John Berger / Ways of Seeing , Episode 2 (1972)
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0:04 - 0:09Οι άντρες ονειρεύονται τις γυναίκες
Οι γυναίκες ονειρεύονται τον εαυτό τους να τις ονειρεύονται -
0:09 - 0:18Οι άντρες κοιτούν τις γυναίκες
Οι γυναίκες βλέπουν τον εαυτό τους να τον κοιτούν -
0:48 - 0:52Οι γυναίκες διαρκώς συναντούν βλέματα που λειτουργούν σαν καθρέφτες
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0:52 - 0:56υπενθυμίζοντας τους την εμφάνισή τους ή πώς αυτή θα έπρεπε να είναι.
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0:57 - 1:00Πίσω από κάθε ματιά υπάρχει μια κρίση.
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1:00 - 1:07Κάποιες φορές η ματιά μου συναντούν είναι η δική τους, αντανακλούμενη από έναν πραγματικό καθρέφτη.
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2:21 - 2:23Μια γυναίκα πάντα συνοδεύεται, εκτός όταν
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2:23 - 2:26είναι τελείως μόνη της. Και μπορεί ακόμα και τότε, από
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2:26 - 2:29την εικόνα του ίδιου της του εαυτού. Καθώς περπατάει,
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2:29 - 2:32διασχίζοντας ένα δωμάτιο, ή κλαίγοντας για τον θάνατο του πατέρα της
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2:32 - 2:37δεν μπορεί να αποφύγει να συλλαμβάνει τον εαυτό της, να περπατάει ή να κλαίει
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2:37 - 2:43από την παιδική ηλικία, διδάσκεται και πείθεται να επιθεωρεί τον εαυτό της συνεχώς
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2:44 - 2:47Πρέπει να επιθεωρεί όλα όσα είναι και όλα όσα κάνει διότι
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2:47 - 2:52Ο τρόπος που εμφανίζεται στους άλλους και ειδικότερα ο τρόπος που εμφανίζεται στους άντρες
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2:52 - 2:56είναι ζωτικής σημασίας, καθότι
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2:57 - 3:17[music]
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3:17 - 3:19A woman in the culture of privileged Europeans,
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3:19 - 3:23is first and foremost a sight to be looked at.
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3:23 - 3:28What kind of sight is revealed in the average European oil painting
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3:28 - 3:30There were portraits of women as there were portraits of men.
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3:30 - 3:33but in one category of painting, women were the principle
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3:33 - 3:39ever occuring subject, that category was the nude.
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3:39 - 3:43In the nudes of European painting, we can discover some of the criteria
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3:43 - 3:46and conventions by which women were judged.
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3:46 - 3:50We can see how women were seen.
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3:50 - 3:54What then is a nude?
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3:58 - 4:01In his book on the nude, Kenneth Clark says that being
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4:01 - 4:05naked is simply being without clothes
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4:05 - 4:10the nude, according to him, is a form of art
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4:11 - 4:13I would put it differently.
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4:13 - 4:16To be naked is to be oneself.
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4:16 - 4:19To be nude is to be seen naked by others and
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4:19 - 4:23yet not recognized as oneself. A nude
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4:23 - 4:28has to be seen as an object in order to be nude.
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4:29 - 4:33In the European oil painting, nakedness is not taken for granted
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4:33 - 4:37as in archaic art. Nakedness is a sight for those who are dressed.
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4:39 - 4:43That is why Manners's painting which really marks the end of a period I am considering is so
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4:43 - 4:48profound a comment on all the works that preceded it.
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4:48 - 4:54the story begins with the story of Adam and Eve as told in Genesis.
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4:54 - 4:58And when the woman saw that the tree was good for food, and it was a delight for the eyes,
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4:58 - 5:01and that the tree was desired to make one wise
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5:01 - 5:04she took of the fruit thereof and did eat
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5:04 - 5:07and she gave also to her husband with her, and he did eat.
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5:07 - 5:10and the eyes of them both were opened, and they
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5:10 - 5:12knew that they were naked
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5:12 - 5:14and the Lord God called out to the man and said
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5:14 - 5:18Where art thou? and he said
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5:18 - 5:20I heard thy voice in the garden, and I was afraid
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5:20 - 5:24and I hid myself
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5:24 - 5:25unto the woman God said, "I will greatly
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5:25 - 5:31multiply thy sorrow and thy conception. In sorrow, thou shall bring forth children,
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5:31 - 5:37and they desire will be to thy husband, and he shall rule over thee."
