In the name of visual pleasure, there are different entertainments in today＇s media that instigate voyeurism among common viewers. In this study, the author intends to focus on two phases where the spectators are tur...In the name of visual pleasure, there are different entertainments in today＇s media that instigate voyeurism among common viewers. In this study, the author intends to focus on two phases where the spectators are turning voyeurs without their consent. In the first phase, the study reveals the process where film influences voyeuristic behavior. The urge to explore others＇ private matters starts through the way film reflects, reveals, and even plays on the straight, socially established interpretation of sexual difference which controls images, erotic ways of looking, and spectacle. Several voyeuristic means in films pursue set formation, and they all persuade the viewer to identify with the male character by allowing the viewer to see what he sees through different voyeuristic means. The use of devices as a telescope, magnifying glass, and keyholes is the motivation for the close-up shots. They turn the viewer into a participant and spectator and allow the viewer to look at previously unseen and hidden details, but they do not let the viewer become totally a part of the action. In this study, films like Peeping Tom and Sliver are analyzed to understand big screen voyeurism. In the second phase, this study presents the voyeurism initiated by television programs such as reality shows, ＂soap operas＂, daytime television, talk shows, real life documentaries, and ＂docudramas＂. At the pinnacle, there are the government, police, and the employers who are assisting to produce a new ＂watched＂ culture with the use of closed circuit TV devices. Some camera operators are known to have made ＂greatest hits＂ tapes and other material captured on CCTV has become the footage used to create television programs for entertainment purposes. Thus, they are influencing public voyeurism. Programs like ＂Big Daddy＂, ＂Big Brother＂, and ＂Big Boss＂ are disclosing personal activities of the characters through hidden cameras. They are considered as soft-core pornography on mainstream television and satellite channels.展开更多
The scope of this paper is to investigate a number of emerging contemporary popular subgenres, namely that of ＂mumblecore film＂, the ＂best-worst film＂ and ＂the gonzo documentary＂. Unlike historical cinematic mov...The scope of this paper is to investigate a number of emerging contemporary popular subgenres, namely that of ＂mumblecore film＂, the ＂best-worst film＂ and ＂the gonzo documentary＂. Unlike historical cinematic movements, these subgenres are the result of our techocentric culture and commercialism. In this respect these subgenres are less motivated by a collective ideology, but rather a cultural phenomenon resulting from increased access to popular culture, hypermedia devices, social media, and new marketing techniques. This paper investigates the displacement of traditional models of temporality through the metamorphosis of today＇s audiovisual culture, outlining the subject＇s embodiment of voyeurism and exhibitionism, ushering in a hyper-real era of self-myth making and consumption.展开更多
文摘In the name of visual pleasure, there are different entertainments in today＇s media that instigate voyeurism among common viewers. In this study, the author intends to focus on two phases where the spectators are turning voyeurs without their consent. In the first phase, the study reveals the process where film influences voyeuristic behavior. The urge to explore others＇ private matters starts through the way film reflects, reveals, and even plays on the straight, socially established interpretation of sexual difference which controls images, erotic ways of looking, and spectacle. Several voyeuristic means in films pursue set formation, and they all persuade the viewer to identify with the male character by allowing the viewer to see what he sees through different voyeuristic means. The use of devices as a telescope, magnifying glass, and keyholes is the motivation for the close-up shots. They turn the viewer into a participant and spectator and allow the viewer to look at previously unseen and hidden details, but they do not let the viewer become totally a part of the action. In this study, films like Peeping Tom and Sliver are analyzed to understand big screen voyeurism. In the second phase, this study presents the voyeurism initiated by television programs such as reality shows, ＂soap operas＂, daytime television, talk shows, real life documentaries, and ＂docudramas＂. At the pinnacle, there are the government, police, and the employers who are assisting to produce a new ＂watched＂ culture with the use of closed circuit TV devices. Some camera operators are known to have made ＂greatest hits＂ tapes and other material captured on CCTV has become the footage used to create television programs for entertainment purposes. Thus, they are influencing public voyeurism. Programs like ＂Big Daddy＂, ＂Big Brother＂, and ＂Big Boss＂ are disclosing personal activities of the characters through hidden cameras. They are considered as soft-core pornography on mainstream television and satellite channels.
文摘The scope of this paper is to investigate a number of emerging contemporary popular subgenres, namely that of ＂mumblecore film＂, the ＂best-worst film＂ and ＂the gonzo documentary＂. Unlike historical cinematic movements, these subgenres are the result of our techocentric culture and commercialism. In this respect these subgenres are less motivated by a collective ideology, but rather a cultural phenomenon resulting from increased access to popular culture, hypermedia devices, social media, and new marketing techniques. This paper investigates the displacement of traditional models of temporality through the metamorphosis of today＇s audiovisual culture, outlining the subject＇s embodiment of voyeurism and exhibitionism, ushering in a hyper-real era of self-myth making and consumption.
