WEBVTT

1
00:00:00.001 --> 00:00:09.080
so a very good afternoon to all of you present. Here I am, Priam Sena, Doctoral, candidate at the National University of Singapore

2
00:00:09.100 --> 00:00:19.759
and there's been a slight change in the title of the presentation, which is a scripting disability in Bollywood.

3
00:00:20.360 --> 00:00:35.119
So why scripting my first observation during interactions with screen writers and dialogue writers in Bollywood was that the term screenwriting, scripting, writing, storytelling were used almost interchangeably

4
00:00:35.430 --> 00:00:50.870
to underline how the task of a screened writer is, does not mandate constant presence of being there at the film shooting which in turn intonates them to be the faceless, filmmaking unit, largely invisible?

5
00:00:50.980 --> 00:00:54.469
Who could then just remain behind the scenes.

6
00:00:54.900 --> 00:01:13.189
So I will take you through these journeys of scripting disability as the new Bollywood with the processual journeys of actor networks and the assemblages that take place in order to conceptualize the novelty in the format of disability figuration.

7
00:01:16.640 --> 00:01:29.349
So on 19 January 2019, while giving the inaugural speech at the National Museum of Indian Cinema, the Prime Minister Narendra Modi publicly announced that there has been a change.

8
00:01:29.620 --> 00:01:51.520
He declared the contribution of Bollywood as an influential format of storytelling that could also influence its youth to rethink about India, its cultural diversity, richness, intersectionality, and subjectivities that are largely embedded in the kind of ethnicities and the region centricism that it has to show.

9
00:01:52.770 --> 00:02:06.490
So soon after he explained that filmmakers now coming from tier 2 and tier 3 cities of India are governing the ideological change with stories of marginality based on their struggle.

10
00:02:06.980 --> 00:02:15.039
He particularly stated that they are inclined towards articulating a cinema culture with problems and solutions.

11
00:02:15.260 --> 00:02:22.370
Inadvertently his speech pronounced a need to overthrow hereditary filmmaking networks

12
00:02:22.740 --> 00:02:31.269
and their culture of formula films that encourage diasporic fetishization. Escapism and a produced Utopia.

13
00:02:32.860 --> 00:02:51.259
It also implied that non-heditary filmmakers, as change-makers, put forth their gaze, identity, politics, and socioeconomic positionality as an outsider rooted in small-town sensibilities and sentimentalities as a new norm of filmmaking

14
00:02:53.810 --> 00:03:06.599
for those of you who might not be familiar with Bollywood cinema. I'm talking about the focusing on volleyball which is located in Mumbai and produces over 800 films every year.

15
00:03:09.120 --> 00:03:15.120
Although in critical disability studies Boliv with cinema, has often been critiqued

16
00:03:15.260 --> 00:03:40.760
for popularizing social models that reiterate disability as dependence, pathologized victims of the social gaze produced as an outlier status punished for past, since in need of rectification by supernatural powers, social misfits unworthy of being gazed at or being considered as marriageable Tokenistic feel. Good diversity and inspiration pawn.

17
00:03:42.390 --> 00:03:53.230
however, in the last 2 decades mainstream stars have been coming into limelight for essaying roles. That foreground disabilities previously unheard of.

18
00:03:53.740 --> 00:04:08.480
Film historian, Matthewa Prasad called it a rare disease trend, wherein stars performing as protagonists having cerebral policy, progeria, dyslexia, multiple cirrhosis gained prominence

19
00:04:08.760 --> 00:04:26.230
instead of looking at the film as a final layout I am looking at. How are they conceptualized? How are they produced. How does a writer inhabit and articulate their world in order to define these new and novel ideas of disability, figuration?

20
00:04:28.490 --> 00:04:30.149
But why do writer

21
00:04:30.380 --> 00:04:54.570
in contemporary scholarship on Bollywood cinema. Largely the director's vision has been considered as a change-makers. They've been called as the otters. Those who are the visionaries who are flag bearing the change, or you would have the branding effect where you associate. The notion of disability to go hand in hand with leading prominent big stars and high budget films.

22
00:04:54.680 --> 00:05:09.870
The other format also looks at song and dance corporatization. The pictureization of these elements and choreographies, costume iconographies, or the audience reception of these constructed patterns and consumption.

23
00:05:10.380 --> 00:05:26.779
while in all of these the pedagogies of the writer almost becomes invisible. The process of becoming the way they articulate and pitch these ideas of disability largely it becomes almost unacknowledged and not even recognized.

24
00:05:28.110 --> 00:05:45.559
So in order to undertake this study, I had used qualitative research methods, and since it was done during the pandemic, I was actually compelled to be creative, and constantly remodeled my ways of looking into interviews and having an ethnographic work being done

25
00:05:45.740 --> 00:06:00.070
so. Unlike the traditional path where where I could have been doing participant observation at the film sets wherein disability was being featured, I was compelled to look into these different methods of snowball sampling.

26
00:06:00.170 --> 00:06:27.209
Instagram actually came to my rescue. I started following a lot of filmmakers, particularly screened writers, and then eventually noted their everyday lives the kind of updates that they would put on screen, and what I could witness. Soon I would write a message to them, and also a lot of times they would respond in excitement because they were hardly asked about the ways they conceptualized a film

27
00:06:27.210 --> 00:06:30.699
or the ways they pitched a film to be worked out

28
00:06:31.240 --> 00:06:51.690
so. The snowball sampling method from that circulated on some other gateways. For me also were the film journalists whom I had at points of contact. However, when it comes to filmmakers who are also largely public figures, they largely do not create a demarcation between a journalist and an academic.

29
00:06:51.690 --> 00:07:05.809
So a lot of times that would actually backfire because they were reluctant to schedule interviews with me with this whole element of fee being being being scrutinized, or having to put up a performance in front of me.

30
00:07:06.140 --> 00:07:15.430
So I did 14 semi-structured interviews in order to understand these processes, collaborations, and these different actor networks that take place.

31
00:07:15.720 --> 00:07:39.449
Another format for me was participant observation. While at Cafe's I was influenced by Havamas, who also writes about cafe as an ethnographic method, where I would eavesdrop on these conversations that would take place. I'll talk about this. And as we go ahead and then, obviously Archive will work where I relied on digital archives and onsite archives as well.

32
00:07:41.210 --> 00:07:54.120
So where do these screen writers essentially come from? A majority of the screen writers whom I interviewed emphasize that they come from families that have nothing to do with making films.

33
00:07:54.130 --> 00:08:10.240
as they were particular in reiterating that their ability to resonate, reflect, and write about disability essentially stands from their ability to understand and reflect on their struggle to make their debut into the film industry.

34
00:08:10.960 --> 00:08:29.860
Often a lot of the other screenwriters, the only one who was from a hereditary, filmmaking network asserted that she had to resort to core writing in order to reflect and empathize with struggle, and to then articulate it in the form of disability characterization with her protagonist.

35
00:08:31.560 --> 00:09:00.979
So the stepping stones to screenplay essentially became these different formats. A lot of the screen. Writers would then say that they would run errands at the furn sets in order to be recognized and considered visible. This involved in turning at the film sets, also looking after the catering and the film sets controlling traffic. And then, after over 7 to 8 years, coming to terms with being able to pitch their idea to a big producer or director.

36
00:09:01.880 --> 00:09:31.250
while character arcs also looked into these elements of relatability with its larger Indian middle class audiences. A lot of these character naming, were also embedded with how the writers came from, where they came from, the worlds they belong to. Naming characters, understanding and reflecting on their journeys form these stepping stones to how they essentially navigated their way through a script, and how they wanted to define disability.

37
00:09:35.790 --> 00:09:36.810
So

38
00:09:36.860 --> 00:10:05.599
the first step in itself was that it also began with critiquing the old. The understanding of producing disability as novel screen idea emerged from a criticism of old Bollywood by old Bollywood. It was largely referred to as the 1990 S. Bollywood Cinema, where they would be critical and assert as to how it produced a Utopia that was so not related to the everyday lives of the Indian middle class.

39
00:10:06.220 --> 00:10:12.270
I quote screenwriter, director Abi Sheikh Chubby, who asserted

40
00:10:12.360 --> 00:10:23.550
I found mainstream Bollywood cinema, too generic, lacking an individual's voice because it was so formal like that everything had to be within a rigid structure.

41
00:10:23.580 --> 00:10:37.519
They were too tropy. So I knew I wanted to expand the parameters a little bit and make sure individual voices were hurt. But I'm not an Arthouse filmmaker, so my cinema had a bit of everything

42
00:10:37.570 --> 00:10:49.310
from the mainstream with something new. My voice. when discussing social males, it becomes a political subject. The challenge is making it more palatable.

43
00:10:49.920 --> 00:11:14.149
Now, although he called out that disability was a stylistic addition to how he wanted to conceptualize the novelty in his screen idea and the script that he conceptualized. This also established the premise for why his films were North India centered, focusing on social issues inhabiting the world that he came from, and was familiar with

44
00:11:14.150 --> 00:11:36.189
the regions, that he was also aware of the plight of widowed women in Uttar, Pradesh, and instances of drug abuse in Punjab. thus making it a format of an in between grammar, where it's also important to bring in a big star, affiliate with it, and also create a difference in this kind of narrative grammar.

