The Bloody Chamber

Donna Leishman

    Research output: Non-textual formDigital or Visual Products

    Original languageEnglish
    Publication statusPublished - 2003

    Cite this

    Leishman, D. (Author). (2003). The Bloody Chamber. Digital or Visual Products, Retrieved from http://6amhoover.com/chamber/index_flash.htm
    Leishman, Donna (Author). / The Bloody Chamber. [Digital or Visual Products].
    @misc{5732ee74879049a09a1b524b139fc587,
    title = "The Bloody Chamber",
    author = "Donna Leishman",
    note = "This artwork, which won the PlayEngines: streaming worlds Award, is a pictorial narrative interpretation based on the story of Bluebeard/La Barbe ble{\"u}e as originally told by Charles Perrault in 1697. Traditionally the female protagonist (the bride) antecedents are Eve and Pandora, emblems of female curiosity that subsequently unleashed evil consequences onto the world. Feminist readings of this narrative have repositioned her, not as a victim but as a survivor, as an empowered victor who escapes (or kills) her brute of a husband (Carter, Atwood et al). In this artwork the author portrays another repositioning, that being that both the husband and wife characters are imperfect, are equally flawed with dysfunctional psychologies. This output questions how can interactivity, audio, imagery and animation create an aesthetic that both fosters a sense of intimacy and a narrative immersion? Can a dual ending (as transformation of the original narrative) be made meaningful? The new narrative positioning is revealed to the participant through the various windows and entrances within the project. This artwork visually and structurally creates voyeuristic and changeable multi-perspectives for the participant as termed ‘Transformation’ by Janet Murray (1997). These interactive apertures of sight mirror the limited understanding that the protagonists have of one another. Within the artwork the role of the participant is that of a voyeur who is in control of his or her own larger vantage point, as they can see both of the protagonist's limited perspectives. This control means that they can see the fuller metamorphosis of the original text. Exhibited: 43rd Annual Salone de Mobile Milan (13 – 19 April 2004); Farmiloes Building, Clerkenwell, London (22 – 26 September 2004); Scottish Show Comes Home Glasgow (February 5 – March 18 2005); Hypnogogia: Two Waking Dreams, Glasgow Art Fair/ CCA (April 11th-14th 2002) coverage.spatial: +playengine+ exhibition - State Library of Victoria, 19th - 23rd June 2003 dc.isbasedon: MelbourneDAC, the 5th International Digital Arts and Culture Conference, Melbourne, 19th-23rd May, 2003 dc.type: Artwork Artwork",
    year = "2003",
    language = "English",

    }

    Leishman, D, The Bloody Chamber, 2003, Digital or Visual Products.
    The Bloody Chamber. Leishman, Donna (Author). 2003.

    Research output: Non-textual formDigital or Visual Products

    TY - ADVS

    T1 - The Bloody Chamber

    AU - Leishman, Donna

    N1 - This artwork, which won the PlayEngines: streaming worlds Award, is a pictorial narrative interpretation based on the story of Bluebeard/La Barbe bleüe as originally told by Charles Perrault in 1697. Traditionally the female protagonist (the bride) antecedents are Eve and Pandora, emblems of female curiosity that subsequently unleashed evil consequences onto the world. Feminist readings of this narrative have repositioned her, not as a victim but as a survivor, as an empowered victor who escapes (or kills) her brute of a husband (Carter, Atwood et al). In this artwork the author portrays another repositioning, that being that both the husband and wife characters are imperfect, are equally flawed with dysfunctional psychologies. This output questions how can interactivity, audio, imagery and animation create an aesthetic that both fosters a sense of intimacy and a narrative immersion? Can a dual ending (as transformation of the original narrative) be made meaningful? The new narrative positioning is revealed to the participant through the various windows and entrances within the project. This artwork visually and structurally creates voyeuristic and changeable multi-perspectives for the participant as termed ‘Transformation’ by Janet Murray (1997). These interactive apertures of sight mirror the limited understanding that the protagonists have of one another. Within the artwork the role of the participant is that of a voyeur who is in control of his or her own larger vantage point, as they can see both of the protagonist's limited perspectives. This control means that they can see the fuller metamorphosis of the original text. Exhibited: 43rd Annual Salone de Mobile Milan (13 – 19 April 2004); Farmiloes Building, Clerkenwell, London (22 – 26 September 2004); Scottish Show Comes Home Glasgow (February 5 – March 18 2005); Hypnogogia: Two Waking Dreams, Glasgow Art Fair/ CCA (April 11th-14th 2002) coverage.spatial: +playengine+ exhibition - State Library of Victoria, 19th - 23rd June 2003 dc.isbasedon: MelbourneDAC, the 5th International Digital Arts and Culture Conference, Melbourne, 19th-23rd May, 2003 dc.type: Artwork Artwork

    PY - 2003

    Y1 - 2003

    M3 - Digital or Visual Products

    ER -

    Leishman D (Author). The Bloody Chamber 2003.