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5:39 - 5:42Two things are striking about this story.
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5:42 - 5:45They become aware of being naked because, as a result of
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5:45 - 5:50eating the apple, each sees the other differently
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5:50 - 5:55nakedness is created in the mind of the beholder.
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5:55 - 5:58The second striking fact is that the woman
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5:58 - 6:02is blamed and is punished by being made subservient to the man
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6:02 - 6:08In relationship to the woman, the man becomes the agent of God.
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6:09 - 6:13In medieval art, the story is often illustrated scene following scene
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6:13 - 6:16as in a strip cartoon.
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6:16 - 6:20During the Renaissance, the narrative sequence disappears, and the single moment
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6:20 - 6:26which is nearly always depicted, is the moment of shame.
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6:26 - 6:30The couple wear fig leaves or make a modest gesture with their hands
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6:30 - 6:36but now, their shame is not so much in relationship to one another as is to the spectator.
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6:36 - 6:40It is the spectator looking which shames them.
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6:40 - 6:43Later, as painting became more secular,
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6:43 - 6:47many other subjects offer the opportunity for painting nudes.
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6:47 - 6:49But always in the European tradition, the nude implies an awareness of being seen
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6:49 - 6:56by the spectator. They are not
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6:56 - 7:00naked as they are, they are naked as you see them.
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7:09 - 7:11Often, as with the favorite subject of Suzanna and the elders,
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7:13 - 7:16this is the actual theme of the picture.
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7:16 - 7:22We join the elders to spy on her.
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7:22 - 7:27She looks back at us looking at her.
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7:27 - 7:29Sometimes the woman, Suzanna, looks at herself
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7:29 - 7:34in the mirror, picturing herself as men see her.
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7:34 - 7:38She sees herself first and foremost as a sight
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7:38 - 7:41which means as a sight for men.
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7:41 - 7:45Thus the mirror is a symbol of the vanity of women
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7:45 - 7:48yet the male hypocrisy in this is blatant.
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7:48 - 7:52You paint a naked women because you enjoy looking at her
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7:52 - 7:56you put a mirror in her hand, and you call the painting vanity
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7:56 - 8:00thus morally condemning the woman whose nakedness you have
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8:00 - 8:03depictured for your own pleasure
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8:03 - 8:05And thus, incidentally, repeating the biblical incident by
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8:05 - 8:09blaming the woman
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8:09 - 8:12The Judgement of Paris is another famous mythological subject with the same
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8:12 - 8:18in written idea of looking at naked women and judging them.
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8:18 - 8:22Paris awards the apple to the woman he finds most beautiful.
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8:22 - 8:27Beauty in this context is bound to become competitive.
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8:27 - 8:30The judgement of Paris is transformed into a beauty contest.
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8:32 - 8:34Aesthetics when applied to women are not
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8:34 - 8:37as disinterested as the word beauty
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8:38 - 8:41might suggest
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8:41 - 8:44I don't want to deny the crucial part that seeing
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8:44 - 8:48plays in sexuality, but there's a great difference in being seen
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8:48 - 8:51as oneself naked or being seen by another in that way
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8:51 - 8:54and a body being put on display
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8:54 - 8:59To be naked, is to be without disguise.
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8:59 - 9:02To be on display, is to have the surface of one's own skin,
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9:02 - 9:04the hairs of one's own body
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9:04 - 9:07turned into a disguise.
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9:07 - 9:11A disguise which cannot be discarded.
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9:11 - 9:13Amongst the tens of thousands of European oil paintings
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9:13 - 9:17of nudes, there are perhaps 20 or 30 exceptions, paintings in which the
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9:17 - 9:21artist has seen the woman revealed as herself.
