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TextsContemporary Cultural Texts and Critical Approaches$
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Peter Childs

Print publication date: 2006

Print ISBN-13: 9780748620432

Published to Edinburgh Scholarship Online: September 2012

DOI: 10.3366/edinburgh/9780748620432.001.0001

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PRINTED FROM EDINBURGH SCHOLARSHIP ONLINE (www.edinburgh.universitypressscholarship.com). (c) Copyright Edinburgh University Press, 2020. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in ESO for personal use.date: 26 May 2020

Photograph(er): Cindy Sherman and the Masquerade

Photograph(er): Cindy Sherman and the Masquerade

Approach: Feminism

(p.85) Chapter 8 Photograph(er): Cindy Sherman and the Masquerade

Peter Childs

Edinburgh University Press

The ‘Untitled Film Stills’ feature women in poses that suggest the narratives of unmade films they might accompany. The construction of each of those narratives, however, belongs to the viewer and would suggest both the viewer’s own phantasies and also the cultural narratives the media present everyday. The women in the stills are frequently staring into mirrors, regarding themselves as they are regarded, acknowledging how they are specularly constructed in the visual field. Many are looking towards an off-screen other. While the images look composed the women themselves are rarely so; instead the poses are more often of women agitated or anxious, suggesting vulnerability and/or desperation to different viewers. Where the images are of women who could be called composed, their posture appears unrelaxed and the pose self-consciously ‘struck’. Yet, to ascribe any characteristics to the staged figures in the photographs immediately involves the viewer in the personification of models whose only reality is Sherman’s masquerade, aligning the formal genre as much with catalogue shots, glamour magazine images, or softcore pornography, as movie publicity stills.

Keywords:   Feminism, Cindy Sherman, photography

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