Search results

You are looking at 1 - 10 of 23 items for :

  • "performance art" x
  • Film, Media and Music x
  • Manchester Film and Media Studies x
  • Refine by access: All content x
Clear All
Abstract only

Chantal Akerman was one of Europe's most acclaimed and prolific contemporary directors, who came to prominence with Jeanne Dielman, 23, quai du Commerce, and 1080 Bruxelles. Her family history is intimately bound up with the horrors of the Holocaust. Akerman was born in Brussels on 6 June 1950, the first child of Jewish Polish immigrants who settled in Belgium in the late 1930s. Filmmaking, for her, was an imaginative and creative engagement with the silence that weighed heavily on her childhood. Behind the multiple guises of Akerman, this book seeks to present a cinema that crystallises questions that are at the heart of our post-war, post-Holocaust, post-feminist sensibility. It identifies the characteristics of her avant-garde work of the 1970s, the period most closely influenced by American structuralist film and performance art. The book surveys her work in the following decade in the context of post-modernism, the new aesthetic of kitsch and the emergence of a new hedonism in Western critical discourses. It is dedicated to her documentary work of the 1990s and 2000s, which sheds light on the central ethical and aesthetic concerns behind her work. The book discusses her attempts to penetrate into the mainstream, her renewed engagement with the themes of love and desire, and her further exploration of the permeable boundaries between autobiography and fiction. What emerges forcefully in Akerman's cinema, is a persistent engagement with the forms and conditions of human existence.

Abstract only
Anatomy of an avant-garde
Marion Schmid

diversified and distinguished career, that the director sets the parameters for her future work and develops the minimalist, hyper-realist style which is often cited as her trademark. This chapter will discuss her rich output in this period in the artistic and cultural contexts in which it emerged and against which it was subsequently assessed, most importantly experimental film, performance art and feminism. To understand Akerman’s early

in Chantal Akerman
Douglas Morrey
Alison Smith

performance art struggling for its own identity, especially in the first years of sound film, and, for many theorists, the anti-cinema par excellence. ‘Pas d’épousailles du théâtre et du cinématographe’, wrote Robert Bresson in his journal of the 1950s, ‘sans extermination des deux’ 1 (Bresson 1975 : 21); but Bresson’s theatre is a pasteboard affair, an easy scapegoat for a frozen, actorly style of cinema

in Jacques Rivette
Abstract only
Adventures in reality: why (punk) fanzines matter
Matthew Worley
Keith Gildart
Anna Gough-Yates
Sian Lincoln
Bill Osgerby
Lucy Robinson
John Street
, and
Pete Webb

Bland uncovers how fanzines became an integral part of the industrial culture that emerged parallel (and often overlapped) with punk from the mid-1970s. Often drawn from avant garde performance art and cultural theories designed to challenge, deconstruct and demystify the forces of ‘control’ (media, government, religion, language, ritual) that shape ‘reality’, industrial bands such as Throbbing Gristle and zines such as Stabmental committed to recovering lost knowledge and disseminating information. Lastly in this section, Pete Dale returns to punk’s DIY ethos to

in Ripped, torn and cut
Consumerism and alienation in 1950s comedies
Dave Rolinson

Film Culture (Flicks Books, 1997), p. 11. 4 Stuart Laing, Representations of Working-Class Life: 1957–1964 (Macmillan, 1986), p. 113. 5 John Ellis, ‘Cinema as performance art’, in Justine Ashby and Andrew Higson (eds), British

in British cinema of the 1950s
Dr Jenny Barrett

tirelessly through his various projects for race equality in this country and the promotion of performance art. In this interview with Dr Jenny Barrett, which took place at the Liverpool symposium of the ‘Arts, Culture and Ethics in Black and White’ project in November 2015, Kunle talks about the issues that drive his work and his hopes for Black British artists and filmmakers in the centenary year of D. W

in D.W. Griffith’s The Birth of a Nation
The transgressive zine culture of industrial music in the 1970s and 1980s
Benjamin Bland

stems chiefly from the band’s own independent record label: Industrial Records. Officially ‘activated’ on 3 September 1975 (a date specifically chosen to match the anniversary of Britain’s entry into the Second World War), this Hackney-based quartet evolved out of the controversial performance art collective COUM Transmissions.5 TG’s most prominent early performance, in fact, took place at the Institute of Contemporary Arts during COUM’s Prostitution exhibition in October 1976. The moral panic created by this event – and specifically its overwhelming focus on

in Ripped, torn and cut
Abigail Susik

Experimentalisms in Practice: Music Perspectives from Latin America , edited by Ana R. Alonso-Minutti et al., 189–226 . Oxford : Oxford University Press , 2018 . Bustamante , Maris . ‘ Conditions, Roads, Genealogies of Mexican Conceptualisms, 1921–1993 ’. In Arte ≠ Vida: Actions by Artists of the Americas 1960–2000 , edited by Deborah Cullen , 134–51 . New York : El Museo del Barrio , 2008 . —— . ‘ Non-Objective Arts in Mexico, 1963–83 ’. In Corpus Delicti: Performance Art of the Americas , edited by Coco Fusco , 225–39 . New York

in Surrealism and film after 1945
UK artists’ film on television
A. L. Rees

Partridge, Ridley approached TV from a quite different angle, in a context of live and performance art rather than cinema, and above all of video rather than celluloid. Post-modern from the start, her Annalogue productions sidestepped film language to focus on the electronic image. This began a decade earlier with the Arena: Video Art Special programme (tx. 1976, BBC2), conceived by Ridley and produced by Mark Kidel. A survey of the field internationally, it featured Hall’s This is a Television Receiver, in which the newsreader Richard Baker recites a text about his own

in Experimental British television
Abstract only
Victoria Best
Martin Crowley

participation of both producer and consumer in the creation of meaning, as for example in its tendency to embrace the ‘happening’ or ‘performance’ as its privileged form. We can identify another link to the pornographic here, which references more clearly than most other cultural codes the real presence of the performer (which is exactly what is meant by the term ‘performance’ in ‘performance art’: on this, see Williams 2001 ), and

in The new pornographies