gender as a moving image
TRANSCRIPT
GENDER
AS A
MOVING
IMAGE
OLIVER BENDORF
QUEERING DIGITALITY: AN
ART + SCHOLARSHIP A.W MELLON WORKSHOP
UNIVERSITY OF WISCONSIN-MADISON
DECEMBER 12, 2014
HOW DO YOU
REPRESENT SOMETHING
THAT MOVES?
HOW DO YOU
REPRESENT SOMETHING
THAT MOVES?
Trans: “across, through, over, to or on the other side of,
beyond, outside of, from one place, person, thing, or state to
another”
HOW DO YOU
REPRESENT SOMETHING
THAT MOVES?
Trans: “across, through, over, to or on the other side of,
beyond, outside of, from one place, person, thing, or state to
another”
“STOP MOTION”
“The object is moved in small increments between
individually photographed frames, creating the illusion of
movement when the series of frames is played as a
continuous sequence.” –Wikipedia
MOVING, ADJ.
That moves or passes from one place, position, or posture to
another; capable of moving, able to be moved; not fixed or
stationary, in motion.
MOVING, ADJ.
That moves or passes from one place, position, or posture to
another; capable of moving, able to be moved; not fixed or
stationary, in motion.
Causing or producing motion.
MOVING, ADJ.
That moves or passes from one place, position, or posture to
another; capable of moving, able to be moved; not fixed or
stationary, in motion.
Causing or producing motion.
Unstable, changeable, fickle.
MOVING, ADJ.
That moves or passes from one place, position, or posture to
another; capable of moving, able to be moved; not fixed or
stationary, in motion.
Causing or producing motion.
Unstable, changeable, fickle.
Producing strong emotion, esp. sadness or sympathy;
touching, affecting.
TRANSITION TIME-
LAPSES
PREGNANCY TIME-
LAPSE
THE HOUSE OF
GENDER
“To understand the space of the moving image, we must therefore once more turn to architecture and return to the house (of gender).”
–Giulina Bruno, Atlas of Emotion: Journeys in Art, Architecture, and Film (92)
“STOP MOTION”
“Stop-motion might bring out the queer and radical potential
of a genre populated by wild animals....” –J. Halberstam
QUEER ANIMATION
“To create the illusion of natural movement, the cartoonist
paradoxically must make unnatural-looking drawings… The
conscious manipulation of boundaries between natural and
unnatural… can be a rich field of exploration for queer
animation.”
-Alice A. Kuzniar, “Dyke Noir Animation” from The German
Queer Cinema
FLIPBOOKS CIRCA
1886
WIKIPEDIA ON “FLIP
BOOK”
Like motion pictures, they rely on persistence of vision to
create the illusion that continuous motion is being seen
rather than a series of discontinuous images being
exchanged in succession. Rather than "reading" left to right,
a viewer simply stares at the same location of the pictures in
the flip book as the pages turn. The book must also be
flipped with enough speed for the illusion to work, so the
standard way to "read" a flip book is to hold the book with
one hand and flip through its pages with the thumb of the
other hand. The German word for flip book—Daumenkino,
literally "thumb cinema"—reflects this process.
DRAWING TIPS FOR
BEGINNERS/RETURNERS
We are going to round up the critical voices in our head and
ask them to leave the room. We’ll send them on an errand.
DRAWING TIPS FOR
BEGINNERS/RETURNERS
We are going to round up the critical voices in our head and
ask them to leave the room. We’ll send them on an errand.
Phew. They’re gone.
DRAWING TIPS FOR
BEGINNERS/RETURNERS
We are going to round up the critical voices in our head and
ask them to leave the room. We’ll send them on an errand.
Phew. They’re gone.
Now we can draw in peace. Like we’re children again!
DRAWING TIPS FOR
BEGINNERS/RETURNERS
We are going to round up the critical voices in our head and
ask them to leave the room. We’ll send them on an errand.
Phew. They’re gone.
Now we can draw in peace. Like we’re children again!
If the critical inner voices come back, just kick them out.
Adios. We don’t need them right now.
DRAWING TIPS FROM
IVAN BRUNETTI
FLIPBOOK STILLS
Adapted from an Ivan Brunetti exercise
1) The beginning of your gender
3) The end of your gender
5) A self-portrait, including your entire body
7) Your gender at lunchtime
9) An image from a dream you had recently
11) Something that happened in the middle of your gender, i.e. between scenarios 1 and 3
13) What happened right after that?
15) Your gender early this morning
17) Your gender that has yet to happen
19) Your gender in your childhood house.
21) Pick any of the above scenarios and draw something that happened immediately afterward
23) Draw a "riff" on scenario 21; for example, a different perspective, another viewpoint, something that happened off-panel, or a close-up on some detail or aspect
25) Finally, draw something that has absolutely nothing to do with anything else you have written in the other scenarios.
What about numbers 2, 4, 6, 8, 10, 12, 14, 16, 18, 20, 22, 24? That depends…
FLIPBOOK STILLS
1) The beginning of your gender
3) The end of your gender
5) A self-portrait, including your entire body
7) Your gender at lunchtime
9) An image from a dream you had recently
11) Something that happened in the middle of your gender, i.e. between scenarios 1 and 3
13) What happened right after that?
15) Your gender early this morning
17) Your gender that has yet to happen
19) Your gender in your childhood house.
21) Pick any of the above scenarios and draw something that happened immediately afterward
23) Draw a "riff" on scenario 21; for example, a different perspective, another viewpoint, something that happened off-panel, or a close-up on some detail or aspect
25) Finally, draw something that has absolutely nothing to do with anything else you have written in the other scenarios.
What about numbers 2, 4, 6, 8, 10, 12, 14, 16, 18, 20, 22, 24? What happens between the still frames? How does it maintain the illusion of a continuous sequence—or does it?
FLIPBOOK STILLS
1) The beginning of your gender
3) The end of your gender
5) A self-portrait, including your entire body
7) Your gender at lunchtime
9) An image from a dream you had recently
11) Something that happened in the middle of your gender, i.e. between scenarios 1 and 3
13) What happened right after that?
15) Your gender early this morning
17) Your gender that has yet to happen
19) Your gender in your childhood house.
21) Pick any of the above scenarios and draw something that happened immediately afterward
23) Draw a "riff" on scenario 21; for example, a different perspective, another viewpoint, something that happened off-panel, or a close-up on some detail or aspect
25) Finally, draw something that has absolutely nothing to do with anything else you have written in the other scenarios.
What about numbers 2, 4, 6, 8, 10, 12, 14, 16, 18, 20, 22, 24? What happens between the still frames? How does it maintain the illusion of a continuous sequence—or does it?
HOW DOES YOUR GENDER MOVE?