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9:23 - 9:25this Rubens
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9:26 - 9:30this Rembrant
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9:31 - 9:35this George De La Tour
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9:35 - 9:38These paintings are as personal as love poems
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9:38 - 9:42and their character is quite distinctive
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9:42 - 9:44Most nudes oil paintings have been lined up
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9:44 - 9:47by their painters for the pleasure of the
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9:47 - 9:50male spectator only
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9:50 - 9:51who will assess and judge them
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9:51 - 9:54as sights
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9:54 - 9:56Their nudity is another form of dress
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9:56 - 10:00They are condemned to never being naked
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10:00 - 10:02with their clothes off, they are as formal
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10:02 - 10:06as with their clothes on
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10:06 - 10:10Those who are not judged beautiful, are not beautiful.
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10:10 - 10:14Those who are, are given the prize.
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10:14 - 10:16The prize is to be owned.
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10:16 - 10:19That is to say, to be available.
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10:19 - 10:22Charles II commissioned this secret painting
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10:22 - 10:25from Lale. It's like hundreds of others,
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10:25 - 10:27it might be Venus and Cupid, but
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10:27 - 10:31in fact, it was a portrait of one of his mistresses Nell Gwen.
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10:31 - 10:34He chose her passively looking at the
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10:34 - 10:38spectator staring at her naked.
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10:38 - 10:42Her nakedness is not an expression of her own feelings
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10:42 - 10:47it is only a sign of her submission to his demand
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10:47 - 10:50The painting, when he shows it to others,
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10:50 - 10:54demonstrates this submission. His guests envy him.
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10:54 - 10:59By contrast, in another tradition, nakedness is a celebration of
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10:59 - 11:03active sexual love as between two people,
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11:03 - 11:06the woman as active as the man
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11:06 - 11:10the actions of each absorb the other.
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11:10 - 11:13In oil painting, the second person or the second
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11:13 - 11:18person who matters it the person looking at the painting.
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11:18 - 11:23Compare these two women.
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11:23 - 11:26One the model for what is considered a masterpiece by Eng
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11:26 - 11:31and the other an ill paid model for a photograph in a girly magazine
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11:31 - 11:35Or these two
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11:35 - 11:37just the expresssion, the look,
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11:37 - 11:41what do you see?
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11:41 - 11:43It seems to me that in each pair, the expression
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11:43 - 11:46is remarkably similar, and it is an
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11:46 - 11:48expression of responding with remarkable charm
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11:48 - 11:51to the man who she knows is looking at her
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11:51 - 11:54although she doesn't know him
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11:54 - 11:56It is true that sometimes a painting includes
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11:56 - 12:00a male lover, but the woman's attention is very rarely
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12:00 - 12:03directed towards him. She looks away from him
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12:03 - 12:07or she looks out of the picture towards he who
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12:07 - 12:12considers himself her true lover, the spectator-owner
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12:12 - 12:16this painting was sent as a present from the Grand Duke of Florence to the King of France
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12:16 - 12:19The boy kneeling on the cushion and kissing
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12:19 - 12:21is Cupid the woman is Venus
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12:21 - 12:23But the way her body is arranged has nothing to do with
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12:23 - 12:28that kissing. Her body is arranged the way it is to display it
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12:28 - 12:31to the man looking at the picture
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12:31 - 12:34the picture is made to appeal to his sexuality
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12:34 - 12:37it has nothing to do with her sexuality
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12:37 - 12:41The convention of not painting the hair on a woman's body helps towards the same end.
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12:41 - 12:44Hair is associated with sexual power, with passion.
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12:44 - 12:47The woman's sexual passion, needs to be
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12:47 - 12:50minimized, so that the spectator feels
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12:50 - 12:53that he has the monopoly of such passion.
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12:53 - 12:55There were paintings which depicted
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12:55 - 12:56male lovers. These did exist.
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12:56 - 12:59But they were mostly private, semi-pornographic
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12:59 - 13:03pictures. In most paintings, which were painted to be seen
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13:03 - 13:06rather than hidden, the only rival to the male
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13:06 - 13:09spectator is a cupid.
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13:09 - 13:12Now, how extraordinary it is that the
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13:12 - 13:15pictorial symbol of passion is a small boy.
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13:15 - 13:20For a similar reason, women in the European art of the oil painting are seldom seen dancing.
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13:20 - 13:26They have to be shown languid, exhibiting a minimum of energy.
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13:26 - 13:29They are there to feed an appetite, not to have any of their own.
