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Cindy Sherman Research Paper

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Cindy Sherman is one of the most “original and influential” artist of the 21st century (Sherman). She is known for transforming herself into “familiar and non-specific” characters (Moorhouse 19). Sherman’s Untitled Film Still #3, 1977 is a 8X10-inch silver gelatin print highlighting the subject matter responsible for launching her iconic career. This image is one of the sixty-nine photographs making up the Untitled Film Stills series created between the years 1977 and 1980 when Sherman first moved to New York. Although the artist is in her photographs, they are not self-portraits. As the creator and model to fictional b-list celebrities reminiscent of Alfred Hitchcock films, and “the look of European opposed to Hollywood types, Sherman is reacting …show more content…
As if caught in mid action moments before impending doom, the figure stares off to the side twisting away from the viewer. Attacking the figure an her self-confidence are everyday household items. However, for the figure these household products have taken on a life of their own with sexualized identities. Pointing directly at the figure's breasts is a phallic pan handle protruding from the corner. Just as the pan handle is directing the viewer's gaze towards the physical sexuality, the soap bottle's hourglass figure is juxtaposed against the figure's apron synched waist. Unlike in advertising, the focal points of the image are on the object’s general shapes rather than their function. This is achieved by taking the photo in black and white. Sherman "purposely developed the film in hotter chemicals to make it crackle," and produce a grainy quality (Stevens). The imperfection on the paper emphasize the 1950s cinematic quality. Acting as an essential component to a film's narrative, the same emotive qualities are present in Sherman's photographs. Not to deteriorate from the artistically strong photo, Sherman did not title her work because she thought “it would spoil the ambiguity” (Sherman 7). The numbers were assigned by the Metro Pictures Gallery …show more content…
As a female artist using herself as a subject with feminine topics, it is therefore required to question the gaze in her work as she “shows[s] us how to ‘play’ with the gaze” (Sherman 168). Sherman has photographed herself as a man, but felt “it was hard to think of more than a few stereotypes- the stereotypes were already a cliché” (Sherman 9). Like classic paintings of nude women, permission is given by the artist to explore the canvas. The nude figures are deliberately left unclothed, and subjected to the male gaze. In comparison, the figure in Untitled Film Still #3 guides viewers through her world, and leave realizing they have become the perpetrator. In this image, the figure's eyes are looking away from the viewer as if she is aware of her audience but does not want to directly engage with them. The expression on the figure is significant since Sherman "like[s] characters who are not smiling... [because] it makes the viewer come up with the narrative" (Stevens). The character’s expression in this photograph is reacting to the authoritative overtones being forced by inanimate objects, and what is beyond the

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