45
00:11:36.620 --> 00:11:45.649
thus making it more like a melting pot. However, after conducting over 10 interviews, I observed a pattern

46
00:11:45.720 --> 00:12:08.990
where screenwriters were were keen to discuss only their successful pitches so To unpack this further, I moved into this method of cafe ethnography, where I would sit but for ours at Prithwi Cafe, which is only a stone's throw away from Krythmi Theatre, where major of these big theatre industry productions would happen even during the pandemic.

47
00:12:09.040 --> 00:12:31.410
A lot of times these pictures would be made by struggling screen writers and struggling because they often would have to make multiple attempts in order to be getting the attention of big producers and directors, and one key focus was how a star can be brought on board to in order to pictures and market the film in producing disability.

48
00:12:32.850 --> 00:12:47.070
So this brings me to the next step, which is essentially a film year that you see is Karam, and in deny stake of Shakespeare's Othello you're Sephali Khan who's the main protagonist out here, as you can see.

49
00:12:47.080 --> 00:12:55.440
plays the role of Iago, who is called Langdatiagi, translated as cripple Theagi, an upper Caste Go with polio

50
00:12:55.440 --> 00:13:10.769
screenwriter. Abishik Chobi asserted that the choice of setting was boiled down to merit a small town in Uttar Pradesh by its director and screenwriter, Vishal Parthwaj due to his familiarity with the setting and socio-political environment.

51
00:13:10.770 --> 00:13:27.940
Having spent a considerable amount of his childhood there, a lot of his hostile name, or the naming of protagonists were also based on these anecdotes and a lot of their research experience of spending time there for over 3 months. They built it in order to write the script.

52
00:13:28.350 --> 00:13:38.000
Now, however, one critical part of the script's conceptualization also involved the casting of the star in a role unlike before

53
00:13:38.080 --> 00:13:42.270
Safer Li Khan, who is largely, as you can see in the lower bar out there.

54
00:13:42.380 --> 00:13:57.239
Most of the roles that he played were of the city-bred Casanova charismatic era. Hero, who was English speaking. But suddenly this absolute change and transfiguration of casting him was also to grab the audience's attention.

55
00:13:57.260 --> 00:14:09.210
For these reasons the screenwriter and director was also referred to as an otter, and Cephali Khan was then, after over 2 decades of his acting, called an actor.

56
00:14:12.350 --> 00:14:32.259
Now, as I've used observational sketches in order to articulate a lot of these formats. This indicates that the screenwriter for grounds, the novelty of the screen idea by packaging a display of marketing disability in a format that figuratively shows an absolute change.

57
00:14:33.050 --> 00:14:44.570
This in between grammar also means that starring disability can camouflage the seriousness of disability, centricism, yet keep these ideas mainstream.

58
00:14:46.110 --> 00:15:10.519
Now, the second story out here would be about the strippeding of multiple cirrhosis, a role essay by Vidya Balin in Guru and its dialogue writer, Vijay Krishna Acharium. A child reflected on the journey of one of his college friends, her struggles in maneuvering her wheelchair. And that's how he got to know about multiple cirrhosis a lot more closely

59
00:15:10.900 --> 00:15:26.659
observing her life, noticing the ways she battled and discussed about her sexual urges and wanting to be recognized as a sexual being essentially motivated him, and he said that he used it as a tool. In his song pictures

60
00:15:27.070 --> 00:15:39.279
he gave the example of Vet Saris and women's eroticization in the rain as a trope in Bollywood cinema. Rachel Dwyer, a unstudy scholar, also talks about this

61
00:15:39.460 --> 00:15:41.630
a lot more extensively.

62
00:15:41.730 --> 00:16:03.509
so as you can see, he talks about the able-bodied woman in the first scene, who is also dancing in the rain, and uses the same technique in order to picture rise the other woman on the wheelchem. And this is how he wanted to blur the 2 worlds in order to pictures, how he empathizes and reflects on women's lives with disability.

63
00:16:04.800 --> 00:16:14.970
Now, this also means bringing in multiple and conflicting point of views together in order to pictureize and write the characterization of disability.

64
00:16:16.100 --> 00:16:19.760
Lastly, this brings me to the last leg of the presentation

65
00:16:20.680 --> 00:16:32.969
from the commercial success of a film like Tari zaminper, that discusses about dyslexia, that around the 8 year old school going, boy. The shield safari, as you can see on screen

66
00:16:33.140 --> 00:16:52.729
Indian schools also reported a sudden rise in the number of parents who went and registered their children's as having learning disabilities. However, the screened writer asserted that I should have thought it's very celebratory, taken all the accolades, but I don't, because I feel I really really screwed up.

67
00:16:54.370 --> 00:17:23.679
With that he asserted that the research took over 7 years for him. The strict he had in mind was high jump wherein a child with dyslexia is reintegrated into the system. However, he said that the star wanted to make a difference, cured the disability, and emerge as a saviour. So, midway through the firm's shooting, the script was taken over, moulded, due to the entry of the staff that left him with no other option rather vulnerable.

68
00:17:24.510 --> 00:17:48.910
Call this a historic moment. It was the first time a screenwriter publicly called out the functioning of the film industry as hierarchical. He also presented claims and offered a critique of star culture in dictating a finch focus and ideological shift which can obviously model or remodel and take over the standpoint of the screenwriter.

69
00:17:48.910 --> 00:18:04.429
This meant a screenwriter's point of view is overlooked, superseded, and sometimes rejected while being placed at the backseat, looming the dangers of a writer being treated as a replaceable commodity midway through a film's shooting.

70
00:18:05.280 --> 00:18:23.629
Now, while the writer's vulnerability, helplessness and reduced bargaining power. Once a script is submitted became a lot more prominent. This now brings me also to these multiple assemblages that actually operate in terms of the writer or the screenwriter

71
00:18:24.240 --> 00:18:47.310
being expected to negotiate and pre-sensor a lot of their ideas as they go through the films shooting on set improvisations in terms of ongoing processes, the way a star or a director trying to model these different ways in which disability is to be pictureized also can ship the focus from how the pitch of disability was made by the screenwriter.

72
00:18:47.310 --> 00:18:54.310
However, a lot of these operate with the tailoring that needs to take place with the audience's demand.

73
00:18:54.540 --> 00:19:09.889
So filmmaking practitioners, audience reactions. And these multiple assemblages essentially make scripting and an assemblage, a process of becoming that is constantly modeling and defining the different ways in which disability is produced.

74
00:19:10.490 --> 00:19:11.580
Thank you.

75
00:19:15.210 --> 00:19:22.639
Okay, thank you. We seem to have located Rebecca. So

76
00:19:22.650 --> 00:19:27.319
let's set up the zoom now for the sixth century presentations.

77
00:19:46.980 --> 00:19:48.590
Oh, Hi, Rebecca!

78
00:19:48.660 --> 00:19:50.330
Rebeca Hippertt: hello!

79
00:19:53.100 --> 00:19:55.060
Rebeca Hippertt: Hello! Hello!

80
00:19:55.160 --> 00:20:10.569
Good morning. Good afternoon. Good morning. You need to share your screen so we can. If you're given a Powerpoint. If you're just talking, you don't have to share a screen of course. Yes, yes. I are going to share my screen, okay, excellent let's go with that

81
00:20:10.820 --> 00:20:11.670
Rebeca Hippertt: okay.

82
00:20:14.570 --> 00:20:15.240
okay.

83
00:20:17.670 --> 00:20:38.740
Rebeca Hippertt:  1, min, please.  here.

84
00:20:43.330 --> 00:20:55.670
are you see me? That's yep, excellent. Okay, let me introduce you, and you can start. we'll give you 15 min. We're going to have questions at the end is that okay?

85
00:20:55.790 --> 00:21:07.839
-hmm, perfect. All right? So next, we have rebecca I pert who's speaking about the virtual dimension in nakoyi scouts.

86
00:21:08.109 --> 00:21:36.520
Rebeca Hippertt:  so thank you for the opportunity to be here. Good morning. Good afternoon. My name is Hebecca. I am Phd. Student and researcher at the University of San Paulo, Brazil. So they are going to talk about the virtual dimension in a way that's impact on contemporaneity like we cats is the last film and Cats. Trilogy, by Godfrey has was, produce it in 2,002

87
00:21:36.779 --> 00:21:49.730
Rebeca Hippertt: that we catch is about digitalization of life in contemporary time, the impact of technology and and our society, and this, considering a number about or no, I had to feel

88
00:21:50.810 --> 00:22:04.720
Rebeca Hippertt: the first thing that important to talk is the about the idea of virtual dimension. So what is where? To? Out here in that contest? So regarding the definition of

89
00:22:05.230 --> 00:22:21.220
Rebeca Hippertt: the vital is not to oppose it to the Rio. So for him when we talk about the birth. Well, we are not heading only to the field of communication or the immediate they these are just a segment of siphon next turn. So this is applying much more

90
00:22:21.570 --> 00:22:30.010
Rebeca Hippertt: then use of. They use of electron committee to transmit information because we're talking knowledge

91
00:22:30.060 --> 00:22:36.799
Rebeca Hippertt: extrapolate the field of communication. So here the 12 dimension

92
00:22:37.030 --> 00:22:43.050
Rebeca Hippertt: it starts in cold. the main instance of life, future, and nature. So

93
00:22:43.410 --> 00:22:50.059
Rebeca Hippertt: if we thought I mentioned, he is not related to only the field of communication. So

94
00:22:50.420 --> 00:23:16.969
Rebeca Hippertt: from that definition of what I mentioned, it has only it's connection with the few material in question. It's a sket. How not quick at it. Keep and express this relation with digital technological societies that that gave rise to them. So their relationship with the image and South, and sound musical elements are powerful tools for things to find. Just you see the and scientific aspects of a given society.