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13:33 - 13:35The appetite was theoretically gargantuan.
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13:38 - 13:41The absurdity of this male flattery, although it was not seen as absurd then
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13:44 - 13:48reached its peak in the public academic art of the 19th C
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13:49 - 13:51prime ministers discussed under paintings like this
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13:51 - 13:57when one of him felt he had been outwitted, he looked up for consolation
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13:57 - 13:59the nude in European oil painting
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13:59 - 14:03is usually presented as an ideal subject
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14:03 - 14:06it is said to be an expression of the European humanist spirit
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14:06 - 14:10I don't want to reject entirely the truth of this,
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14:10 - 14:12but I have tried to add to it
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14:12 - 14:15starting off from a different viewpoint.
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14:15 - 14:17Duer who believed in the ideal nude
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14:19 - 14:22thought that this ideal could be constructed
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14:22 - 14:24by taking the shoulders from one body
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14:24 - 14:26the hands of another, the breasts of another,
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14:26 - 14:29and so on
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14:29 - 14:31Was this humanist idealism?
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14:31 - 14:33Or was it the result of the indifference
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14:33 - 14:37to who any one person really was?
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14:38 - 14:39Do these paintings celebrate
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14:39 - 14:41as we're normally taught
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14:41 - 14:43the women within them?
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14:43 - 14:46or the male voyeur?
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14:46 - 14:50Is there sexuality within the frame?
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14:50 - 14:52or in front of it?
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14:52 - 14:57I showed the program, as you have seen it, up to now, to five women.
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14:57 - 14:59It began to seem absurd that the only images
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14:59 - 15:01that you are seeing are of women
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15:01 - 15:03silent, mute
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15:03 - 15:05So, I showed it to them and asked them to comment.
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15:05 - 15:07To comment not so much on the program
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15:07 - 15:09but rather on the questions raised by it
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15:09 - 15:12Above all, on the question of how men see women
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15:12 - 15:14or how they have seen them in the past.
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15:14 - 15:16And how this influences the way women see
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15:16 - 15:18themselves today.
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15:18 - 15:19We have an image, of
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15:19 - 15:21Of course, we all have an image of ourselves
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15:21 - 15:25and it is a visual image, but I wonder how
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15:25 - 15:29much this sort of classical European painting
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15:29 - 15:31has shaped that image.
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15:31 - 15:33In my own case, I find it quite impossible when I
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15:33 - 15:37look at the paintings you show, in your film, I can't
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15:37 - 15:39take them seriously, I cannot identify with them
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15:39 - 15:42because they are so immensely exaggerated.
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15:42 - 15:44Always, you know, they fasten onto some secondary
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15:44 - 15:48sexual characteristic, these enormous breasts,
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15:48 - 15:53these beasting bottoms, those huge things like that
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15:53 - 15:56and they just aren't real. Whereas with
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15:56 - 15:58photographs, you can feel that as potentially, possibly
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16:00 - 16:11although it probably isn't. Many of these paintings you show are idealized.
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16:11 - 16:15Um, and therefore, they are to me very unreal.
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16:15 - 16:20in connection with any deep down image that I might have of myself
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16:20 - 16:22or in connection with any deep down
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16:22 - 16:24pleasure I might have
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16:24 - 16:27when looking at another female body
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16:27 - 16:30they don't give me that pleasure at all
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16:30 - 16:33I can admire then as paintings
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16:34 - 16:37but they don't mean human beings to me
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16:37 - 16:38the image that I compare myself to
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16:38 - 16:40is the photograph because it is with photographs
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16:40 - 16:43that I have been encouraged to think of myself
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16:43 - 16:45in this way, it is essentially advertising to me
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16:45 - 16:49that has made me think of myself in this way
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16:49 - 16:51and consequently, I find it extremely interesting to go
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16:51 - 16:53back and think of nudes in this way because
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16:53 - 16:55I have never done so, but having seen the film
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16:55 - 16:58I have no doubt that the same thing applies.
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16:58 - 17:02And do you find the nudes in painting unreal
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17:02 - 17:05in the same way? yes.
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17:05 - 17:08Well, you can't get any information from it,
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17:08 - 17:13can you ? there's no guide to how you might--
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17:13 - 17:13what information is lacking?
