?

Danks, “The House That Mohsen Built”

- On page 4, Danks claims, “One can sense that the experience of working closely with the female members of his family on women-centered films has given Mohsen’s filmsa greater urgency in terms of their willingness to address questions and problems of gender.” Do we think this would be the case if he had sons? Or no children at all? Is this him breaking away from traditionalism and entering modernity, standing upon the first stepping stone of a new version of equality in Iranian cinema?


Today, our paper proposal for our final was due. I've decided to write a comparison between the 1983 film Flashdance and the 2003 film Honey. I see many similarities and also many differences between the two, and think they deserve light shed on these subject matters. Below are links to the films' trailers, and also my proposal.



Instructions: Your paper proposal should contain a one-paragraph description of your project, your research questions, your methodology, and a beginning bibliography of at least 5 items. It is due March 28th. For your research, I recommend the following data bases: Academic Search Premiere, Gender Studies, MLA Bibliography, the Film Literature Index, and the Film-Television Literature Index. (Make certain you use BOTH film indexes! The latter covers only full-text.) Note: because EBSCO now scans all of these, you can do multiple-index searches once you’ve signed on to any one of these. The tab “Choose Databases” is on the upper left of EBSCO Host. OSU library carries the online series Oxford Bibliographies, which includes Cinema and Media Studies.


Paragraph:

- I want to compare two films concerning dance and the Hollywood ‘exotic’ character, aiming to discover how they represent the dancing, in-between, racially mobile female, and what affordances have/have not changed for their representation in this time in Hollywood. The first being Flashdance (1983), where we have an unidentifiable lead female who has 'inbetweenness' and 'racial mobility', but in actuality, the actress who portrays her (Jennifer Beals) is half black and half white. The second being Honey (2003), where we have a lead female from New York, identifying as the Nuyorican Latina who dances, where the lead actress who portrays her (Jessica Alba) is of Mexican descent.


Research Questions:

- Does true ‘other’ racial ethnicity change the audience’s perception of the performance for better or for worse? (Is Alba’s performance more accepted as sexy and successful, because in true life, she is indeed an erotic Latina, whereas Beal is bi-racial and can merely pass for being ‘other’?)

- How has the transgression of Hollywood altered the dancer representation of the racially mobile female? (Specifically, from the 80s to the 00s). Is this seen in these films through themes, metaphors, etc.?


Methodology:

- Hoping to adopt some of Ovalle’s methods in writing my own paper by covering star analysis and scene analysis, specifically within these two films. I’ll continue her argument of Latinas having agency with racial mobility and inbetweeness, and then use these analysis to showcase how they have altered in Hollywood over time Feb.

GRA (Graduate Research Assistant):


This week my GRA hours filled up with multiple demos of our Dementia Project - one for the Clinical Arts group on Monday (25th), and then for Family Medicine on Wednesday (27th). On Monday, the group gave positive feedback on the VR side of things, concerning the technological aspect of the project, and many questions were asked about the grant that is funding the work and how it developed. The Family Medicine group was the real winner of the week. They responded to the caretaker's experience, and discussed possible ways to change their practices in concern to them, measuring for their care and mental health when they are in an untrained care-giving situation.