95
00:23:16.970 --> 00:23:36.360
Rebeca Hippertt: Does he present it and evoke it in the film. So identify the relationships with in the film it's important to understand. It's not had to construction in particular. And what is out of the field. So the system of that is, and thoughts that give the production contest. So in the sense

96
00:23:36.580 --> 00:23:48.989
Rebeca Hippertt: following some opiate, solar, and Ilech, who admit to the Lodge for recommendations, is important to identify the manifest or implicit relational system that drive the

97
00:23:49.190 --> 00:23:57.139
Rebeca Hippertt: and this he far. Should. The way the characters related to each other, the values and ideological position evocate throughout the production.

98
00:23:57.770 --> 00:24:10.560
Rebeca Hippertt: So my first example related to that, Is about the digital environment and the military classes in a quick cut. So the film it chain views meaning regarding more like conflicts

99
00:24:10.700 --> 00:24:39.199
Rebeca Hippertt: and their creation with digital technologies. Here their relationship between military power and gstal transformation is built in the we will appear other times throughout. The film also clarify itself as relational system developed between the characters and later with their relations, what is outside of the field. So the first sequence of war, since, with with soldiers and Martian soldiers beginning to oppose the image of mathematics, when it came to

100
00:24:39.200 --> 00:24:56.029
Rebeca Hippertt: the museum, follows the curse of events in based on a cutting saying, You see, although measure, this is specifically naming, you could to talk about some movements and some track. It's you offering a degree of hope. As this also showed this well in the last scene of the block.

101
00:24:57.110 --> 00:25:22.260
Rebeca Hippertt: So in a quick us, the ability to our classes emerges as part of this film, a relational system. So the construction of relational system that organizes. Then I had to the relationship between characters. I developed it, together with the Muse, when, together with the image of it, our clashes, weapons of foreign soldiers on the marsh use the forms in St. John, they should to build the characters of the group

102
00:25:22.510 --> 00:25:36.030
Rebeca Hippertt: here. The Museum score with the use of strum. It's common in the formation of Spart militar band, basically composed of.

103
00:25:36.040 --> 00:25:38.849
In addition to the distinct rhythm

104
00:25:38.990 --> 00:25:53.839
Rebeca Hippertt: of a marsh, builds the film discourse and the situate. The conflicts and tensions of the group. So, considering that fumes don't have concrete and trusted traditional characters, the Fu of use is also to create the limits.

105
00:25:55.280 --> 00:25:58.330
Rebeca Hippertt: My next example relates to that.

106
00:25:58.380 --> 00:26:18.469
Rebeca Hippertt: It's about hypothesisability of life and boring formation. So among all the manipulation, explore it in a quick cats, the one that stands out the most is the multiplication, and he petition of visual limits. So this characteristics are also manifested in the formal constituents of this on track of the music.

107
00:26:18.880 --> 00:26:38.650
Rebeca Hippertt: The this, what happened with superimpose it's duplicate shots like the the ship with make hepherd's supporting technic. And this is also what happened with much applied visual elements as in the emails of microscop, Boris and laboratory on their hepatitis babes lined out both examples. That same of cloning.

108
00:26:39.320 --> 00:26:43.709
Rebeca Hippertt: And there is also a happy many examples of marching arms

109
00:26:43.870 --> 00:27:06.320
Rebeca Hippertt: such a sick list is, and runners that make the same movements. So they bore a he to do it in laboratory. Should they be told you to information, inscribe it in DNA, and cloning techniques allow us to think about the change they speed in time of life, the acceleration of a future that's be constructed as officially, or that can be anticipated making it so, shouting for us

110
00:27:06.320 --> 00:27:14.479
Rebeca Hippertt: by displacing past, present, future, such a meaning. Constructed and analyzing the film to vo the temporality of life.

111
00:27:14.500 --> 00:27:17.979
Rebeca Hippertt: they made it by digital or digital information.

112
00:27:19.080 --> 00:27:29.309
Rebeca Hippertt: 2 observations here this effect of multiplication and pitch and hepatitis of visual elements is also emphasized by the Muse, especially in the ship scene.

113
00:27:29.310 --> 00:27:57.550
Rebeca Hippertt: At the moment in question. The same is more group of notes exhibited in the same time by 2 French muse construments. Some voices imitated one on top of the water, as happening order in the overlapping of the shipping image. So the museum and the visual elements of the zoom express in their fields aspect of a pause, and this also site and virtual development, such a petition, reproducibility, serialization, and simulator.

114
00:27:57.860 --> 00:28:07.349
Rebeca Hippertt: It's interesting to see how the Heppy Chisha and the hutorial liti produced in use. Take care they owned it not quite cats, I wish, and then I had it

115
00:28:08.540 --> 00:28:20.620
Rebeca Hippertt: so. My next example related to that is, about the popular classes. So in injection to the military classes. Consequently another group conversions the of our class.

116
00:28:20.910 --> 00:28:43.439
Rebeca Hippertt: They are represented by the no military who conflict with each other, and I guess the policy forces, so there is an imbalance of forces. They are often represented in sense of civilians in situation of violence made by military forces in the image. The military forces are in daily life of city, in concert with their own population.

117
00:28:43.440 --> 00:29:03.130
Rebeca Hippertt: They are also relationships that are created through monitors whose emails from media archives are both Cv. And the military clashes violence and fights that conflict with scenes of fights in digital combat from video games. So here we have a comparison between the Rio and ritual. The violence in that 2 environments

118
00:29:03.170 --> 00:29:25.980
Rebeca Hippertt: at the intersection of state of 4 and hawk future for 90 to 18 video games have played the central whole in development popularization of computers which contributes in the film to the information, to the formation. The popular classes. Again, this, in a military setting, supported by the use of instrument rooms and Tiffany. This effect of destruction between policy and with our clashes

119
00:29:25.980 --> 00:29:46.300
Rebeca Hippertt: and siveness, who has this? The attack has a sound correspondence, that, according to the hip-productions of the same thing in this case, scale as if there were action and reaction at all times without, has so musically represents that that imbalance of forces between that 2 groups, popular classes and military classes.

120
00:29:47.420 --> 00:29:49.789
Rebeca Hippertt: And my other example

121
00:29:50.110 --> 00:30:14.580
Rebeca Hippertt: it's about the dilution of feature. Feed well by a flow of that in the image sequence there is a man, nice streets, jacket initiated by numbers, formulas, codes, as your magic, and to abstraction in this block along with military development, many type of technology, since you contribute to change the space time, scenario, including high speed travel modes that challenge the perception space

122
00:30:14.580 --> 00:30:32.670
Rebeca Hippertt: and Jamaica's. It's just a communication that works with symbols and meetings from the virtual environment and the with abstraction of you to be well that he wrote the sense of time, the fuel. So, therefore, the film stage defend element of acceleration and speed. In many ways they are one test

123
00:30:32.670 --> 00:30:46.090
Rebeca Hippertt: mit Ctl and car-saved test Daniels and holds with time lies and back to that is with a change in. Sorry, Rebecca, just to let you know you've got 5 min. Okay, perfect. You seem to be making very good progress. But 5 min. Thank you. Okay. 250,

124
00:30:46.400 --> 00:30:56.850
Rebeca Hippertt: So we have here the time lapse effects, that is, with a change in the frequency of each frame. It generates the fact of skip it, and accelerated time.

125
00:30:57.180 --> 00:31:16.480
Rebeca Hippertt: So here we have some comments related to the film, and so sites in this case. So the meaning construction of the previous scenes, and related to many ways with this pizza up like me, I said, do something for him for the moment that nature, human, future, and technical object intersect in there could find information of patterns.

126
00:31:16.490 --> 00:31:25.220
Rebeca Hippertt: The calendar is which you animate and 90 min to solve, and this either she, despite having a battery, possibly it doesn't work completely.

127
00:31:25.430 --> 00:31:41.109
Rebeca Hippertt: The penetration of Cap to the level of information, so that cybernetes turn is place at that service of capital. And this object to this to translate control and appropriate information that constitute the human dimension. Nature in future. Other observation.

128
00:31:41.220 --> 00:31:59.270
Rebeca Hippertt: considering the fumin I had to, and it's connection with society which was, produce it, we can say that so site is not just pacific vitamins of surveillance machines and the capital transparency to computer networks is more about considering that different futures into the dials and the objects are being translated.

129
00:31:59.270 --> 00:32:13.870
Rebeca Hippertt: It's been our language, and that possibly everything that cannot be converted in this language seems to be marginalized. It should be not, in the other hand, that he always can also be space of democratic action in once the patient and his desk more events in the film.

130
00:32:13.900 --> 00:32:34.600
Rebeca Hippertt: Finally, a quick as presents, and that this pavement of possibilities of a teaching image and their impact on the subjective and much of the construction of suicide. In the same way. The same is to stop technological suicide shapes. They make up the film. Some sequence of the film are put similar to a feature. Watching with this bit of the content, increase it.

