1. Have we left the Feminine Mystique?
The Sentimental Woman created by Olivia Heath
AR2

2. Friedan, Betty. 1963. The Feminine Mystique. United States: W
Friedan, Betty The Feminine Mystique. United States: W.W Norton and Co.
I argue that women have not left the era of The Feminine Mystique, as the conventional roles of women have continued to be governed by the patriarchy through new digital modes of subjugation such as the media. The subliminal seduction, specifically within social media, governs women on how they should perform their femininity. I will identify the similarities between the subliminal seduction of domesticated roles explored within The Feminine Mystique and the subliminal seduction of social media. This comparison will support my ideology of the new Feminine Mystique of this era.
The findings from this research project have created a comedic short film inspired by 1930s film aesthetic in combination with modern real-life situations, that disrupts the conventional thinking and creates awareness.

3. Contextual Relevance
Due to political and social events, news, etc. equality is being spoken about within society
Vast obsession and reliance of social media and technologies by people of my generation
I see the government of young women through social media on the Gold Coast, a heightened pressure
This specific government is subliminal: create awareness that this exists.
I knew what was going on but I didn’t know what exactly “it” was, something was telling me that I need to buy this skirt, and have my make-up like this, post selfies etc. and I didn’t know why: “THE PROBLEM THAT HAS NO NAME” (Friedan, 1963)

4. Methodology
Short Comedic Film, Duration 06:26, Shot on iPhone 6S, Edited in Adobe Premiere Pro
Juxtaposing social media situations against 1930s classic cinema
References narrative and relationship between then and now
Script
Inspired by observational studies, photo elicitations, documentation etc. to determine story, plot, scenes etc.
Gender role reversal
Inspired by theoretical discourse The Feminine Mystique alongside Ways of Seeing and the story of The Stepford Wives
Mise En Scene and Aesthetic
Everything was filmed using an iPhone, with external sound. The 1930s film style was adapted by an App purchased. Everything was produced by technology that is commonly used everyday by society. iPhone was the major equipment.
Edit
Was a transition inspired by first traditional 1930s film, then morphed into obscure cuts and ambiguous shots inspired by Salvador Dali
Attitude
Like all my work, it has a clear attitude. This particularly was inspired by the attitude of Martha Rosler in The Semiotics of the Kitchen.

5. Contributing Theoretical Discourse:
The Second Sex by Simone Deauvoir 1949
Resisting the Male Gaze by Diane Poneterotto 2016
The Feminine Mystique by Better Friedan 1963
Ways of Seeing by John Berger 1972
Power of Horrors by Julia Kristeva 1982
Martha Roslers Semiotics of the Kitchen by Vanessa Thill 2013

6. Martha Rosler’s Semiotics of the Kitchen
By Vanessa Thill, 2013
References both The Feminine Mystique by Betty Friedan and Why Are There No Great Woman Artists? by Linda Nochlin (Hill, Friedan, Nochlin, 1988).
Women, language and the “social ordering systems”
The honour it was for a woman to be a housewife, to be in a position to make decisions about dinner, what appliances to buy and what grocery stores to shop at — how any academic institution or industry made it impossible for women to be anything other than this.

7. Martha Rosler EXEMPLARS: The Semiotics of the Kitchen, 1975. Video
Challenges the conventional roles of women through parody video performance
 My work is to follow a narrative and have a specific scenario with roles reverse

8. Cindy Sherman Untitled Film Stills #35. 1979
EXEMPLARS:
Cindy Sherman
Untitled Film Stills #
Challenges the stereotypical role of a housewife, commenting on the image women had to portray
My work will be a video performance, a story which the audience can follow

9. Henry Enfield Women: Know Your Limits!, 2008. Video
EXEMPLARS:
Henry Enfield
Women: Know Your Limits!, Video
Exaggerated parody video, has a scenario and narrative, and has a Mise En Scene of old film and classic Hollywood movies, comments on the oppressed roles women played in history
 Conventional roles will be reversed

