Brainwashed: Sex-Camera-Power
- 2022
- 1h 47min
CALIFICACIÓN DE IMDb
6.3/10
1.2 k
TU CALIFICACIÓN
Investiga la política del diseño de las tomas cinematográficas y cómo este metanivel del cine se cruza con las epidemias gemelas de abuso sexual y discriminación laboral contra las mujeres, ... Leer todoInvestiga la política del diseño de las tomas cinematográficas y cómo este metanivel del cine se cruza con las epidemias gemelas de abuso sexual y discriminación laboral contra las mujeres, con más de 175 clips de películas de 1896 a 2020.Investiga la política del diseño de las tomas cinematográficas y cómo este metanivel del cine se cruza con las epidemias gemelas de abuso sexual y discriminación laboral contra las mujeres, con más de 175 clips de películas de 1896 a 2020.
- Dirección
- Guionista
- Elenco
- Premios
- 2 premios ganados y 5 nominaciones en total
Raja Bhattar
- Self
- (as Dr. Raja Bhattar)
May Hong HaDuong
- Self
- (as May Hong Haduong)
- Dirección
- Guionista
- Todo el elenco y el equipo
- Producción, taquilla y más en IMDbPro
Opiniones destacadas
Warning: this film may take you on a rollercoaster of anger-grief-hope.
BRAINWASHED: SEX-CAMERA-POWER is striking in its simple, straightforward demonstration of power dynamics at play in the visual language of cinema, the impact of those dynamics on culture, and solutions for moving forward in a new way.
Filmmaker nina menkes treats the subject in a calm and measured manner, walking the audience through the topic like they're attending a graduate film studies class.
The audience is given a multitude of examples which demonstrate a visual pattern that is - whether intentionally or unintentionally - reinforced throughout a century of filmmaking, a pattern that most often objectifies women and minorities.
The film links this pattern to the wider, societal implications, its role in contributing to the everyday objectification of women and minorities in workplaces and interpersonal interactions, and the inequitable economics of filmmaking.
Then, rather than condemning the visual pattern, or shaming those who use it, the film plainly asks, "is this style of visual language effectively communicating the narrative?" and/or "is there another way to accomplish the goal that may be even more effective?" here, examples of alternatives are provided.
By bringing the pattern into conscious awareness without any shame or retribution, the film allows the audience an opportunity to choose to heal the collective trauma wrought by the normalization of on-screen dehumanization, and to be free of the unconscious visual language so that it can be transformed into an entirely new system.
BRAINWASHED: SEX-CAMERA-POWER is striking in its simple, straightforward demonstration of power dynamics at play in the visual language of cinema, the impact of those dynamics on culture, and solutions for moving forward in a new way.
Filmmaker nina menkes treats the subject in a calm and measured manner, walking the audience through the topic like they're attending a graduate film studies class.
The audience is given a multitude of examples which demonstrate a visual pattern that is - whether intentionally or unintentionally - reinforced throughout a century of filmmaking, a pattern that most often objectifies women and minorities.
The film links this pattern to the wider, societal implications, its role in contributing to the everyday objectification of women and minorities in workplaces and interpersonal interactions, and the inequitable economics of filmmaking.
Then, rather than condemning the visual pattern, or shaming those who use it, the film plainly asks, "is this style of visual language effectively communicating the narrative?" and/or "is there another way to accomplish the goal that may be even more effective?" here, examples of alternatives are provided.
By bringing the pattern into conscious awareness without any shame or retribution, the film allows the audience an opportunity to choose to heal the collective trauma wrought by the normalization of on-screen dehumanization, and to be free of the unconscious visual language so that it can be transformed into an entirely new system.
Why did we not see Mr Craig as Bond coming out the water in slow-mo in Casino Royale, but we saw Halle Berry from Die Another Day. I wonder why?
Cinema is meant to mirror real life, that's be honest here us men as stupid, from the early teens women control us. I wonder if these women interviewed have ever used there bodies to attract men? To get things from men? Women go for looks the same as blokes all this BS about "we are deeper then that" BS try a dating site, try meeting in a room of singles, they see the cover and decide the same as men.
Look at Playboy and the other mags, did people force the women to go into the magazines? NO they done it for money and fame.
A woman who is a close "friend" said to me once, we sit on a pot of Gold you men are so weak, I could not argue with her Monroe who begged to be a straight actor, and was refused got to the heights she did by being pure SEX, Some like it hot for one film.
Women can't get the hump when they use their sexuality to control us like a dog on a lead, then cry when they are portrayed as that in some films.
That Doc is BS some of the old films they showed in black and white these actors could ACT yes they looked sexy, but did you see any skin? And some of these films won awards they were great films, so we hate them now cause of the way the camera shot them.
It would be interesting to know how many blokes in that audience had to adjust their trousers as some of these clips were hot stuff it's like Helen Mirren now one of the Greatest Women actors EVER how did she start off her career, was she forced to do that film?