131
00:32:34.600 --> 00:32:58.110
Rebeca Hippertt: face it with the French control of females. In the eleventh of that, the acceleration of this acceleration of the image altered the meaning create between the groups collectors and the city. Another spec should be commented, what in the film treated? We've just talked up that is a future of threats intermediated by you. Perabundance of the image in maximum acceleration, maybe contemporary society. It's Covent handling.

132
00:32:58.370 --> 00:33:01.260
Rebeca Hippertt: So thank you for your attention. Goodbye.

133
00:33:06.010 --> 00:33:34.219
Oh, thank you very much for that, and and very good on on time. You you were very much on on time. There. I have to say, when I think of Reggio, I have Philip classes music going through my head, and those very deep voices saying, Kojana, Scott! See, you know. But thank you all right. We need to move on. There will be questions later on, but we need to move on to the next speaker. So if you can hang around, please.

134
00:33:34.220 --> 00:33:53.830
Our next speaker is Alexandra Bernaka, and the title of her talk is cross-cultural film film Remakes. Use of stereotypes as a window for probing a social and cultural specificity. And

135
00:33:55.560 --> 00:33:58.419
is, are we ready to go? Or

136
00:34:00.630 --> 00:34:01.410
okay.

137
00:34:01.700 --> 00:34:06.950
Alexandra, you need to share your screen.

138
00:34:07.920 --> 00:34:19.630
Okay? there we go. We we can see you now, and now we can see your Powerpoint. So there was just a small delay. Perfect!

139
00:34:19.860 --> 00:34:23.570
All right. I'll hand it over to you 15 min. Thank you.

140
00:34:24.420 --> 00:34:34.729
Aleksandra Biernacka: Thank you so much. Good morning from work. So Hello! I'm very happy to be here to be a part of the conference. Thank you so much for having me.

141
00:34:34.730 --> 00:34:56.230
Aleksandra Biernacka: I am going to present a part of my Phd. projects that I'm preparing at the theory of Culture Department things to do so, and social to polish. Academy of Sciences, and the title of the presentation is cross. Cultural Female makes

142
00:34:56.480 --> 00:35:09.099
Aleksandra Biernacka: use of star types as a window for Probing a social and cultural Specificity. Example of Brothers by Jim Sheridan and

143
00:35:09.810 --> 00:35:29.309
Aleksandra Biernacka:  I just present in the cinematographic production practices from the beginnings of cinema. The family makes such as attracting attention of the team scores very slowly, first in the mid seventies. We face him. Now work by Michael Jokesman played against some 97 to 5.

144
00:35:29.530 --> 00:35:43.960
Aleksandra Biernacka: The father works up, followed. Since the end of the eighties, the nineties and the noticeable growth came about in the 2,000 only I was the majority of the film studies on the subject focuses on the Us. Family making practices.

145
00:35:45.120 --> 00:35:48.490
Aleksandra Biernacka:  there is also

146
00:35:50.680 --> 00:35:56.369
Aleksandra Biernacka: sorry. excuse me. Account. change the slide.

147
00:36:01.120 --> 00:36:05.339
Unfortunately, it happened to be technology or

148
00:36:06.140 --> 00:36:15.380
Aleksandra Biernacka: the Internet at your end, I think. Oh, we there we go. Sorry? Yes.

149
00:36:15.420 --> 00:36:36.430
Aleksandra Biernacka:  I just. The major of the film studies on the subject focuses on the Us. Family making practices. There is also expanding neutr to on other. V. Chance, most notably India, where the practice of making, for example, time will be to the bulk with cinematographic side. We just similarly the beginning of the twentieth century.

150
00:36:36.430 --> 00:36:46.849
Aleksandra Biernacka: and a subscribe small thing in 2,012, and also making practices within Europe like very interesting case of the Dutch remakes of the Flemish bills

151
00:36:46.850 --> 00:36:59.900
Aleksandra Biernacka: 2,020 in Turkey throughout the 2,020, or Korea's called different 2,009, just to point out a very few out of a grand number of studies

152
00:37:01.230 --> 00:37:21.210
Aleksandra Biernacka: culture staff stereotypes and start typing are widely observed in all this works. But don't mean recently this for us to become Looking at these processes characteristic of the cross-culture family makes in more detailed Glenara, 2,019 in our 2,023

153
00:37:21.400 --> 00:37:37.729
Aleksandra Biernacka: At this point. I should most probably clarify my take on the notion of a star type which for me is closer to its root meaning derived from the printing industry.

154
00:37:37.730 --> 00:37:52.239
Aleksandra Biernacka: where it designated a metal frame that could be used again and again for thousands of impressions without the needs of replacing it. See hard in 1,968, cited after Mcdonald'

155
00:37:52.260 --> 00:37:53.150
Aleksandra Biernacka: 3,

156
00:37:55.410 --> 00:38:19.969
Aleksandra Biernacka: for the proposals of this presentation, and for the sake of clarity in picturing how national culture and cultural types can be manifested. And at the same time question in the process of translation of it from one cultural space to another. I've chosen a very well known example of the Us. Adaptation of the 2,004 Danish Pm. Directed by Suzanne gear.

157
00:38:19.970 --> 00:38:35.020
Aleksandra Biernacka: for which was remained in 2,009 as brothers, and directed by Jim Sheridan, we face screenplay credited to David Benny off and origin on screen screenplay writers, Susan beer. And and

158
00:38:35.020 --> 00:38:36.380
from us, yeah. And some.

159
00:38:39.530 --> 00:39:04.469
Aleksandra Biernacka: my method of analyzing is comparative, consultant analyze is guided by the he always worked out in the semi-logy in the Roland parts. Introduction to the structural analysis of narrative might 66, in which he distinguishes within a narrative the narrative functions that operate either horizontally as actions, and even to a narrative line.

160
00:39:04.490 --> 00:39:21.260
Aleksandra Biernacka: another words called distributional or vertically, as information comparing a motor based in psychological state of characters, and all embracing features of a presented work named integration.

161
00:39:22.220 --> 00:39:36.630
Aleksandra Biernacka: The distribution of functions are in this model, completely transferable into a language of other medium. And here also to other cultural space where the integral ones required the process of adaptation.

162
00:39:36.810 --> 00:39:56.170
Aleksandra Biernacka: Brian Macfarlane developed the general role on parts conceptualization into a theory of theme, adaptation from a literary source. If they differentiate in between narrative which can be transferred and enunciation which can not involving us it does quite separate system of signification.

163
00:39:56.260 --> 00:40:10.590
Aleksandra Biernacka: and additionally enumerated extra cinematic codes, like language codes, visual codes, non linguistic sound codes and culture codes that influence the reception and understanding of they feel

164
00:40:17.710 --> 00:40:47.709
Aleksandra Biernacka: in accordance with. There's truck structural theories of transfer apple functions in case of broad, broad rain and brothers, we can not, despite faithful product reproduction of horizontal events in the narrative line, and fairly extensive modification of the integration of actions. You can see now on the slide a selected fuel basic changes that have been implemented in the process of translating brothers from the tiny short. You know with us version

165
00:40:47.770 --> 00:41:12.149
Aleksandra Biernacka: the small, seemingly insignificant details, like the past of the character's father, or a place of action, point out to deeply rooted discourses in a cultural space that feel needs to stand for and to result in complete change of needs, that into familiarize the intended space cure with with an unfolding narrative.

166
00:41:14.830 --> 00:41:37.530
Aleksandra Biernacka: In case of brothers. We observe, a changing family, that dynamics, we say, far more prominent role of the brothers, father. And now it's a way of depicting the worrying Afghanistan, highlighting heroes and sacrifice, and and coming out spirit of the soldiers and the different portrayal of the Taliban as an enemy.

167
00:41:37.810 --> 00:42:00.210
Aleksandra Biernacka: There are the points These are the points that inscribed to brothers narrative in a long history of the American warfare. If all these characteristics of their including long shots of military cemetery and American flag moving into intervene, or the prolonged and more detailed worst sequences in Afghanistan.

168
00:42:09.520 --> 00:42:10.430
Aleksandra Biernacka: Sorry

169
00:42:13.750 --> 00:42:23.960
Aleksandra Biernacka: in its original form, despite being the war film, typical for Danish cinema, observes, concerned 2,013

170
00:42:23.960 --> 00:42:45.590
Aleksandra Biernacka: puts in focus the complete the complexity of dynamics between the 2 brothers and the wife in a triangle of intense and changing emotions and responsibilities. It cuts in. It consequently observes individuals struggling in the net of good intentions on this statement, suspicions and inability to communicate.

171
00:42:45.590 --> 00:42:55.349
that is, struggling between. Imagine norms, ideals, and the reality that exerts pressure and puts the imagine norms in question.

172
00:42:55.890 --> 00:43:13.069
Aleksandra Biernacka: The brothers in turn positions itself as they next after the Vietnam war films, step in a discourse with a discourse with evolution of the Ptsd treatment and widens the social perspective through standardized visual metaphors.

173
00:43:13.430 --> 00:43:20.629
Aleksandra Biernacka:  Alexandra. 5 min. Okay.

174
00:43:20.770 --> 00:43:22.789
Aleksandra Biernacka: okay, usually, I'm not tough.

175
00:43:23.950 --> 00:43:39.119
Aleksandra Biernacka: He does some radicalizes that in the younger brother, showing him him quitting, Showing him getting out of of jail in a St. Or a typical sequence of scenes that is not present in the original.

