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R e f e r e n c e   L i s t

Barker, C 2007, ‘Issues of subjectivity and identity’, in Cultural studies: theory and practice, 3rd edn, Sage Publications, London, pp. 218-223.

Mansfield, N 2000, ‘Freud and the split subject’, in Subjectivity: theories of the self from Freud to Haraway, New York University Press, New York, pp. 25-37.

Saturday Night Live 2018, television broadcast, 14 April, NBC, United States. Written by J. Mulaney.

Mocking SpongeBob 2017, May 4 Twitter, https://knowyourmeme.com/memes/mocking-spongebob

MovieClips, (2011). Inception #1 Movie CLIP - The Most Skilled Extractor (2010) HD. [online] YouTube. Available at: https://www.youtube.com/watch?v=fpXngRB-VTw

Inception. (2010). [film] Directed by C. Nolan. Los Angeles: Warner Bros. Pictures

RM, (2018). Mono. [Mixtape] South Korea: Big Hit Entertainment.

Genius Lyrics. 2018. EVERYTHINGOES LYRICS. [ONLINE] Available at: https://genius.com/Genius-translations-rm-everythingoes-feat-nell-english-translation-lyrics.

Gasa, H. (2019). RM - 'EVERYTHINGOES' (지나가) (with NELL) Lyrics [Colour Coded_Han_Rom_Eng]. [online] YouTube. Available at: https://www.youtube.com/watch?v=zZ7ugz2Dnvc&list=PLu6qVI3-eYmi2s5FCI-FRVCK40vWqHys4&index=7&t=0s

Waelder, R. (2007). The Principle of Multiple Function: Observations on Over-Determination. The Psychoanalytic Quarterly, 76(01), pp.75-92.

Geher, G. and Miller, G (2012). Mating Intelligence: Sex, Relationships, and the Mind's Reproductive System. Health & Fitness, 51(02), p.453.

Rock, M. (1974). Rocky Horror Picture Show, 1974. [online] Morrisonhotelgallery.com. Available at: https://www.morrisonhotelgallery.com/photographs/Zonsb2/Rocky-Horror-Picture-Show-1974 

Carmeli, A. and Schaubroeck, J. (2007). The influence of leaders' and other referents' normative expectations on individual involvement in creative work. The Leadership Quarterly, 18(01), pp.35-48.

McLean, L. D. (2005) ‘Organizational Culture’s Influence on Creativity and Innovation: A Review of the Literature and Implications for Human Resource Development’, Advances in Developing Human Resources, 7(02), pp. 226–246.

Fanpop (2006). BtVS - Behind the Scene Photo: Sarah & Joss Whedon. [online] Fanpop.com. Available at: http://www.fanpop.com/clubs/btvs-behind-the-scene/images/993078/title/sarah-joss-whedon-photo

Steinvorth, U. (2016) Pride and authenticity / Ulrich Steinvorth. Switzerland : Palgrave Macmillan, [2016]. Available at: http://ezproxy.uow.edu.au/login?url=https://search.ebscohost.com/login.aspx?direct=true&db=cat03332a&AN=uow.b2450789&site=eds-live

Dutton, Denis (2003). Authenticity in art. In Jerrold Levinson (ed.), The Oxford Handbook of Aesthetics. Oxford University Press. pp. 258-274.

Kruger, B. (1981). Untitled (You Construct Intricate Rituals). [Photograph, Gelatin Silver Print] Boston: Museum of Fine Arts.

Monin (2019). Leonardo DiCaprio: Total Eclipse. [online] Gifer.com. Available at: https://gifer.com/en/3GIC

‘Fluid, Fractured, and Distinctive? In Search of a Definition of Organizational Identity’ (2000) Academy of Management Review, 25(1), pp. 143–144. 

Rodriguez, J. (2018) ‘Social identity theory’, Salem Press Encyclopedia of Health. Available at: http://ezproxy.uow.edu.au/login?url=https://search.ebscohost.com/login.aspx?direct=true&db=ers&AN=93872236&site=eds-live

Indigoshordy, (2014). So You Just Gon' Bring Me a Birthday Gift on My Birthday to My Birthday Party. YouTube. Available at: https://www.youtube.com/watch?v=F8W9370CHkk

GIPHY (2012). Burning Homer Simpson GIF - Find & Share on GIPHY. [online] GIPHY. Available at: https://giphy.com/gifs/the-simpsons-fire-homer-simpson-vLruErVSYGx8s

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S o c i a l   I d e n t i t y

“Social identity theory maintains that all individuals are motivated to achieve and maintain a positive self-concept… (it) includes the group affiliations that are recognized as being part of the self, such as one’s image of oneself as a Protestant, a blue-collar worker, or a conservative.” (Rodriguez 2018, p.1) The ways by which we contextually aim to maintain our Social identity is via the curation and engagement of our social media. In addition to accepting and participating in peer pressure, status quo and patriarchal notions.

