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PROPOSED TITLE
Contemporary film theory is relatively recent in origin, with founding texts dating from the sixties,
but bases itself around specific assumptions about the “impression of reality in the cinema” (Allen,
1995:1). The contemporary theorist is predominantly focussed on the production(s) and reception(s)
of representation and ideology from psychoanalytic and feminist perspectives, theorising the
communicative relationship between the “viewer and film, between the text and subject and the texts
power to determine the subjects response” (Fourie, 2001:223). The traditional cinematic experience is
deconstructed in terms how it affects the reception of the moving image, the productive processes and
languages in which films are created and received. In addition, these theories examine the way in
which the human being, or subject, is constructed within a cinematic discourse (Allen, 1995:2). This
study investigates how cinematic discourse is changing within the postmodern age of new
information and communication technologies. New patterns of production, reception and
consumption have placed the cinematic text within a new discourse.
Digital technologies, within the context of the Internet, have provided a virtual space in which
cinematic narratives find new purpose and means of production that are largely determined by the
technology itself. If, as Marshall McLuhan proposed (1969:15-16), the medium is the message and
the construction of the message is defined by the medium, then the changing media in a postmodern
(Internet) environment would result in a myriad of fluid, changing and ever re-constructing messages.
Cinematic discourse needs to be re-concepualised within this new hypermedia context, with the
uneasy implication that perhaps the way in which the human being (or subject) is constructed within
this discourse is in some way altered too. This research takes place within this new digital
environment, aiming to understand (in part) how a reconfigured medium changes the message, as
well as the content of that message, as the individual and their culture are similarly reconfigured by
the new environment. Largely due to technological advances within the Internet (as a communicative
medium) and cheaper production costs for digital cameras, the individual becomes participative in the
creation of new filmic texts. Websites such as YouTube provide a space where these individuals can
place their self-constructed texts online for a global audience to view. The human being as both
subject and object within this virtual space often produces texts that are extremely personal in relation
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to specific events. For example, the recent Virginia Tech shootings are a historical event in which Cho
Seung-Hui (the shooter) took video footage of himself that is currently available on YouTube, and to
which more than 16, 000 people have posted video responses to the event (Anon, 2007).
This new medium for subject identification has thus provided a space where the subject can, to some
degree, also control their personal representation. Lacanian psychoanalysis provides a framework
from which to understand these new subject-object, self-other (re)configurations within a new
cinematic discourse. Lacan’s theories have been successfully applied to cinematic signification
processes in the traditional cinematic experience, but would need to be reconceptualised within the
new subject and object position online. By looking at Lacanian psychoanalysis within the discourse
of the Internet, specific personal narratives that are placed on YouTube will be discursively analysed
in terms of their positional discourse from a post-structuralist frame, exploring how individual
identity is constructed by the self online. As Denzin (1995:1) proposes, “the postmodern is a visual,
cinematic age; it knows itself in part through the reflections that flow from the cameras eye.” This
research is interested in both the visual reflection that flow from the camera, as well as the subjects
self representation in terms of the positioning of the (web) cameras eye, and their positioning of
themselves in relation to this camera.
Key concepts:
•Cinematic subject construction
3. RESEARCH PROBLEM
From the above orientation of the study the research problem can be stated as the following:
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How do selected self-constructed visual narratives about the Virginia Tech shootings on YouTube
represent the construction of visual identities in cyberspace?
4. RESEARCH QUESTIONS
The following questions will further inform the process of researching the problem above:
•How are personal identities visually self-constructed on YouTube in terms of specific visual narrative
responses to the Virginia Tech shooting?
•How does the narrative of the Virginia Tech shooting influence the construction of a personal visual
identity?
•How does the YouTube Internet site function as a defining discourse in which personal visual identity
is constructed?
5. RESEARCH AIMS
6. THEORETICAL STATEMENTS
•The distinctive feature of postmodern discourse is ‘informatisation’ – the fact that all facets of social
life are subjected to ubiquitous information technology (Hardt and Negri, 2001:280). The hypermedia context
of YouTube places the ‘informatised’ subject within a mediated ‘sensory world’ that provides a new means of
representational communication.
•YouTube is a discourse of signification that creates the appearance of a knowable reality, hence
confirming the self-definition of the human subject as someone capable of knowing that reality. Identity is
(re)constructed within this discourse that, to a large degree, determines the nature or definition of that identity
as the human subject is self-defined.
7. METHODOLOGY
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The following section deals with the methods that are used to address the research problem in a
practical way.
7.1 Literature Overview
A literary search has been conducted using the National Research Foundations Nexus database
system (NRF, 2007). It was concluded that no previous study has been conducted of this nature.