176
00:43:41.170 --> 00:44:04.509
Aleksandra Biernacka: Such sharp binding of particular characters in the process of the Us. Stream adaptation may and should be understood as one of the requirements of the hostile or 1,988. The production mode of the American studio system and forces one-dimensional characters. Realistic line your time rely realistic stylistic tools, and by definition, avoidance of ambiguities.

177
00:44:05.720 --> 00:44:31.919
Aleksandra Biernacka: It's also a root of a complete chance. You may dump the emotional weight of of the 2 films, the presence of humor buses here and despairing in the broader, while it's in existence in the products that it is exactly this mode of production that introduce the same number of structural changes to all the frame language films being transferred to the Us. Cultural space.

178
00:44:33.220 --> 00:44:58.210
Aleksandra Biernacka: The Us. Version, the few moves in the us version that few moves the characters from a modern big city, setting to more and close environment of a family of soldiers living in a small town near the military base in a community of other soldiers families. In doing so, it's familiarized, it's familiar, raises the narrative, and it goes straight to the center of and boarding

179
00:44:58.210 --> 00:45:16.319
Aleksandra Biernacka: course function in a new culture space on one hand, but at the same time it brings to this very discourse the subversive power of original story of conflicting the loyalty between brothers, husband and wife, as well as say, soldier, a country and a family

180
00:45:16.540 --> 00:45:34.020
Aleksandra Biernacka: using star type called tools of the how it's movie, making it in a way clarify, since crystallizes questions asked by the tiny short, you know about the work trial, my everyday social consequences beyond the fraud by the soldiers. Families long after the worst. At

181
00:45:34.040 --> 00:45:42.949
Aleksandra Biernacka: there's still a typing becomes a mechanism of transfer of the core meetings and ensuring they resonance in a new space.

182
00:45:43.070 --> 00:45:55.719
Aleksandra Biernacka: The form of particular store types can be in turn analyzed for checking out a given temporal state of the of the meetings shared within particular cultural space.

183
00:45:55.810 --> 00:46:11.599
Aleksandra Biernacka: In the case of wadders, we can see, for instance, the fracturing relationships between family members in a traditional family model, despite that they previews deep routes, the questioning and preparing, but also prevailing presence of patriarchy.

184
00:46:11.600 --> 00:46:30.969
Aleksandra Biernacka: distrust in marriage and difficulties. The women face while dealing with suspicions and unfounded accusations, the predominant of emotionally church. But throughout the discourse and the emptiness, emotional and social, the soldiers are left with after getting back.

185
00:46:31.860 --> 00:46:47.620
Aleksandra Biernacka: summing up. If one have to choose, for a sake of the short presentation, a single major difference between Europe and and the Us. As exemplified in the broader I make, you can see a meaningful iteration is the compared Kerr.

186
00:46:47.620 --> 00:47:07.980
Aleksandra Biernacka: while in the Danish origin out there only certain, I think and value, you say family love and everything else, the country, the politics, and the military you need. The group are relative and prom to individual interpretations. In the Us. Version, the love and family is located on the third place on the after patriotism

187
00:47:07.980 --> 00:47:13.279
Aleksandra Biernacka: loyalty to the country and loyalty to fellow soldiers

188
00:47:13.280 --> 00:47:27.180
Aleksandra Biernacka: erez agmoni. But this is the starting point of the narrative that in the process of presented events puts components of this traditional order in conflict, asking questions and necessitating choices. 250.

189
00:47:27.200 --> 00:47:40.249
Aleksandra Biernacka: The brothers itself doesn't formulate explicit answer leaving this task but pure. But it's It does present the tradition at what it puts it in a pressure of

190
00:47:40.320 --> 00:47:48.139
Aleksandra Biernacka: current reality. in another attempt to at actualizing or modernizing discourse.

191
00:47:48.810 --> 00:47:50.609
Aleksandra Biernacka: Thank you so much that

192
00:47:55.490 --> 00:48:14.499
thank you. And right on time. I think so. If you stop sharing, we'll we'll come back to the room. But thank you very much for that. I I really enjoyed in particular, the the little, the short little history of stereotype as as a concept. It's very, very intriguing. And over its origins.

193
00:48:14.560 --> 00:48:18.730
okay. I forgot, my friend.

194
00:48:19.310 --> 00:48:24.289
our next speaker, who is in the room.

195
00:48:24.300 --> 00:48:52.360
 Sorry about that. Yes. Our next speaker, who who is here in the room, is Heather Mclaughlin from Oklahoma State University in the United States, and the title of her talk is laughing at them or with them. Question mark, analyzing sexual harassment in workplace comedy television series. So please, I'll hand it over to you.

196
00:49:13.200 --> 00:49:33.900
Thank you. So my presentation focuses on depictions of sexual harassment and workplace comedies. And as the title suggests part of the challenge of this project, was really thinking critically about whether and how these depictions challenge sexual harassment on the one hand, and then simultaneously, simultaneously trivialize and normalize sexual harassment. On the other hand.

197
00:49:34.010 --> 00:49:50.470
so the project draws from a wide variety of research areas. But for my talk today, I'm going to briefly summarize 3 of those. So thinking, first, about the findings of previous empirical studies of sexual harassment on television, second, looking at theories of humor.

198
00:49:50.510 --> 00:50:05.319
and this is especially useful for answering this overarching question about whether audiences are laughing at or with harassers in these types of workplace comedies. And then, lastly, the importance of the Me. Too, movement in shaping public discourse on sexual harassment.

199
00:50:06.870 --> 00:50:28.000
So first, prior research on depictions of sexual harassment on TV suggests that this is a very regular occurrence. A study from the early 1990 S. Found an average of 3.4 incidents of sexual harassment per episode, and, as you can see here on table one, those behaviors ranged in severity from things like sexist comments all the way to kidnapping.

200
00:50:28.000 --> 00:50:39.279
Moreover, 84% of those episodes contained at least one incident that could be defined as sexual harassment with roughly 70% of those happening in comedies.

201
00:50:39.480 --> 00:51:06.949
So even though it's incredibly common. It was rarely considered. Serious. Characters regularly laugh off in appropriate conduct. Oftentimes they enjoy these sexually charged interactions in the workplace, and harassment became a humorous plot device. Targets were unharmed, laugh tracks played kind of trivializing the seriousness of these behaviors and taken together, this research suggest that television shows perpetuate common myths about sexual harassment.

202
00:51:08.120 --> 00:51:12.860
but in some circumstances these depictions are complicated by satire.

203
00:51:12.870 --> 00:51:19.579
Humor can delegitimize or dehumanize women, but it can also criticize and confront inequality at the same time

204
00:51:19.620 --> 00:51:41.020
in their analysis of rape jokes, for example, straining colleagues argue that a joke that targets, rapists, or rape culture in its subtext may actually work as a tool in increasing society's collective awareness of rape as a social problem. So, in other words, humor may be affirming, it may be subversive, or it might be doing both simultaneously

205
00:51:41.020 --> 00:51:53.149
and subtext really is the key for determining the difference, and the subtext of subversive humour is often that sexual harassment is bad, while the subtext of affirming humor suggests of sexual harassment is funny.

206
00:51:53.150 --> 00:52:11.480
subversive humour often draws attention to the absurdity of sexual harassment, and the fact that it's normalised in our culture, and opens harassers up to ridicule and scorn, and often opens up institutional organizational responses to sexual harassment up to ridicul and scorn in the context of the workplace comedies that I'll talk about

207
00:52:11.670 --> 00:52:23.610
satirical depictions of sexual harassment. The parity of a harasser, for example, can be subversive, but only if that subtext is stronger than the surface level message that sexual harassment is funny.

208
00:52:24.170 --> 00:52:52.010
So while these depictions may normalize or trivialize sexual harassment, they may simultaneously provoke recognition of sexism in ways that turn that comedic gaze on patriarchal culture. So I found this sword and shield metaphor also relevant for my analysis as quotes up on the screen here it says that a sword is used to cut down or disparage others, as is typical in affirming humor that often objectifies or dehumanizes victims of sexual harassment. In this case

209
00:52:52.010 --> 00:53:11.630
a shield can be used to protect a group from being the subject of derision, but when the powerless use humor to fight back and mock those who oppress them, they shield themselves by wielding a sword through humor that serves both purposes so arguably subversive humor fits best into this final category because it both defends and fights back.

210
00:53:13.100 --> 00:53:20.809
lastly, I just want to mention the Me too, movement, and how that has been critical and shifting cultural understandings of sexual harassment.

211
00:53:20.940 --> 00:53:44.030
So in October 2017, the New York Times published a Pulitzer Prize winning article Chronicling decades of sexual abuse by Media, Mobile, Harvey Weinstein. And this is not the first story of its kind. Just one year prior, women employees at Fox News accused network executive Roger ailes of sexual harassment, and the term me, too, was coined over a decade prior.

212
00:53:44.030 --> 00:53:55.079
Yet the accusations against Weinstein really did set off a firestorm that sparked a worldwide social movement. I actually watched the movie about this on the plane on the way here. So the

213
00:53:55.080 --> 00:54:15.670
as this figure shows the Me, too, movement, the attention media attention it received during this time of that sexual harassment received. Sorry reached unprecedented levels. So we have in the 19 nineties, other spikes. During Clarence Thomas's Supreme Court Confirmation hearings, when Anita Hill testified and accused him of sexual harassment.

