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Cinema, documentary, and the visual arts

Regarding the real: cinema, documentary, and the visual arts develops an approach to the study of documentary film focussing on its aesthetic and cultural relations to the modern visual arts, especially: animation, assemblage, photography, painting, and architecture. In particular, it examines how documentary practices have often incorporated methods and expressive techniques derived from these art forms. Combining close analysis with cultural history, the book re-assesses the influence of the modern visual arts in subverting the structures of realism typically associated with documentary film, and considers the work of figures whose preferred film language is associative, and fragmentary, and for whom the documentary remains an open form, an unstable expressive phenomenon that at its best interrogates its own narratives, and intentions. In the course of its discussion, the book charts a path that leads from Len Lye to Hiroshi Teshigahara, and includes along the way figures such as Joseph Cornell, Johan van der Keuken, William Klein, Jean-Luc Godard, Jonas Mekas, Raymond Depardon.

This is the first interdisciplinary exploration of machine culture in Italian futurism after the First World War. The machine was a primary concern for the futuristi. As well as being a material tool in the factory it was a social and political agent, an aesthetic emblem, a metonymy of modernity and international circulation and a living symbol of past crafts and technologies. Exploring literature, the visual and performing arts, photography, music and film, the book uses the lens of European machine culture to elucidate the work of a broad set of artists and practitioners, including Censi, Depero, Marinetti, Munari and Prampolini. The machine emerges here as an archaeology of technology in modernity: the time machine of futurism.

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and continuous shift of external and internal stimuli’ noted by Simmel in his 1903 essay ‘The Metropolis and Mental Life’.5 Whereas Nordau finds the fragmentation 2 Cf. Malcolm Bradbury and James McFarlane, Modernism: A Guide to European Literature, 1880–1930 (Sussex: Harvester, 1978), 47; Douwe Fokkema and Elrud Ibsch, Modernist Conjectures: A Mainstream in European Literature, 1910–1940 (London: C. Hurst & Company, 1987), 43. 3 Max Nordau, Degeneration (1892) (New York: H. Fertig, 1968 [1895, 1892]), 536; cited in Richard Lehan, The City in Literature: An

in EccentriCities
Paul Greenhalgh

of architecture between 1880 and 1914. The School also transformed the shape of the house and can rightly be thought of as an important ingredient in the rise of international modernism in Europe. 40 Thus in 1893, the organisers of the Columbian had a great deal of acclaimed expertise to tap for the construction of their site. Daniel Burnham, a leading light in the Chicago school, was made chairman

in Ephemeral vistas

Database, the Foxe Project or the ODNB. There is a concern that the normal critical faculties of academics have been suspended when faced with glossy and well-organized databases of this kind: it is as well to remember that a database of any kind is only as good as the source materials upon which it draws, and the organization and accessibility of the data. -Isms New -isms became prominent from the 1950s onwards: modernism, postmodernism, deconstructionism, feminism and receptionism being five of the most important for our subject. The modernist trend emerged in the

in The Debate on the English Reformation

No. 30. Like those previously, this project was developed in close collaboration with government institutions, in this case with GosPlan (led by Strumilin, the inventor of time-budget studies and home inventories) and the Housing Committee of the RSFSR, which in 1930 explored desurbanist ideas in the context of creating housing norms. For GosPlan, the constructivist group of architects called OSA (Obedinenie sovremennykh arkhitektorov, Organization of Contemporary Architects) created a Soviet version of European modernism, a miniature version of Le Corbusier

in Modernism and the making of the Soviet New Man

evolving genre in ‘The City of Russian Modernist Fiction’, in Malcolm Bradbury and James McFarlane (eds), Modernism: A Guide to European Literature, 1880–1930 (Sussex: Harvester, 1978), 467–80. Cf. David Weimer, The City as Metaphor (New York: Random House, 1966); Jean-Yves Tadié, Le roman au XXe siècle (Paris: Belfond, 1990), especially Chapter IV, ‘Roman de la ville, ville du roman’; Anne-Marie Quint (ed.), La Ville dans l’histoire et dans l’imaginaire (Paris: Presses de la Sorbonne Nouvelle, 1996); David Trotter, Paranoid Modernism (New York/London: Oxford University

in EccentriCities

point of the plot, as if staying in one place will simply not encompass what Priestley wants to say. ‘England’ is also tied up with Priestley’s identity as a writer, and his estrangement from modernism in the 1920s and 1930s. Modernism saw itself as an international movement, taking up the engagement with European literature pioneered by the previous generation of realists such as Arnold Bennett. From his early days, Priestley pitched his literary tent on English soil, writing about the Englishness of English literature, and its relation to national character.7 Like

in Priestley’s England

and artistic circles. Science and Charity is an example of how popular allegories were transformed by late nineteenth-century artists to help visualize larger social, metaphysical and, ultimately, aesthetic issues. Picasso’s work, in short, was more than simply the product of a ‘precocious’ 15-year-old boy. It offers an introduction into some general problems of interpretation of nineteenth-century European painting as a whole, and Spain specifically, at a key turning point in Picasso, and Modernism’s, trajectory. Ultimately, if the arts themselves were sick – as

in Spain in the nineteenth century

Of all Eisenstein’s films Strike retains best of all the promise and mutual interests of the Russian cultural avant-garde and of the Bolshevik political revolution. Strike is both a great film of European modernism and a testament to the energies and hopes of the Bolshevik Revolution. Before Eisenstein made Strike in 1925, he had worked for some years after the Revolution in theatre

in Montage