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Cindy Sherman, Untitled Film Still #21, 1978

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Cindy Sherman, Untitled Film Still #21, 1978

(Music) Hi, I'm Shana Lindsay.

I'm Beth Harris. OK, we're here to talk about this image- it's called Untitled Film Still #14.

It does look like a film still!

It does. And there are certain things that give it that look, which is what she's going for.

So it's not really a film still.

Right, exactly- it's the appearance that this is a film still- And she did a whole series of film stills- (Right)- photographs that look like film stills.

Over a number of years (this is sort of at the beginning of that phase), so this is one of the earlier ones.

And she wants all of these to look like they might be from some sort of narrative.

This is Cindy Sherman herself- Right, that's the thing a lot of people don't recognize- that she's in the photograph herself.

She always kind of dresses up, and kind of morphs from one- You know, she can look really different in each one of them.

Exactly- she dresses up obviously, makeup helps.

In this case, she's probably trying to look like she's in [the] 1960s.

And it makes me aware of the conventions of how things look in movies.

The sort of rhetoric in that kind of story telling.

Exactly, the lighting- The way she moves her head, the look in her eye.

Right, and in almost all of these film stills, she looks reactive, she's reacting to something.

Which is part of what's giving us this clue, that looking at something that's supposed to be narrative.

So she's darting her eyes away, it's hard to say what (people often read it in different ways) You know, disgust, fear, anxiety.

She's never a totally self-possessed person- she's always in relation to something that's somehow outside of our frame of reference.

I wonder what that says about being a woman.

Exactly, and I think that's sort of the issue she's trying to raise here.

That perhaps our sense of self is contingent always on something else.

A woman's sense of self [is always contingent on something else]

And that being a woman is always in some way a performance.

Yes, that's often how these are understood- that she's masquerading, donning these different outfits.

And some people see this as kind of liberating, [...] she in some ways dislodges the idea that your identity is fixed.

And it can be chosen, instead.

Exactly, and by masquerading, choosing to act in a certain way, or choosing to make yourself read or understood in a certain way.

So some people see her film cells as liberating.

For women. Yes, for women in particular.

So your identity isn't something that is culturally imposed.

But something that's freely chosen. Freely chosen, also what's ironic: in this series, she keeps choosing these ultra feminine roles.

And very stereotypical roles. And because they are reacting, they seem slightly fragile.

So it plays on both things.

But I think she wants to borrow the idiom from film, that was established by people like Alfred Hitchcock- the blonde, the victim to some degree.

So something about to swoop down on her. But nothing ever does.

And also, it's sort of about her practice, about Cindy Sherman's practice, More so certainly than the narrative, which here, does not exist.

There is no story. It never developed into a story.

The things she's chosen photographically here: the upward focus, you're at a very privileged perspective on this person- Very close, so you know that this couldn't be a snapshot (or it'd be very hard to get a snapshot like this)

By just angling and positioning the camera, she's edited out anything that looks contemporary.

So she's able to put herself in front of these older buildings and have a look (-like it's 20 years earlier)

Right, like all the things a filmmaker was doing. music-

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Cindy Sherman, Untitled Film Still #21, 1978발음듣기

다른 번역문 등록

(Music) Hi, I'm Shana Lindsay.발음듣기

다른 번역문 등록

I'm Beth Harris. OK, we're here to talk about this image- it's called Untitled Film Still #14.발음듣기

다른 번역문 등록

It does look like a film still!발음듣기

다른 번역문 등록

It does. And there are certain things that give it that look, which is what she's going for.발음듣기

다른 번역문 등록

So it's not really a film still.발음듣기

다른 번역문 등록

Right, exactly- it's the appearance that this is a film still- And she did a whole series of film stills- (Right)- photographs that look like film stills.발음듣기

다른 번역문 등록

Over a number of years (this is sort of at the beginning of that phase), so this is one of the earlier ones.발음듣기

다른 번역문 등록

And she wants all of these to look like they might be from some sort of narrative.발음듣기

다른 번역문 등록

This is Cindy Sherman herself- Right, that's the thing a lot of people don't recognize- that she's in the photograph herself.발음듣기

다른 번역문 등록

She always kind of dresses up, and kind of morphs from one- You know, she can look really different in each one of them.발음듣기

다른 번역문 등록

Exactly- she dresses up obviously, makeup helps.발음듣기

다른 번역문 등록

In this case, she's probably trying to look like she's in [the] 1960s.발음듣기

다른 번역문 등록

And it makes me aware of the conventions of how things look in movies.발음듣기

다른 번역문 등록

The sort of rhetoric in that kind of story telling.발음듣기

다른 번역문 등록

Exactly, the lighting- The way she moves her head, the look in her eye.발음듣기

다른 번역문 등록

Right, and in almost all of these film stills, she looks reactive, she's reacting to something.발음듣기

다른 번역문 등록

Which is part of what's giving us this clue, that looking at something that's supposed to be narrative.발음듣기

다른 번역문 등록

So she's darting her eyes away, it's hard to say what (people often read it in different ways) You know, disgust, fear, anxiety.발음듣기

다른 번역문 등록

She's never a totally self-possessed person- she's always in relation to something that's somehow outside of our frame of reference.발음듣기

다른 번역문 등록

I wonder what that says about being a woman.발음듣기

다른 번역문 등록

Exactly, and I think that's sort of the issue she's trying to raise here.발음듣기

다른 번역문 등록

That perhaps our sense of self is contingent always on something else.발음듣기

다른 번역문 등록

A woman's sense of self [is always contingent on something else]발음듣기

다른 번역문 등록

And that being a woman is always in some way a performance.발음듣기

다른 번역문 등록

Yes, that's often how these are understood- that she's masquerading, donning these different outfits.발음듣기

다른 번역문 등록

And some people see this as kind of liberating, [...] she in some ways dislodges the idea that your identity is fixed.발음듣기

다른 번역문 등록

And it can be chosen, instead.발음듣기

다른 번역문 등록

Exactly, and by masquerading, choosing to act in a certain way, or choosing to make yourself read or understood in a certain way.발음듣기

다른 번역문 등록

So some people see her film cells as liberating.발음듣기

다른 번역문 등록

For women. Yes, for women in particular.발음듣기

다른 번역문 등록

So your identity isn't something that is culturally imposed.발음듣기

다른 번역문 등록

But something that's freely chosen. Freely chosen, also what's ironic: in this series, she keeps choosing these ultra feminine roles.발음듣기

다른 번역문 등록

And very stereotypical roles. And because they are reacting, they seem slightly fragile.발음듣기

다른 번역문 등록

So it plays on both things.발음듣기

다른 번역문 등록

But I think she wants to borrow the idiom from film, that was established by people like Alfred Hitchcock- the blonde, the victim to some degree.발음듣기