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F r a c t u r e d   I d e n t i t y

An interesting outlook regarding Fractured Identity is that conducted by the Academy of Management, who regards the concept as: “both identity change and identity endurance are adaptive responses to the needs and demands of an organization's salient audiences” (Academy of Management 2000, p.143) Thus presenting Fractured Identity as an evolving and adapting process that is orchestrated via the stability of one’s personality and mental health. Although typically I would reference both the cinematic and literature portrayals of Norman Bates; looking at his cinematic identities vs his original, and I would argue lacking, counterpart’s distinct: Norman, Norma and Normal. I believe that the recent online sensation Momo is an interesting contemporary outlook on such a concept. How an artwork went from such an innocent cultural mother bird piece, to become twisted into an evil internet hoax; is one that I would argue is notable for the way by which we as audiences are constructing and reviewing Fractured Identities. We have gone from being the receivers of this text to the creators. Far gone are we from humble audience members observing the many iterations of Norman Bates. To now cruelly becoming the artist of works we do not own.

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C r e a t i v e   I d e n t i t y

Because I’m a creative writing student, I find that tutors and peers are often shocked within art classes that I tend to lean more towards cinematic examples. Even friends often ask why, despite my great love for literature, I’m enrolled in creative writing; when my true passion is film. To that I argue that

 A)      I am also a BCM student

And

B)      Screenwriting exists too.

 Creative identity is an interesting concept… isn’t it? When I think of my own creative identity, I look at it as one that has been entirely influenced by the narratives I’ve encountered. One that is constantly evolving with each medium I encounter. Be it:

“I could have done this better.”

Or

“This concept inspires me.”

 As a wannabe actress, a quote that oddly enough inspires my creative identity is one by Leonardo DiCaprio: “’Don’t think for a moment that I’m really like any of the characters I’ve played. I’m not. That’s why it’s called ‘acting’.’”

 I think there’s a lot to be said about that quote. One that goes deeper than just surface level. In order, within a cinematic standpoint, to achieve a true cinematic identity. One must not lose sense of who they truly are, and yet they must be able to have the ability to emphasise and transform into a different creative identity.

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A u t h e n t i c i t y

Authenticity is a troubling concept, as it is one that garners multiple definitions and opinions depending on the artist by whom you quote. As examined by Ulrich Steinvorth: “Authenticity…is the only adequate form of human existence but not a characteristic that we may strive for or that we have or do not have.” Whereas Denis Dutton defines it as: “Authenticity…is a much broader issue than one of simply spotting and rooting out fakery in the arts. The will to establish the nominal authenticity of a work of art, identifying its maker and provenance — in a phrase, determining how the work came to be — comes from a general desire to understand a work of art according to its original canon of criticism: what did it mean to its creator? How was it related to the cultural context of its creation?” (Dutton 2003, p.260)

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C r e a t i v e   I n f l u e n c e

Creative influence is one that garners the ability to hone in and explore creativity. Via engaging with a wide variety of texts and allowing for influence within themes, characters, plots, material and dialogue. The ways by which creativity is influenced becomes apparent. When examining creativity in itself and how it becomes a condition by which one can mould; it is interesting to note that: “Creativity is a complex and multifaceted construct… creativity has been described as a process, a product, and a personality trait.” (Carmeli & Schaubroeck 2007, p.36). Furthermore, “Creative performance is increased when diversity is allowed, when people with dissimilar frames of reference can exchange ideas, and when the organization can effectively integrate creative personalities into the organizational mainstream.” (McLean 2005, p.237). As such, I believe an adequate example of creative influence comes from the feminist work of Joss Whedon. Whereby via engaging with strong feminist literature, and also by which his home life, has been able to generate significant creative works.

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S e n s o r y    K n o w l e d g e

Sensory Knowledge is the concept concerned with the intelligence and knowledge one may gain via the sense of touch. As defined by David Howe: “Such bodily intelligence, it is clear, is not only a matter of physiological data-gathering, but of uniting perceptions with moral and cosmological values. While knowledge of the world may be said to come from bodily channels, the sense of touch is a particularly diffuse and varied source of information.” (Howes 2005, p.28)

Via a cinematic landscape, it is my understanding that via a feminist outlook; Sensory Knowledge can also be seen to raise issues regarding positive sexual experiences. Through the portrayal and concept of positive and negative touching – which raises sensory intelligence via the illumination of what constitutes as consent.