214
00:54:15.670 --> 00:54:27.339
we saw another spike during the Bill Clinton, Monica Lewinsky scandal, but so far at least, the me, too, era has far surpassed that in the coverage and has changed sexual harassment, discourse.

215
00:54:28.710 --> 00:54:56.710
So my empirical study explores cultural messages about sexual harassment and workplace comedies both before and during the me, too, era, I focus on workplace comedies that aired between 2,020 as a proxy, for we tried to look at popular shows, so, as a proxy for popularity, we limited our sample to shows that, aired for at least 2 seasons, we used the website futon critic to first come up with an exhaustive list of workplace comedies and then

216
00:54:56.710 --> 00:55:19.629
limited our sample in a number of ways. So we limited to scripted live action shows that were designed for a 30 min airing. So typically 2122 min long, and with commercials added onto that, we also eliminated shows that were aimed at child audiences, so things that might have aired on the Disney Channel, for example, that might be construed as a workplace comedy.

217
00:55:19.640 --> 00:55:28.849
We also eliminated shows that had, you know, ghosts or zombies, or time travel, or other things that took it away from what we would call a real workplace.

218
00:55:28.890 --> 00:55:47.529
and this left us with a final sample of 52 shows. So in phase one, we get a simple, random sampling and pitch one episode per series. But for this talk today, I'm really focusing on phase 2. And these are episodes that purposely tackled the topic of workplace sexual harassment, or in one case or place, sexual assault.

219
00:55:47.620 --> 00:55:59.190
We searched episode descriptions and summaries online looking for sexual harassment and related terminology, and this resulted in a final sample of 10 episodes that I'll talk about today.

220
00:55:59.790 --> 00:56:13.100
I watched each episode a a research assistant also watched each episode, and then we would talk together about those themes that emerged. We created detailed memos that described the episode and then included our own thoughts and analyses about each.

221
00:56:13.100 --> 00:56:31.329
so I first used narrative analysis to understand the character's story as a whole throughout the episode, and sometimes with prior knowledge of these shows kind of have very broader context to bring in as well. I also coded each summary, using a grounded approach, and then coded a second time with particular attention to emergent themes.

222
00:56:33.040 --> 00:56:53.630
So our purpose of sample contained episodes from 9 different shows. in chronicle. chronological order. This included the show Frasier. That episode aired in 2,003, the office, 30 rock and 30 Rock actually had 2 back to back episodes. So we watched both of those. Which is why I said, second ago we had 10 episodes from 9 shows

223
00:56:53.670 --> 00:57:06.189
we had better off Ted. 2 broke girls superstore, and then 3 that aired during the Me. Too. Movement. Those included great news. It's always sunny in Philadelphia and Brooklyn 9 9.

224
00:57:07.280 --> 00:57:09.930
The last one was the one that dealt with sexual assault.

225
00:57:11.140 --> 00:57:32.089
Okay, so first, I just want to say that I found that every single episode included some elements of affirming humor, so jokes that either reinforced gender stereotypes or objectified women, or suggested that sexual harassment is harmless fun. But at the same time I also found that every single episode, even those from the earliest time points, and early 2 thousands

226
00:57:32.090 --> 00:57:45.630
also included subversive humor that challenged these same ideas. This messaging did shift over time. So I want to share a couple of reoccurring themes that really highlight this tension between affirming and subversive humor.

227
00:57:46.970 --> 00:58:04.740
Okay. So first harassers, especially men harassers, often fell into one of these 2 groups. So first, we have accidental harassers, who either made some kind of relatable mistake that audiences might feel like with an easy thing to do, or they were falsely accused of sexual harassment

228
00:58:04.820 --> 00:58:22.950
in the episode of better off Ted. The episode descriptions suggest that both Ted and Linda were wrongly accused of sexual harassment, because they quote unquote cat lady overreacted. But when you watch the actual episode, I think most of us would agree that we might also be uncomfortable with some of the things that happened in that episode to her.

229
00:58:23.300 --> 00:58:37.019
But still their behavior is shown as accidental. An unwanted hug that in Linda's case quote drifted booberly, and so these were largely dismissed as civil misunderstandings. Ted

230
00:58:37.250 --> 00:59:03.419
distance himself from real harassers in that episode. So there were other men who had to attend this mandatory sexual harassment seminar. He referred to them as the League of extraordinarily perverted gentlemen and kind of said, I'm not like them, as he explained to the audience, I'm only here because Sheila's cat died, this one talking about Linda shown on the screen. I got grabby, and some of the nonsense splattered on me bottom line. I'm not a harasser.

231
00:59:03.430 --> 00:59:14.670
so it's clear to audiences that real harassers do exist. But the good guys who audiences support and often Route Group 4 on a regular basis. Episode after episode are exceptions to that rule.

232
00:59:15.450 --> 00:59:25.019
Interestingly, in the first phase of this project, too, where we looked at those 52 episodes. It often was the case that some of these main characters are kind of the bad guys. If you think about this differently.

233
00:59:25.980 --> 00:59:54.329
The show Fraser offered another good juxtaposition between these good guys and bad guys. So Frasier confuses a new coworker's hostility for misplaced attraction, and then, in the middle of a heated argument, asks her if she's as turned on as he is when she rejects his advances. A laugh track plays, and so audiences are meant to sort of laugh at his humiliation in that moment of being rejected. Not necessarily his. You know her at the expense of her. It's more at the expense of him.

234
00:59:54.770 --> 01:00:05.650
Later in the episode, Fraser explains, it was just a mistake that he's not some sort of disgusting with Aario, which is a cue for a coworker bullwog to come in as another laugh track plays.

235
01:00:05.700 --> 01:00:28.419
and so bulldog, here is the real harasser. Fraser's mistake was innocent. The wrongfully accused often do little to subvert this idea. That sexual harassment is no big deal. It's just a overreaction and misunderstanding. But Bulldog, on the other hand, right is a more serial harasser. He tells Frasier not to sweat his rookie mistake, and then goes on to objectify a woman coworker standing nearby.

236
01:00:28.490 --> 01:00:40.120
In several of these episodes that dealt specifically with sexual harassment, offered depictions of what I would call Sexist Lee's balls. So we have Todd Packer in the American version of the office

237
01:00:40.300 --> 01:00:51.469
we have Arthur and superstore, and here the joke really relies on audiences making a just assumptions about, you know, an innocent old man who turns out to be anything. But as the episode goes on.

238
01:00:52.210 --> 01:00:58.500
and then also Frank played by Danny Devito, who spends most of the episode of it's always sunny in Philadelphia.

239
01:00:59.130 --> 01:01:26.859
Thanks. wearing a bathroom because of the quote, unquote the climate right, which is very much a nod to the Me to movement the Times up movement when the episode aired in 2,018. So these men are all parodies of harassers. On one level they are subversive. It's clear that their behaviors are unacceptable, and other characters do roll their eyes, or otherwise suggest displeasure with their behavior, but they also encourage viewers to laugh along with the harassers in ways that trivialize sexual harassment.

240
01:01:28.260 --> 01:01:52.540
Another common trope is to depict women as harassers, and these depictions fell along a continuum ranging from more or less subversive. So, on the one hand, we have what I would call sexy harassers, and here the joke becomes men's struggles to resist advances of attractive women. And so, for example, when Erica tells Ted he's yummy and better off, Ted, he replies that he's happy, that you think I'm yummy.

241
01:01:52.540 --> 01:02:02.449
but also sad, that if I do anything about it. I'll have to spend the rest of my life in harassment seminars. And then Erica's response is this code on the screen? I'll let you read for yourself.

242
01:02:02.810 --> 01:02:23.450
This sexy harasser was more common in the randomly selected episodes in phase one than in in phase 2. And this defiction reinforces the myth that men cannot be victims of sexual harassment, and that women, typically young, attractive women who are sexually aggressive are harmless at least to men, and become a sexual fantasy for men, viewers.

243
01:02:24.130 --> 01:02:38.960
women, harassers who fell along the middle of this continuum are not sexy harassers. Their behavior is not accidentally over the line. The seriousness, though, was still minimized by the absurdity of seeing a woman doing these types of harassing behaviors.

244
01:02:39.030 --> 01:03:06.809
So in the show great news, for example, Tina Fay's character harasses multiple subordinates, but the serious seriousness of her behavior is trivialized through joking, while audience laughed at the ridiculousness of some of her comments or actions such as this line. Here it was still at the expense of the victim who was dehumanized and objectified in the scene. Bay's character is clearly a parody. And near the end of the episode we see just how diverse of this message is

245
01:03:06.810 --> 01:03:27.300
when she shares that she was just doing this all along because she has quote, fought for workplace equality for 25 years. I just want what the men get 40 million dollars to go away, and then goes on to list. Billy Bush and Roger ailes and others who have one large settlements against.

246
01:03:27.710 --> 01:03:41.149
She ends up apologizing to her victims, saying, I feel horrible. I really don't understand what men get out of it. Maybe some day when you get to be in my position will live in a world where a woman can be a creep and go home with a huge golden parachute.

247
01:03:42.020 --> 01:04:05.509
So this is clearly a critical commentary that undermines myths about sexual harassment. These episodes, the ones that aired during the Youtube movement also took on tropes about the reluctance to believe victims victim blaming, covering up bad behavior and trivializing sexual harassment as Walker room talk, which was a reference to President Trump's defense of his actions.