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17:13 - 17:19well, activity. Dynamism. it is how
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17:19 - 17:21someone sees you and that's all,
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17:21 - 17:23it is laid upon you.
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17:23 - 17:25I'm glad you showed the men in picture
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17:25 - 17:28because I always find this extremely shocking
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17:28 - 17:32the men are dressed and the women are naked
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17:32 - 17:35and this seems to sum up the entire situation
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17:35 - 17:40because these women as well being humiliated
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17:40 - 17:41and I think this is part of the whole
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17:41 - 17:42scheme of things
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17:42 - 17:44as most people have had, at some station
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17:44 - 17:49in life, nightmares about running through the streets with nothing on
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17:50 - 17:52while everyone else is dressed. And this seems
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17:52 - 17:53to me to be one element in the picture.
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17:53 - 17:55One very interesting thing you said in the film was
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17:55 - 18:01about how nudity was really a kind of disguise,
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18:01 - 18:04it wasn't the real person themselves free.
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18:04 - 18:07But it was just another garment they were wearing
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18:07 - 18:09and worse than a garment, in a sense, because
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18:09 - 18:11it was something that you can't take off.
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18:11 - 18:13This comes, I think, from
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18:13 - 18:17nudity being combined with a pose. And that's
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18:17 - 18:19inevitable if you're going to have a painting
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18:19 - 18:26of a model. Um, in a way, I think that
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18:26 - 18:29we're always dressing. We're always dressing up
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18:29 - 18:31for a part. Always putting on a uniform of one kind of another
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18:31 - 18:33and I think women do this more than men
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18:34 - 18:38men have only been doing it fairly recently.
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18:38 - 18:42Women are always dressing to show the kind of
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18:42 - 18:45character that they want to present: the mother, the working
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18:45 - 18:49woman, the pretty young chick. And nudity
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18:49 - 18:54is a uniform, in a way, for I'm ready
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18:54 - 18:57for sexual pleasure. So, it doesn't. You can't
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18:59 - 19:05identify being nude with being free.
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19:05 - 19:06Only just recently read that book
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19:06 - 19:10which describes a way in which a woman
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19:10 - 19:14is reduced to the sexual pleasure she can
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19:14 - 19:18to a complete object provide to a man. And what struck me in all that book
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19:19 - 19:22that was the most impressive image is the fact that she was told
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19:22 - 19:25that she was never to touch her own breasts to
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19:25 - 19:29close her own mouth or to put her legs
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19:29 - 19:32together. So, the whole point about her stance
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19:32 - 19:33all the time is that she was available
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19:33 - 19:38and this sense of being available of waiting
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19:38 - 19:42for other people is the very antithesis of action
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19:42 - 19:46and you know just like the Brook Street
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19:46 - 19:48Bureau advertisement, Tony hasn't run. He's
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19:48 - 19:50three minutes late in ringing. You feel this whole
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19:50 - 19:53situation, the number of women you talk to who
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19:53 - 19:57say I stay in so many night a week, waiting for someone to ring
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19:57 - 20:00the concept of availability implies
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20:00 - 20:03passivity because if you're simply waiting for someone else to act
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20:04 - 20:07then you can't help yourself.
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20:07 - 20:09yes, it's like you will awake when a man touches
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20:10 - 20:15you when a man kisses you. Whether its an excuse,
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20:15 - 20:18to get yourself going, I think women are shy
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20:22 - 20:25they are waiting too long.
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20:26 - 20:27yes, yes.
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20:27 - 20:29Could I say something now about narcissism?
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20:29 - 20:32I think that both men and women are narcissistic
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20:32 - 20:35but in different senses, and I think
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20:35 - 20:39that one in sometimes I have the impression
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20:39 - 20:42that men and women are tremendously
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20:42 - 20:44narcissistic and are cut off from each other
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20:44 - 20:47from their images of themselves. But
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20:47 - 20:50whereas a woman's image of herself is derived
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20:51 - 20:54directly from other people, the mirror you're talking about
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20:54 - 20:57a man's image of himself is derived from
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20:57 - 21:01the world that is its the world that gives him back
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21:01 - 21:09his image because he acts in it. and the women are drawn to him as a source, as central activity,
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21:09 - 21:11and as a source of worth
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21:12 - 21:14since he is in the world, the fact
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21:14 - 21:18that he values her is important
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21:18 - 21:21and so because their centers of narcissism are different,
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21:21 - 21:24and the woman's is essentially only
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21:24 - 21:27related to the other person
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21:27 - 21:29she is in a much more passive position than he is
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21:29 - 21:30in relation to it
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21:30 - 21:33yes
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21:33 - 21:35do you see narcissism as essentially a negative
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21:37 - 21:41or positive phenomenon?