10. Ryan Trecartin Center Jenny, 2013. Video
EXEMPLARS:
Ryan Trecartin
Center Jenny, Video
Over the top and exaggerated, comments on the obsessiveness young people have towards social media
 Won’t be ambiguous and obscure, follow a linear story

11. Kate Tempest EXEMPLARS: Progress, 2016. Poem
Speaks of the subliminal seduction of social media, the image that women must adhere to; their only purpose and how social media supports that
 Again, this message will be said through narrative rather than addressing the audience directly

12. Barbara Kruger EXEMPLARS:
Your Gaze Hits The Side Of My Face, Image
Comments on the Male Gaze and it’s power, how a woman image is of upmost importance. Kruger is not accepting the gaze; she is not accepting these oppressed conventional roles.
 My work will be obvious and focus more on the role of women as a whole, not purely focusing on the gaze but more so the power of it.

13. The Stepford Wives By Iran Levin 1972 EXEMPLARS:

14. The Sentimental Bloke Directed by F.W. Thrings 1932 NEW EXEMPLARS:
The title: The Sentimental Women has been abstracted by the 1932 Australian film by F.W. Thring, The Sentimental Bloke. This film follows the traditional love story of an Australian larrikin and a "good" woman (Thring, 1932).
F.W. Thring’s daughter had an affair with Harold Hoult then married his father

15. Un Chien Andalou Created by Salvador Dali NEW EXEMPLARS:
Un Chien Andalou (An Andalusian Dog) is a film created by surrealist artist Salvador Dali in It is a short silent film that has no specific storyline or plot and that follows the logic of dream with short, staggered, fast paced, unrelated scenes with no linear narrative.
Ants, eyes and other weird interlaced shots and images

16. Intro, Plot, Ending Transition
Reflection:
Amateur
The acting and shooting was basic however it added to the comedy genre. It also reflects on the emotionless response and the lack of care some people have towards this topic.
Intro, Plot, Ending Transition
The two first scenes followed the traditional codes and conventions of classic cinema, LAST SCENE derives from surreal and unconventional Hollywood films by Alfred Hitchcock and Salvador Dali.
The deterioration of Harrisons appearance, from slicked back hair to scruffy, it represents the deterioration of this character, the stress, “the problem that has no name”.
Theory and Exemplar driven journey
The Feminine Mystique shaped the entire film and film aesthetic, where the film transformed into The Stepford Wives through characters and gender roles to untraditional codes and conventions of film, Centre Jenny, Psycho and Un Chien Andalou.

17. Re-filmed position in Scene 1
Video Refining:
Re-filmed position in Scene 1
Position of power, swapping Harrisons level to be lower
Equipment/Post Production
Sound was an initial issue and that was fixed in post production and with external sound as recommended
Title
The Feminine Mystique, The Femme Spell, to finally, The Sentimental Woman

18. Conclusion
The Sentimental Woman firstly addresses the issue of gender roles within society alongside the obsession and unknowing seduction of social media that subliminally governs women to perform femininity a certain way.
The comedic script forces the viewers to reflect on how serious this issue is. REVERSE EFFECT dude to the ROLE REVERSE.
The Sentimental Woman highly suggests that the subliminal seduction of domesticated roles constructed by the patriarch, comes from a similar government that seduces women through social media. Therefore, the socially constructed roles of women are still existing within society.
Uses familiar and classic films as references to make more of an impact.

19. Premiere: Gold Coast City Gallery (Undercurrents)
Future work
Premiere: Gold Coast City Gallery (Undercurrents)
Gold Coast is the perfect place for this to premiere as I feel as though it supports the government of women immensely, and youth of this community are absorbed by social media and personal image.
Juxtapositioning technique
I would like to then research another issue within the past that still happens in this modern era. Some ideas have been the racial discrimination and alienation of Aboriginal people -- juxtaposing classic film (which references history) and modern situations. Other ideas which surround other demographic discriminations that still happen today.
Continue using video as an art medium

20. fin.