248
01:04:06.450 --> 01:04:24.859
As a final example, Linda's character, and better off, Ted exemplified this sword and shield metaphor that I described earlier, so you might recall that originally Linda was labeled as an accidental harasser, but as the episode progressed she declares that there is a new sheriff in town, and then takes it upon herself to harass men in the office.

249
01:04:24.880 --> 01:04:43.200
After this line. Here on the screen, she launches a litany of insults that this would be harasser, and later grabs the underwear of another man, which is shown in that photo to prevent him from groping a woman co-worker, as he complains that this isn't harassment. Harassment's supposed to be sexy, and you're not even doing it right.

250
01:04:44.930 --> 01:05:08.829
All right. So as my findings together show. Many of these episodes walk a careful tightrope of both affirming and subversive humor. And that way there's something for everyone that all audiences, regardless of their existing beliefs, have something they can kind of laugh and and and and eternalize. But I did notice a clear shift in that the episodes were increasingly critical of larger cultural norms and stereotypes that produce sexual harassment.

251
01:05:08.830 --> 01:05:24.390
And I realized, a little too late. I made a there's a typo in that third column header. So essentially what this is showing is that the subversive message is becoming much stronger than affirming. So those X's really should be checks, and it should be the other way around.

252
01:05:25.120 --> 01:05:55.059
So these me 2 episodes were critical, either in between jokes or in-joke form of closing ranks and supporting harassers of non-disclosure, agreements of retaliation and lackluster organizational responses to sexual harassment. So in response to this opening question of my talk about kind of laughing at or laughing with harassers. I think the answer is both. But increasingly, the message is that sexual harassment is ridiculous or unacceptable as opposed to harmless fun.

253
01:05:55.380 --> 01:05:56.310
Thank you

254
01:06:02.590 --> 01:06:04.830
for our

255
01:06:05.980 --> 01:06:09.379
so well, at least 10 min time there will be more

256
01:06:09.620 --> 01:06:14.489
 for questions. We also

257
01:06:14.780 --> 01:06:16.600
should try and get out

258
01:06:16.830 --> 01:06:27.370
online speakers back, but keep an eye on whether or not someone wants to ask a question by a zoom. Is it correct that they have to?

259
01:06:27.450 --> 01:06:28.850
We

260
01:06:29.140 --> 01:06:34.709
type it up and put it in the chat? Or can someone who is joined the session? Actually, as a question.

261
01:06:35.150 --> 01:06:36.710
nothing.

262
01:06:36.820 --> 01:06:38.650
Okay.

263
01:06:38.670 --> 01:06:45.669
Did I put up their hand? Or is that how I'm right. Yeah, usually all they can type in the chat

264
01:06:45.740 --> 01:06:47.609
for our axial images.

265
01:06:48.940 --> 01:06:51.200
Okay?

266
01:06:52.040 --> 01:06:55.890
Questions, comments for our speakers

267
01:06:59.790 --> 01:07:02.029
in the right. I had one

268
01:07:02.450 --> 01:07:06.839
because I might be addicted to sitcoms. But

269
01:07:06.870 --> 01:07:12.520
I'm just yeah, I'm thinking of, you know, people like brooch stanza

270
01:07:12.720 --> 01:07:15.200
in the workplace. But also.

271
01:07:15.760 --> 01:07:35.860
you know, the characters from the big banks. Here they they end up in the Hr. Department, of Caltech, the 4 of them perpetually, and it's a bit of a joke. Sheldon's the worst one, but I guess there is a

272
01:07:36.450 --> 01:07:39.989
a genuine implicit issue there, which is

273
01:07:40.070 --> 01:07:55.830
whether there are also diverse subjectivities. It doesn't necessarily let the harasser of of the hook but Sheldon would be a classic. I mean, it's unspoken, but he's clearly a neurodivergent of of some sort.

274
01:07:56.100 --> 01:08:04.330
so is humor also a space in which one can I,

275
01:08:04.520 --> 01:08:18.890
I mean, I hesitate to use word gray, but one can explore the complexities involved in these workplace relationships. You know, Sheldon is probably autistic, so he doesn't understand some of

276
01:08:18.980 --> 01:08:27.730
the the social cues and so forth. That's going on. So do you have anything to say on the the of subjectivities? I guess that might be a plan.

277
01:08:28.930 --> 01:08:36.200
Yeah, I think that's a really great point. As we watch these episodes. We're constantly having these conversations about.

278
01:08:36.210 --> 01:09:00.350
You know why it was. We were excusing bad behavior from different people and particularly with workplace comedies. It's it's interesting how quickly everything resets. So that was especially true in the random sample, when something inappropriate would happen. Everything would just be reset after the commercial break, or by the next episode at the very latest and and so I do think it through comedy. It is a great way for

279
01:09:00.350 --> 01:09:17.769
us to, I think, sometimes take our defensiveness down a little bit, and have important conversations that could and should be had. And and this was especially true, and I didn't have time to get into it. But in the it's always sunny. In Philadelphia episode I would highly recommend it. It's called Time's up for the gang, and it's just

280
01:09:17.770 --> 01:09:34.569
non-stop jokes that are dizzying in every single direction, from every single type of perspective. And I think it's a good reminder that these are all conversations that we're all happening. And and we can kind of sit back and say, Okay, where do we go from here? Comedy is a great way to have that conversation in my opinion.

281
01:09:38.600 --> 01:09:42.129
Questions online. But there's a question here.

282
01:09:42.390 --> 01:09:47.370
Yes, I have a question for Alexandra.

283
01:09:47.690 --> 01:09:50.790
Hi, Alexander. Hi.

284
01:09:52.580 --> 01:09:58.329
Hello! Yeah. Okay, I'm unal. I'm from Thailand.

285
01:09:58.370 --> 01:10:17.429
 Well, maybe I I can't catch catch up your your presentation the whole, the whole presentation. So when you, when you speak about content analysis, you use your methodology to with

286
01:10:17.510 --> 01:10:21.359
contain analysis, and I can see that

287
01:10:21.380 --> 01:10:27.619
all of the you know theoretical framework.

288
01:10:27.970 --> 01:10:37.310
It includes visual course. Language. Is that right? Yeah. So in

289
01:10:37.520 --> 01:11:01.569
in this aspect, I'm I'm quite confused about between a container analysis and texture analysis that the first one. And if if you can elaborate more about your your, your methodology, how you analyze by by content analysis. So so that would be great. And

290
01:11:01.970 --> 01:11:06.090
so, maybe, and anyone else can share

291
01:11:06.270 --> 01:11:12.610
my my question about, you know, texture, analysis, and continuing, I as well, thank you very much.

292
01:11:19.150 --> 01:11:22.020
Aleksandra Biernacka: Yes, thank you so much for this question.

293
01:11:23.020 --> 01:11:32.729
Aleksandra Biernacka: actually, this, this is an ongoing project and time doing board first time doing

294
01:11:33.070 --> 01:11:47.589
Aleksandra Biernacka: the textual license and later, content analyzes. And I'm actually comparing quite many different pairs of films for the sake of this

295
01:11:47.980 --> 01:11:59.550
Aleksandra Biernacka: presentation. I chose the the the one just to show how these processes operate. It doesn't mean, obviously, that they operate in exactly the same

296
01:11:59.550 --> 01:12:24.429
Aleksandra Biernacka: way in other. for them, however, as as far as I can see now the third time. Partners that are observable and are repetitive between different different pairs of films. The the problem with that analyzes and methodology is

297
01:12:24.430 --> 01:12:27.889
that actually,

298
01:12:28.510 --> 01:12:31.170
Aleksandra Biernacka: one may say that

299
01:12:31.200 --> 01:12:45.410
Aleksandra Biernacka: the each of the of the pairs of films. create a bit different. What? Because we need to take into consideration not only the events

300
01:12:45.510 --> 01:13:07.469
Aleksandra Biernacka: that taking place within the narrative line, but also the the extra cinematic codes. and also, we need to. remember about the words that that are being presented at the

301
01:13:07.470 --> 01:13:29.680
Aleksandra Biernacka: so it is, it is the quiet, long process. And I'm doing first first, the one to one comparison and later analyze it in in different ways.

302
01:13:30.020 --> 01:13:57.549
Aleksandra Biernacka: If I answered your question, obviously, obviously, we can talk about details. But this, this is I will. I will put it to quite a long a long chapter on methodology. But no, it's I I I don't want to go into details right now, because the quite man many layers of of this.

303
01:14:02.020 --> 01:14:02.980
Yes.

304
01:14:03.690 --> 01:14:09.450
if you want to be seeing, or just remember, if you want to be seen by the speakers, they have to come up with you.

305
01:14:09.800 --> 01:14:13.840
So that's okay. I don't need to be seen.

306
01:14:14.220 --> 01:14:35.670
Thanks everyone for your wonderful presentations. I learned something from each of you. my questions for Prion. My name is Katrina. I was just wondering if you've given consideration to the extent to which the voices and experiences of people with disabilities have been factored into the scripting process.

307
01:14:35.670 --> 01:14:46.959
And then, as a second part to that question also, what the impact of these films might be having on the socialization or normalization of disability.

308
01:14:47.820 --> 01:14:48.689
Thank you.