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21:41 - 21:44well, i think that is very difficult to answer
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21:44 - 21:48but in the sense that it is related to
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21:48 - 21:51an identity, um, it is a positive phenomenon
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21:51 - 21:54and it seems to me that what women envy in men in that
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21:54 - 21:55they have a sense of their
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21:55 - 21:57own identity
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21:57 - 21:58that there is something in them
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21:58 - 22:00that is important to them other than
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22:00 - 22:02simply what other people think of them
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22:02 - 22:04and I think that thing
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22:04 - 22:08is product of their interaction in the world
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22:08 - 22:12and it is almost as if through this interaction
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22:12 - 22:16they build up a store of worth
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22:16 - 22:18of their sense of themselves
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22:18 - 22:21which is a constant
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22:21 - 22:22it cannot be lost
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22:22 - 22:24and because a woman doesn't go out
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22:24 - 22:25and do that
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22:25 - 22:27she doesn't create a store
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22:27 - 22:30she waits for the present interaction with a man
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22:30 - 22:33that can go, that can end at any moment
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22:38 - 22:42there is something here that really
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22:44 - 22:46I would like to push around a little bit
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22:46 - 22:49because narcissism is a very pronounced
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22:49 - 22:53way of stating a relationship with the world
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22:53 - 22:56whether it is a man or a woman
-
22:56 - 23:00but this other question which is contained
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23:00 - 23:06within it, but doesn't go as far as it as an idea
-
23:06 - 23:11is this sort of self delight of a person
-
23:11 - 23:11whether or it is a man or woman
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23:13 - 23:15in life, in what they're doing
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23:15 - 23:20in relationships with a man or woman
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23:22 - 23:27and it is a thing that matters tremendously
-
23:27 - 23:30and its not only a thing that is an inner thing
-
23:30 - 23:32by which you life
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23:32 - 23:34but it is a very outer thing
-
23:34 - 23:39by which you gain relationships with
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23:39 - 23:40your own context in the world
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23:41 - 23:44that you can't gain any other way
-
23:44 - 23:47its when you've somehow been made
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23:47 - 23:50so unconscious of yourself that
-
23:50 - 23:53you easily, naturally,sort of
-
23:53 - 23:59compulsively go out to whatever is around you
-
23:59 - 24:02now, when you're a child that tends
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24:02 - 24:06with people to be other things
-
24:06 - 24:07doesn't it?