Cinema is meant to mirror real life, that's be honest here us men as stupid, from the early teens women control us. I wonder if these women interviewed have ever used there bodies to attract men? To get things from men? Women go for looks the same as blokes all this BS about "we are deeper then that" BS try a dating site, try meeting in a room of singles, they see the cover and decide the same as men.
Look at Playboy and the other mags, did people force the women to go into the magazines? NO they done it for money and fame.
A woman who is a close "friend" said to me once, we sit on a pot of Gold you men are so weak, I could not argue with her Monroe who begged to be a straight actor, and was refused got to the heights she did by being pure SEX, Some like it hot for one film.
Women can't get the hump when they use their sexuality to control us like a dog on a lead, then cry when they are portrayed as that in some films.
That Doc is BS some of the old films they showed in black and white these actors could ACT yes they looked sexy, but did you see any skin? And some of these films won awards they were great films, so we hate them now cause of the way the camera shot them.
It would be interesting to know how many blokes in that audience had to adjust their trousers as some of these clips were hot stuff it's like Helen Mirren now one of the Greatest Women actors EVER how did she start off her career, was she forced to do that film?
Authors and guests dive deep into every aspect of film making and history, to find "patriarchal" elements. There are a lot of axioms, which are not defined, but can be perceived through their comments. For example, predatory behaviour comes from men and patriarchy. They set very clear divide between two sexes with many generalisations, which might be true(statistically speaking), but same people would never accept the same treatment if real statistics were used as counter arguments. It's the cat and mouse game between generalisation and specialisation. They usually take whatever suits them best, for a particular situation. Authors don't want to discover, research, learn. They want to impose, in a very "patriarchal" way. Here lies the ultimate truth. Within is the answer they refuse to accept. Every person is a microcosmos. A combination of the worst and the best humanity offers and everything in between. We are biologically separated by combination of X and Y chromosomes, that govern our physical traits but all other characteristics fall into a spectrum. Some are very common and some fall generally more on one side. None of them is inherently good or bad. It's all about the context. Even when we use archetypes from psychology, like "tyrannical father" and "devouring mother", gender is used just as a description, not a permanent label. A man can behave as a "devouring mother". It's sad to see all these accomplished and grown people not being able to behave as adults.
In her documentary, Nina Menkes explores how the movie industry, through filmmaking techniques and male-centric visions and decisions, has been encouraging and approving the very toxic behaviors that same industry is shyly starting to condemn today.
Not only does Menkes describes how systematically the "male gaze" treatment is applied to female protagonists even and especially in award-winning movie, but also allows her audience to identify the tropes that are being used by filmmakers to construct this sexualised and objectified imagery of women.
Hopefully her matter-of-factly approach will help give her work credibility, given how tricky it is for women to be taken seriously on such controversial subjects.
Not only does Menkes describes how systematically the "male gaze" treatment is applied to female protagonists even and especially in award-winning movie, but also allows her audience to identify the tropes that are being used by filmmakers to construct this sexualised and objectified imagery of women.
Hopefully her matter-of-factly approach will help give her work credibility, given how tricky it is for women to be taken seriously on such controversial subjects.
9OJT
Brainwashed: Sex-Camera-Power i s documentary that focuses on the male perspective to which becomes the narrative on 95-98 % of all films made. By men, seen by men and women seen as a object.
As a male I must say I am kinda baffled that I haven't seen that in all these movies. I have of course seen the obvious, but there's so many that I didn't see go into that narrative.
The fact that the male body is taboo in most movies, that you never see close up s of it i quite baffling.
A film to learn from, and be ashamed of, as a male? Yes, I'm sorry to say.
That is in fact the case. And it's really too much to handle.
We are almost always asked to see the male perspective, even in films made by women, because we are learned that's the way to do it.
Important stuff for any film school, and for any film buff.
As a male I must say I am kinda baffled that I haven't seen that in all these movies. I have of course seen the obvious, but there's so many that I didn't see go into that narrative.
The fact that the male body is taboo in most movies, that you never see close up s of it i quite baffling.
A film to learn from, and be ashamed of, as a male? Yes, I'm sorry to say.
That is in fact the case. And it's really too much to handle.
We are almost always asked to see the male perspective, even in films made by women, because we are learned that's the way to do it.
Important stuff for any film school, and for any film buff.
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- ConexionesFeatures La fée aux choux (1896)
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Detalles
Taquilla
- Presupuesto
- USD 1,550,000 (estimado)
- Total en EE. UU. y Canadá
- USD 28,826
- Fin de semana de estreno en EE. UU. y Canadá
- USD 7,409
- 23 oct 2022
- Total a nivel mundial
- USD 46,077
- Tiempo de ejecución
- 1h 47min(107 min)
- Color
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