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amateurism, un-housetrained by the conventions of narrative interest or good taste,” and that its un-
mediated aesthetic is the most noticeable feature of its medium: “the persistent, unjudging, almost
incomprehensible gaze; an unedited, deep focus scene in which our attention as audience is not
coerced or directed.” Thus, according to Bradshaw, the YouTube environment creates a persistent
illusion of actuality or reality for viewers. What is also evident within the hypermedia YouTube
context, however, is that “hypermedia immerses its participants in its simulated environments by its
particular aesthetic potentials for clarifying and intensifying sense perceptions,” a perceptual illusion
that mediated experience is not mediated (Gretchen, 1999:283). The ‘simulated environment’ is
structured aesthetically as well as discursively. Personal narratives should thus be read within the
discourse that governs YouTube, and not in isolation. Participation in the narrative of YouTube is
strongly determined by the illusion of objectivity and an assumption of reality. These characteristics
are significant in subject-object positioning, identification, representation and thus construction.
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process of identification creates a never-ending dialectic of successive identifications, wherein
Derrida (1996:13-20) proposes that ones very ‘identity’ may be configured and reconfigured in
relation to technological devices: “the technical structure of the archiving archive also determines the
structure of the archivable content.” Identity representation (thus misrepresentation) now takes place
online, and since YouTube provides a visual mirror for the online self, it also provides opportunity for
the online self to more closely control the aesthetic projection. The web camera becomes an online
mirror, wherein the subject is simultaneously subject (online) and object (offline) of the mirrors
reflection, instantaneously viewing the image and its continuous (re)structuring. The mechanics of
filming and the mirror thus become conflated within identity construction.
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The theoretical positioning of this study does not assume that the ways in which the above discourses
interact are obvious, but rather seeks to provide qualitative insight into their interaction through the
qualitative research design. It is necessary, however, to define specific tools of enquiry that will
provide plausible reflections on the domain of cinematic texts as discourse, that is, “language-in-use”
(Gee, 1999:5). As Gee (ibid) states, discursive research is important in “using somewhat different, but
related, tools, terminologies, and theories, [in] contributing to a ‘big picture,’” and in this case that is
done through a specific method of discourse analysis.
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7.3.4 Data analysis and interpretation methods
Data in discourse analysis is approached using the same operational definitions above. This study will
present the findings in full, to show the reader exactly how the data was interpreted and the
conclusions reached. The data is interpreted through the key constructs and the ways that these
answer the research questions. The data is firstly analysed in its relation to a governing Discourse, in
this case postmodern theory. Secondly the data is interpreted within the discourse of YouTube within
the hypermedia Internet context. Lastly the data is itself analysed in terms of how signs systems and
symbols create meaning within the texts. The represented identity as a construct will then be analysed
within these three stages of enquiry so as to answer the central research problem and its consequent
questions. Discourse analysis therefore provides a research method from which the visual texts can be
analysed in terms of their constituent language systems.
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positioning of the study, and the relationship between the researcher, text, and theory as source. This
relationship is vital since none can function in isolation within the research process. It is, however,
important that bias is avoided and that the process is guided by a search for accurate conclusions.
8. CONCLUSION
Technology has changed the way that the individual interacts with discursive social realities, and this
changes, in some way, the way that new realities shape the individual. Specific research for the videos
that fit the required framework is the next step towards the core focus of this study. The theoretical
frame will also need to be further elaborated and linked to the definition of key concepts within the
research so as to triangulate that definition further. Chapters developed for the study will include;
chapter 2: Postmodern Ontologies, and chapter 3: YouTube: a virtual mirror; so as to more
comprehensively answer the research problem and its constituent questions.
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9. SOURCE LIST
ALLEN, R. 1995. Projecting Illusion. United Kingdom: Cambridge University Press. 175 p.
BARTHES, R. (Trans. Heath, S.). 1977. Image, Music, Text. London: Fontana Press. 220 p.
BELTON, J. (Editor). 1999. Movies and Mass Culture. Great Britain: The Athlone Press. 279 p.
BRADSHAW, P. 2007. YouTube’s pull factor. Mail&Guardian. January 5th-11th. Page 13.
BRAUDY, L, & MARSHALL, C. (Editors). 2004. Film theory and Criticism: introductory readings.
New York: Oxford University Press. 937 p.
BUDD, W., THORP, R. & DONOHEW, L. 1967. Content Analysis of Communications. New York:
The Macmillan Company. 147 p.
DERRIDA, J. (Trans. Prenowitz, E.). 1996. Archive fever. A Freudian impression. Chicago: The
University of Chicago Press. 128 p.
FOURIE, P. J. 2001. Media Studies Volume 2: Content, Audiences and Production. South Africa:
Juta Education. 588 p.
GEE, J. P. 1999. An Introduction to Discourse Analysis: theory and Method. London: Routledge.
176 p.
HARDT, M. & NEGRI, A. 2001. Empire. Cambridge: Harvard University Press. 504 p.
OLIVIER, B. 2006. Postmodern culture, globalization, communication, and identity. Submitted for
publication. Nelson Mandela Metropolitan University. 17 p.
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