“Thus, an important domain of mating intelligence would involve the tactics that women bring to bear on solving this adaptive problem – perhaps selecting mates who can function as “body guards,” avoiding circumstances in which there is an elevated risk of rape, deflecting unwanted sexual attention, avoiding men who display cues correlated with sexual aggression.” (Geher & Miller 2012, p.16)

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O v e r d e t e r m i n a t i o n

Overdetermination is the concept that:  “even the most trivial behaviours – biting your nails, disgust at the skin on the surface of warm milk, anger and impatience in traffic – are the focus and expression of the most plurals and deep psychological complexity…its only presence in the conscious mind – and its impulse us always to push into the conscious mind – can be in the trivial impulses and surprising disjunctions we live with everyday.” (Mansfield 2000, p.29). However, due to the open-endedness of this definition. It then begs the question of how can overdetermination truly be determined or even measured? How does one control what is both a presence and an impulse? “Over-determination opens onto infinity, as it were, and there is no principle of psychoanalytical hermeneutics that can set down any sort of postulate as to how far over-determination reaches and when it may be considered exhausted.” (Waelder 2007, p.81).

As such, an interesting text I believe to explore such a concept is RM’s song Everythingoes from his 2018 mixtape Mono. Within his song he raps:

모든 것은 아파야만 해

세상을 안고 숨을 훅 들이 마셔봐

내 폐 안에 가득 들어찬 따가운 공기가

모든 걸 말해 그래 수없이 도망치고 싶었던

아파하고 무뎌지던 오랜 시간들 바로 그 아래

  Which in English translates as:

  Everything needs to go through pain

Embrace the world and suck in a breath

That prickling air that fills up your lungs says everything

Yeah, back when I wished to drink it in innumerable times

Underneath those old times when I, a fool, grew dull

https://www.youtube.com/watch?v=zZ7ugz2Dnvc&list=PLu6qVI3-eYmi2s5FCI-FRVCK40vWqHys4&index=7&t=0s

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U n c o n s c i o u s

To challenge and define the unconscious is an existential process. As the ways in which the unconscious mind can be both simultaneously subdued and revoked is one that challenges what it means to be think and be human. Sigmund Freud argues that there are three ways the unconscious can be revealed: slips of the tongue, jokes and dreams. However, I’m much more inclined to lean towards Nick Mansfield’s definition; (regarding the unconscious) “but they are so much a part of our usual practise that, like our equally bizarre dreaming, we rarely bother with them, unless they become dominating, recurrent or uncontrollable. (Mansfield 2000, p.27).

This concept is cinematically explored throughout the 2010 Christopher Nolan film Inception. Particularly via the dialogue of Leonardo DiCaprio’s character Dom Cobb, who challenges the unconscious mind as a product (within a dream landscape) that can be prodded and explored. One that with the right tools can be accessed and communicated with; hence allowing for a greater understanding of whom the individual truly is.

https://www.youtube.com/watch?v=fpXngRB-VTw

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E s s e n t i a l i s m

Ho boy! Have you ever watched one of those shitty cliché sports movies? You know the ones. The ones you’d never willingly seek out, but instead are subjected to in some random high school class because the teacher was too lazy to orchestrate a lesson. It’s always the same ending, and it goes something like this: “oH mY gOD WHo couLD’vE kNoWN tHAt THe sPiRiT oF SPOrT aNd fRIenDsHIP waS iN uS aLL ALOnG!?”

Have you ever wondered what that all meant, or why you were subjected to it? Well… Essentialism has been defined as “the western search for identity is premised on the idea that there is such a ‘thing’ to be found. Here identity exists as a universal and timeless core of the self that we all possess.” (Barker 2007, p. 219) This explains why Hollywood loves to shove these themes down your throats. Because within our Western society, there is this assumption that our identity is one that must be unlocked and discovered with the passage of time. That we as humans are constantly evolving in a bid to unlock our true potential.

I guess that’s pretty cool… doesn’t take away from my PTSD from those shitty movies.

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S u b j e c t i v i t y

To ask about subjectivity is to pose the question: what is a person? Simply put, subjectivity is the condition of being a person and the processes by which we become a person (Barker 2007, p. 218). When we examine the wider world and hence the cultures evident within. There is not one culture that doesn’t exhibit or articulate a sense of “I”.  Of course the manner by which cultures, and indeed societies themselves, use “I” varies. What it does however; force us to recognise is that subjectivity is culturally constructed. As such, subjectivity forces us to not only consider the ramifications and existentialism of how we present ourselves. But also the ways by which other people do so. Subjectivity allows for a cultural examination of how one presents themselves in altering situations, and how that affects and adds up to the overarching identity.