-
24:07 - 24:11mountains, streams, whereever you go
-
24:11 - 24:17and then only gradually as you go on
-
24:17 - 24:26you make this kind of absolutely necessary contact with people
-
24:26 - 24:31but I do think that the sort of essense
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24:31 - 24:36of self delight as a kind of possible thing
-
24:36 - 24:38in the modern world and something
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24:38 - 24:41that fewer women have than men and want and must have
-
24:43 - 24:47is the power, the compulsion, not the power
-
24:47 - 24:52the compulsion to make contact with the world
-
24:52 - 24:53as you are living in it
-
24:53 - 24:54and when I'm saying that I don't
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24:54 - 24:58simply mean the people next door
-
24:58 - 25:00I mean what is going on
-
25:00 - 25:02yes
-
25:02 - 25:04I am not so sure about the delight
-
25:04 - 25:06I think it is a very double edged thing
-
25:06 - 25:08I know
-
25:08 - 25:10as I suppose I've always known
-
25:10 - 25:11that I became aware of it in this film
-
25:11 - 25:14I've never consciously looked at myself in
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25:14 - 25:17the mirror and seen myself as I am
-
25:17 - 25:19I always see the image that I want
-
25:19 - 25:20I know that I want to
-
25:20 - 25:22and my children notice it that if I make up
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25:22 - 25:23my face I put on a certain expression
-
25:23 - 25:27if I , from adolescence on, if I have seen myself
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25:27 - 25:29naked in the mirror, I have not thought of
-
25:29 - 25:31myself naked, I have thought of myself as a nude
-
25:31 - 25:35and I think this comes from having been trolled
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25:35 - 25:37around all the major art galleries
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25:37 - 25:41in essence, this is culture, this is beauty
-
25:41 - 25:42with a capital B
-
25:42 - 25:44and, of course, up to a point from advertising too
-
25:44 - 25:46but much more from the painting
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25:46 - 25:51um, that you think the female body is beautiful
-
25:51 - 25:53I am a beautiful object, if not, I have to do
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25:53 - 25:55something about it
-
25:55 - 25:57um, and therefore, the painful part
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25:57 - 26:00of a narcissistic society is the feeling of inadequacy
-
26:00 - 26:03this business of always posing in a mirror
-
26:03 - 26:09I think one does absolutely automatically
-
26:09 - 26:11and if you actually catch yourself
-
26:11 - 26:15in a mirror by chance that is not deliberately
-
26:15 - 26:18because you're getting dressed or having a bath
-
26:18 - 26:21there's one in the street, or you catch yourself
-
26:21 - 26:23in a shop window, it's a tremendous shock
-
26:23 - 26:26because you suddenly see yourself as you are
-
26:26 - 26:28which is windblown, untidy, badly dressed
-
26:28 - 26:30tired, and so on
-
26:30 - 26:32you don't see the person
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26:32 - 26:34at all, and I think this is what happens to women
-
26:34 - 26:36they are always trying to measure
-
26:36 - 26:40up to this erotic image that is projected.
-
26:40 - 26:43There are some paintings
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26:43 - 26:45and I'm thinking at this moment of one painting
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26:45 - 26:47where there is a woman
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26:47 - 26:49who is wearing a garment
-
26:49 - 26:52she is not nude
-
26:52 - 26:54but it is a garment so loose, so comfortable
-
26:54 - 26:57so easy, and its my idea, very much
-
26:57 - 27:03of what a picture of a woman might be like
-
27:03 - 27:07I think its from a period before yours,
-
27:07 - 27:09it's so long ago by Lorenzetti
-
27:09 - 27:12it's a fresco, very very old
-
27:12 - 27:15and it is a picture of a woman
-
27:15 - 27:17who is suppossed to represent peace
-
27:17 - 27:18it's quite extraordinary
-
27:18 - 27:20she could be one of the liberated
-
27:20 - 27:23or trying to be liberated young women
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27:23 - 27:26of today. she is at ease, she is relaxed
-
27:26 - 27:29she is not playing the part at all
-
27:29 - 27:32she is able to combine
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27:32 - 27:35pleasure with thought
-
27:35 - 27:37and with dreaming
-
27:37 - 27:39and she is, she might spring into action
-
27:39 - 27:40at any moment
-
27:40 - 27:42and for me
-
27:42 - 27:44she has much, much more to do
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27:44 - 27:49with nakedness, with oneself, with the
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27:49 - 27:54truth of oneself than any other nudes I have seen
-
27:54 - 27:58[music]
- Title:
- John Berger / Ways of Seeing , Episode 2 (1972)
- Description:
-
A BAFTA award-winning series with John Berger, which rapidly became regarded as one of the most influential art programmes ever made. This second programme deals with the portrayal of the female nude, an important part of the tradition of European art. Berger examines these paintings and asks whether they celebrate women as they really are or only as men would like them to be.
Ways of Seeing is a 1972 BBC four-part television series of 30-minute films created chiefly by writer John Berger and producer Mike Dibb. Berger's scripts were adapted into a book of the same name. The series and book criticize traditional Western cultural aesthetics by raising questions about hidden ideologies in visual images. The series is partially a response to Kenneth Clark's Civilisation series, which represents a more traditionalist view of the Western artistic and cultural canon.
- Video Language:
- English, British
- Duration:
- 28:28
Gabriel Pagonis edited Greek subtitles for John Berger / Ways of Seeing , Episode 2 (1972) |