"The purpose of inducing women to concern themselves with their appearance is to instil a belief that women are defined by their outer appearance (Erdman in Callaghan, 1994). Jeffreys cites Dellinger and Williams: women felt that to lack makeup in the workplace was to appear not ‘credible’ or ‘healthy’ (1997: 151 in Jeffreys, 2005). Silvermann observes that men’s fashion, particularly the suit in the workplace, has become uniform. Whereas women’s fashion has many more fluctuations and possibilities (1986, in Finkelstein, in Davis 1997). This indicates that women must prove their functionality through appearance (Haug 1983), there is no such requirement for men, his functionality is unquestioned. Fashion is often portrayed as being inherently linked with women... Further, many items of women’s fashion are seen to be directly indicative of their personality...Therefore, Valentine’s proposal, that a woman’s appearance reflects her moral worth, seems reasonable (in Callaghan 1994). There does not seem to be any items of male clothing with such explicit connotations, indicating man does not need to prove his morality, suggesting he is regarded to have inherent worth...
...Valentine explains that morality is characterised through compliance and deviation from rules. It has been shown that women’s personalities have been associated with their bodily appearance (Erdman in Callaghan, 1996) and their appearance is controlled by the instigation of rules (primarily in the form of norms). So by controlling women’s bodies, in this way, is to control their personalities (Turner 1984, in Valentine, in Callaghan 1994). Women are obliged to prove their worth through their appearance but this is a fruitless task because the norm presented to women is largely unachievable, so women become preoccupied by a constant striving. Leaving men free to act, make decisions and concern themselves with issues of importance while women’s energies are diverted to the task and role of appearing (Berger n/a in Radner, 1995). However, this oppression commonly goes unnoticed."
I copied and pasted this from Tumblr blog because I feel it can be used here appropriately for discussion.
Mikee potentially is working with me on all 3 outcomes. He’s ma main man fo’ sound fo’ sure. Yes.
ANYWAY.
I went to meet Mikee in the pub yesterday to discuss ideas for each film.
Stop Motion Photo Montage - Since this is really a solo effort by me anyway, Mikee will be the only one helping me with this. I want a lo-fi, simplistic soundtrack, kinda nice and cute almost. Mikee suggested a banjo and double bass which would be amazing. This one can be done really quick I reckon.
Film Noir - After brainstorming this seems to be the outcome with the most work to do. Essentially we’re going with ‘themes’, so like the main protagonist will have a theme, a certain location has a theme etc.. I want to mix the old Film Noir sounds to a contemporary mix, think of the type of sounds they use in Batmans Dark Knight, rusty blades on violins etc. There will be an element of jazz, and little or no music in parts to help create tension and such. I need to work more on the script before we decide anything else.
Hansel and Gretel - Again, we’ll play around with the idea of themes to help things flow easier and just generally be more flexible. Once Alex has done a draft of the script for this we’ll have a better idea what exactly we can do. Our general sound is gona be a sort of grimey synth. Mixing the old and the new. We’ll be looking at Engelbert Humperdink’s score he did for the play of Hansel and Gretel, maybe even re-hash it or mix it around a bit.
Overall, I’m extremley happy with the Sound, Mikee is definitely on the same page as me and has come up with some brilliant ideas. We’ll use some of the recording studios and even some Horn and Brass players might get in on this.. exciting stuff. I’m chuffed that my Sound for this will be quite professional. Sound essentially makes the film!
Jamie