309
01:14:56.900 --> 01:15:21.240
thank you so much for the question. so Firstly, I think, when it came to the screen writers none of the screen writers were people with disability. and that's something very different from what a Australian screen industry is now being talking about in terms of inclusivity and integration of people with disability behind the scenes, and even as actors on screen

310
01:15:21.460 --> 01:15:47.409
and even other film industries where we are seeing the Oscar award winning films and global cinema largely as people with disability being there on screen. now, that's not the case with the Bolivo cinema or the kind of screen writers. their emphasis was that they are strugglers in the film industry. They do not have these connections with big budget

311
01:15:47.410 --> 01:15:55.929
film producers and directors, and that's why it takes them over 7 to 8 years in order to make their debut into the screen industry

312
01:15:56.130 --> 01:16:08.800
and Their way to make a debut is to relate their struggle with any marginal characterization which includes characterizations of people with disability.

313
01:16:08.950 --> 01:16:38.240
only one of them, which I did not include in the presentation. But only one of them was a trans. Woman who asserted that her own identity allowed her to resonate, reflect, and right a protagonist and a lot of her leading protagonists who could be widowed women who could be a women who are subjected to domestic violence, but also a lot of protagonists who are battling with their sexuality and disability.

314
01:16:38.480 --> 01:16:43.020
when it comes to the second half of your question.

315
01:16:43.450 --> 01:17:12.870
So when it comes to a audience reception, and that's something that I look into in terms of actor networks as like one of my chapters and the thesis. when it comes to articulation of this kind of grammar I have looked into how people with disability interact with these production cultures, with the way in which it's only an able-bodied star who's then transfigured into a person with disability.

316
01:17:12.870 --> 01:17:34.760
and whether that communicates and speaks to them, but largely what I figured in. That was that whether it is in a good or a bad way, it generates a dialogue over the disability in itself, and that itself becomes the first point of recognition and acknowledgment of a disability in the society.

317
01:17:34.950 --> 01:17:47.329
then it also becomes more like a softboard in order to also article it their own experiences while relating it with the protagonist's journey on screen.

318
01:17:47.370 --> 01:18:07.149
So these are certain experiences that came about, because soon they would be talking about their lived experiences, and that would merge with the kind of journey of disability that's been shown on screen. So those are certain anecdotes that I know of that came out in my study itself from my interactions.

319
01:18:07.150 --> 01:18:18.779
But it is creating a dialogue, and there is a wider visibility of the disability which in itself becomes a first stone that they are really happy about.

320
01:18:19.390 --> 01:18:20.190
Thank you.

321
01:18:27.950 --> 01:18:40.749
 hi! First of all, I want to say thank you very much to all the presenters and all your amazing works. This is Katherine from China, and I have a question from Alex for Alexandra.

322
01:18:40.950 --> 01:18:41.630
And

323
01:18:42.810 --> 01:18:45.140
can you hear me accent?

324
01:18:47.510 --> 01:18:49.520
It's just there.

325
01:18:49.910 --> 01:19:10.249
Thank you. I'm also very interested in your methodology. Kind of like, inspired from our like, professor from Thailand. thank you for your question. yeah, because I am also thinking of doing a comparative like study. about like media content.

326
01:19:10.450 --> 01:19:34.439
So I'm wondering, like, did you meet any difficulties when you do the content on us and analyze, you know, like especially there are from like different countries. And so, you know, like different languages, there are some like sense, which is very subtle to like grasp or capture. So I'm wondering like, could you please share a little bit of your experiences in this content analysis? Thank you very much.

327
01:19:36.720 --> 01:19:55.709
Aleksandra Biernacka: Thank you for your question. This is actually Why, I didn't want to go into details, because the content analyzes on me the first step actually of the whole process of reading the differences, the culture differences that that feel still with.

328
01:19:55.710 --> 01:20:20.559
Aleksandra Biernacka: the I am very in depth. It in my readings to quite manage sociological works that are being produced within the contrast spaces of countries. This is one of the reasons why I the focus only on America remakes of teams coming from

329
01:20:21.180 --> 01:20:34.630
Aleksandra Biernacka: actually different cultural sources. because I'm correct covering the films coming from Europe to to the States, from Latin America, and from from Asia as well, but

330
01:20:35.320 --> 01:20:55.100
Aleksandra Biernacka: so that that the content analyzes for me being a poll so being in in all these cases. this and outside from the culture, that's the the thing source is coming from as well as outsider from the from this

331
01:20:55.390 --> 01:21:22.399
Aleksandra Biernacka: nation. Country is a process of the of reading that needs to be somehow rooted in the in the sociological and anthropological work that is being being produced in all in all of these countries. So so the analyzes. that the the reason why I am

332
01:21:22.400 --> 01:21:51.230
Aleksandra Biernacka: employing the structural theories that are coming from linguistics. is that they capture some some the basic points. But the interpretation is another, another another layer. This is terminality, and here I am. I am very much using the the sources from particular cultures.

333
01:21:54.420 --> 01:22:00.209
I might ask a question of Rebecca.

334
01:22:00.770 --> 01:22:02.659
You are you still there, Rebecca?

335
01:22:03.730 --> 01:22:04.610
Rebeca Hippertt: Alright.

336
01:22:06.760 --> 01:22:16.520
Hi, Hi, Hi, yeah, no look it's it's not so much about the film that you you've chosen to analyze, although if you want to comment on

337
01:22:16.520 --> 01:22:37.770
why you selected this as as a case study. Feel free to comment on that. But I suppose that more generally. I associate the Reggio Reggio kind of trilogy in part with my youth, and my youth was a very long time ago. Kayana Skazzi came out, which year

338
01:22:38.850 --> 01:22:40.940
Rebeca Hippertt: the first film

339
01:22:43.180 --> 01:23:06.840
I I can't remember, but anyway, it was a very long time. I think it was. It was at University, which is was a very long time. So really my question was whether the Reggio aesthetic and also the topics that it's covering are still contemporary. Given that you are interested in this idea of contemporaneity.

340
01:23:06.900 --> 01:23:28.760
or whether there are, you know, new ecological, political, technological issues that may be a subsequent to to to the Regio. trilogy. So perhaps you could comment on whether you think the Reggio films are still contemporary, and maybe what you understand by contemporaneity.

341
01:23:29.370 --> 01:23:54.269
Rebeca Hippertt: Yeah. so thank you for a comments I think it is important to analyze that trilogy by, because for a hashes they are 3 films, queni catsip or a katie, and a qui catsi. That last film that I analyzed here and I think in a quick cuts, especially there are some elements

342
01:23:54.270 --> 01:24:21.560
Rebeca Hippertt: that anticipates phenomenal and some perception of our contemporaryity. example of this is the speed you watching is a tool that I have in now all day. So what? Some series, with the velocity to accelerate it, and in a quick cut it is possible to see that elements that is staged in the female, the time. So

343
01:24:21.790 --> 01:24:41.389
Rebeca Hippertt: it's possible to see how no quick cuts it makes a bit of metaphoric meaning to talk about the soil acceleration velocity, not our regulation with digital environment. And it's possible to see how we can see a treat that as a gist of here.

344
01:24:41.760 --> 01:24:53.539
Rebeca Hippertt: And it's sometimes in nowadays. This, maybe, is a cool. Hence reality, because we have that relations with emails and maximum acceleration. We have the 2. So

345
01:24:53.560 --> 01:25:03.890
Rebeca Hippertt: it's it's it's been watching to watch films and series and to list, and some audio and Whatsapp. So I think.

346
01:25:03.950 --> 01:25:08.499
Rebeca Hippertt: With this we have some relations with our contemporary site.

347
01:25:08.540 --> 01:25:30.170
Rebeca Hippertt: When you, when we can see that elements that was a station, a. Especially in a quick cutting, because it's the last filming castrology, even though we have some that elements, since when it cuts the first film in a quick cuts, I think that perception that effects is more strong.

348
01:25:30.440 --> 01:25:31.370
Hmm.

349
01:25:31.620 --> 01:25:56.620
no, that's very interesting. I I guess the acceleration of the the other side of it is slowness. So so from from from Warhol's. you know. Film about New York. which last? What is it? 8 8 h through to contemporary slow television which? The last bit I of slow television I dipped into was, you know, on a train for 8 h

350
01:25:56.620 --> 01:26:08.460
as well. There, it's kind of the opposite. It's kind of suggesting that one needs to slow down in order to appreciate and get the minutia

351
01:26:08.460 --> 01:26:21.920
of what's going on in in a situation. So anyway, that's that's a comment, really that maybe there's also an an alternative kind of aesthetic with either slow film or or slow television.

352
01:26:24.520 --> 01:26:25.720
Rebeca Hippertt: Yeah, yeah.

353
01:26:26.990 --> 01:26:29.640
any more questions.

354
01:26:30.770 --> 01:26:57.870
Otherwise we should thank our speakers. we do have another session here at 5 30, and I should probably announce, I'm sure you, Larrya, who's present of this research committee, would want me to announce that some we we've moved the business meeting from tomorrow morning to straight after the next session. So if you are interested, if you are a member or are interested in our C, 37. please.

355
01:26:57.870 --> 01:27:18.870
do join us at 7 30. now, can people? Will people also be joining online. So that message also extends to people who are joining us remotely that you can also join the meeting at 7 30 tonight. All right. But let's thank our speakers.

356
01:27:23.700 --> 01:27:26.020
I thank you all for your participation.

357
01:27:26.380 --> 01:27:27.270
You

358
01:27:29.010 --> 01:27:30.059
Aleksandra Biernacka: thank you.