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Der Blaue Reiter and its legacies
Author: Dorothy Price

This book presents new research on the histories and legacies of the German Expressionist group, Der Blaue Reiter, the founding force behind modernist abstraction. For the first time Der Blaue Reiter is subjected to a variety of novel inter-disciplinary perspectives, ranging from a philosophical enquiry into its language and visual perception, to analyses of its gender dynamics, its reception at different historical junctures throughout the twentieth century, and its legacies for post-colonial aesthetic practices. The volume offers a new perspective on familiar aspects of Expressionism and abstraction, taking seriously the inheritance of modernism for the twenty-first century in ways that will help to recalibrate the field of Expressionist studies for future scholarship. Der Blaue Reiter still matters, the contributors argue, because the legacies of abstraction are still being debated by artists, writers, philosophers and cultural theorists today.

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Brigitte Rollet

of the twenty-first century, one can only hope that these female directors’ films will have the power to reverse sexual stereotypes and to fulfil the wish film director Nelly Kaplan expressed in 1976 : ‘Mais de grâce, que les films faits par des femmes soient construits pour intéresser – même en dérangeant, surtout en dérangeant – tout le monde! Il s’agit de raconter des histoires. Et a travers elles, de détróner ce qui est le poison le plus insidieux du cinéma: sa misogynie’ 6 (p. 14). There is very little doubt that Serreau

in Coline Serreau
Brigitte Rollet

’amour releasedin France in 1974 (see the filmography and below for more details). In 1975 she made her debut as a film director. She directed ashort fiction film, entitled Le Rendez-vous, for the second French public channel. From feminist activist documentary to mainstream comedies: genres and mixture of genres In an interview in February 1977, 2 Coline Serreau told the journalist who asked her whether she would continue to make documentaries that ‘j’ai envie de continuer la fiction aussi, et j’ai envie de continuer à jouer: pour

in Coline Serreau
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Coline Serreau and politics (1972–96)
Brigitte Rollet

. Renoir’s La Vie est à nous (1936) was financed by a collective and was a manifesto for the French Communist Party. The cinema was not the only field explored by the Popular Front which contributed to many cultural experiments during its brief access to political power (May 1936–October 1938). The main difference, however, between 1970s’ cinema and that of the Popular Front is the fact that unlike the latter, the former was the expression of a reaction against a right-wing government, albeit ‘liberal’. Many film directors of the

in Coline Serreau
Jenny Lin

Kong–based film director Wong Kar-wai, who served as artistic director, “China: Through the Looking Glass” was hailed as “a From Shanghai to New York by way of conclusion stunning, cinematic journey in which magnificent examples of the haute couture and avant-garde ready-to-wear are presented alongside masterworks of Chinese art.”5 While signaling the hopeful promises of our increasingly globalized artistic and cultural spheres, the exhibition also registered some of the major problems associated with the global turn in contemporary art: uneven representation

in Above sea
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The art of contradiction
Jacopo Galimberti, Noemi de Haro García, and Victoria H. F. Scott

, designers and film directors appropriated or emulated the political ideals of the Cultural Revolution, translating them into a wide variety of visual propositions. From the Californian campuses to the Peruvian campesinos, many attempted to integrate Mao’s principles and the Cultural Revolution’s material culture, iconography and slogans into their production and model of authorship, although in different, and at times highly incompatible, ways. It is unlikely that the lack of scholarship on this topic is accidental. The widespread apprehension concerning the attribution

in Art, Global Maoism and the Chinese Cultural Revolution
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Joseph McGonagle

publicised protests in the late 1990s, controversy grew and they became a cause célèbre for French cinema: in February 1997, fifty-nine film directors spearheaded an appeal for civil disobedience against the Interior Minister Jean-Louis Debré’s bill requiring citizens to inform the authorities when lodging foreign visitors in their homes. The national demonstration that followed in Paris attracted 100,000 protestors. In June 1997, Debré’s successor under the Jospin government, Jean-Pierre Chevènement, announced an amnesty and specified the criteria France’s estimated 250

in Representing ethnicity in contemporary French visual culture
A cultural biography of Red-White-Blue, from Hong Kong to Louis Vuitton
Wessie Ling

Nigeria and Ghana. A metaphor for Ghanaian immigration, ‘Ghana must go’, while largely entailing movement within or between Ghana and Nigeria, is also about their socio-political realities. In 2016, the Nigerian film director Frank Rajah Arase released an award-wining movie using the phrase ‘Ghana must go’ as its title, albeit unrelated to the novel. 32 A light-hearted comedy featuring the conflicts between Nigerians and Ghanaians, the movie unfolds the story of the refusal of a Ghanaian father to let his daughter marry a Nigerian due to the ‘Ghana must go’ saga. In

in European fashion
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Hostage-takings and aircraft hijackings since the 1960s
Charlotte Klonk

The kidnappers assumed that with Schleyer they had captured an important functionary of the ruling elite who would force the state to negotiate. They demanded the release of eleven imprisoned RAF members, among them leading figures such as Andreas Baader, Gudrun Ensslin and Jan-Carl Raspe. Yet it soon became clear that they had miscalculated. The fact alone that there were four people dead at the site of the crime – the chauffeur of Schleyer’s car and three police escorts – left the government with little scope for manoeuvre. As the journalist and film director

in Terror
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The legacy of Der Blaue Reiter in the art of Paul Klee and Nacer Khemir
Sarah McGavran

, ‘Paul Klee und der Mythos vom Orient’, in Michael Baumgartner and Carola Haensler (eds), Auf der Suche nach dem Orient (Bern: Zentrum Paul Klee, 2009) pp. 130–43. 23 Christoph Otterbeck, ‘Zweimal Orient – und zurück’, in Baumgartner and Haensler (eds), Auf der Suche nach dem Orient, pp. 170–85. 24 This definition of essay film is from N. Alter, Chris Marker, Contemporary Film Directors, ed. James Naremore (Urbana, Chicago: University of Illinois Press, 2006), pp. 17–20. 25 Moll, interview with the author, 2011. 26 Ibid. 27 ‘Den Kopf voll von den nächtlichen

in German Expressionism