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Emma Wilson

de Picasso est utilisé comme un scénario à découper, à mettre en scène’ (Fleischer 1998 : 25). 6 While the painting Guernica , which hangs in the Reina Sofia art gallery in Barcelona, is central to the images of Resnais’s Guernica , his film moves beyond this painting, and its shattered, exploded composition, finding its visual echoes throughout Picasso’s painted oeuvre. As with Van Gogh , this is not

in Alain Resnais
Jean-Michel Rabaté

startled musicologist honestly stated a certain dismay, adding even that this music destroyed his psychological balance! Nevertheless, he ended up stating that he could be persuaded to like it. Typically, Huneker resorts to terms such as ‘ugly’ or ‘hideous’ to record the truly new. These were adjectives he also used to report on new paintings by Picasso. Unlike Guillaume Apollinaire, who applauded the new no matter what or by whom, Huneker could be guarded. His cultural taste having been formed in the second half of the nineteenth century, he had a hard time accepting

in 1913: The year of French modernism
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Susana Onega

, Picasso and Sappho, ‘are not characters in the physical sense that we know them on the street or perhaps even in our own lives. They are consciousnesses.’72 This description of the characters as sheer ‘consciousnesses’ existing only in an ‘interior’ world situates Art & Lies on a par with Modernist experiments in stream-ofconsciousness fiction such as the ‘Penelope’ chapter of Ulysses, which is narrated in direct interior monologue. This association, supported by the novel’s subtitle, A Piece for Three Voices and a Bawd, was ratified by Peter Kemp when he wrote that Art

in Jeanette Winterson
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Essays on cinema, anthropology and documentary filmmaking

The looking machine calls for the redemption of documentary cinema, exploring the potential and promise of the genre at a time when it appears under increasing threat from reality television, historical re-enactments, designer packaging and corporate authorship. The book consists of a set of essays, each focused on a particular theme derived from the author’s own experience as a filmmaker. It provides a practice-based, critical perspective on the history of documentary, how films evoke space, time and physical sensations, questions of aesthetics, and the intellectual and emotional relationships between filmmakers and their subjects. It is especially concerned with the potential of film to broaden the base of human knowledge, distinct from its expression in written texts. Among its underlying concerns are the political and ethical implications of how films are actually made, and the constraints that may prevent filmmakers from honestly showing what they have seen. While defending the importance of the documentary idea, MacDougall urges us to consider how the form can become a ‘cinema of consciousness’ that more accurately represents the sensory and everyday aspects of human life. Building on his experience bridging anthropology and cinema, he argues that this means resisting the inherent ethnocentrism of both our own society and the societies we film.

Open Access (free)
The Algerian war and the ‘emancipation’ of Muslim women, 1954–62

In May 1958, and four years into the Algerian War of Independence, a revolt again appropriated the revolutionary and republican symbolism of the French Revolution by seizing power through a Committee of Public Safety. This book explores why a repressive colonial system that had for over a century maintained the material and intellectual backwardness of Algerian women now turned to an extensive programme of 'emancipation'. After a brief background sketch of the situation of Algerian women during the post-war decade, it discusses the various factors contributed to the emergence of the first significant women's organisations in the main urban centres. It was only after the outbreak of the rebellion in 1954 and the arrival of many hundreds of wives of army officers that the model of female interventionism became dramatically activated. The French military intervention in Algeria during 1954-1962 derived its force from the Orientalist current in European colonialism and also seemed to foreshadow the revival of global Islamophobia after 1979 and the eventual moves to 'liberate' Muslim societies by US-led neo-imperialism in Afghanistan and Iraq. For the women of Bordj Okhriss, as throughout Algeria, the French army represented a dangerous and powerful force associated with mass destruction, brutality and rape. The central contradiction facing the mobile socio-medical teams teams was how to gain the trust of Algerian women and to bring them social progress and emancipation when they themselves were part of an army that had destroyed their villages and driven them into refugee camps.

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Sam Rohdie

, evocations and the banality of the collection of its found objects, echoed works of Dada, particularly Kurt Schwitters’s Merzbau and of the common objects, or odd conjunctions, some scandalous, displayed by Marcel Duchamp (his urinal, for example and the moustache on the Mona Lisa). It also resonated with the Combines and installation pieces of Robert Rauschenberg which in turn echoed strategies in Cubist collages, those of Picasso, for example, and before Picasso the purified, almost abstract, sculpted and geometric paintings of Paul Cézanne. There was as well an echo of

in Film modernism
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Reclaiming global politics
Cerwyn Moore

, how the local milieu impacted upon the character of the conflict and why left-wing volunteers – including dozens of Albanian and Kosovars – as well as others from all over the world, travelled to fight, and establish support networks for the ‘international brigades’? If war does evoke passions for groups and establishes connectedness between peoples, how can these features be incorporated into the study of global politics? And how has the history of the Spanish Civil War been infused with representations of violence, from the torments of Picasso’s Guernica, which

in Contemporary violence
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Niharika Dinkar

of the copy. Take the well-­known case of the reception of Gaganendranath Tagore’s Light and Shadow (1920), viewed as a bad copy in colonial accounts, by even such a staunch supporter of modern Indian art as William Archer. Tagore had simply selected a scene that looked ‘cubist’ and rendered an illustration of geometric architecture for Archer so that, despite its ‘modernistic manner’, it had ‘an air of trivial irrelevance’, lacking the power of Braque or Picasso. Tagore’s forms were stylised copies, bearing no relation to Indian art: ‘However modern and

in Empires of light
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Susana Onega

time (the Dantean rose, as opposed to the train, in Art & Lies and Gut Symmetries). Further, while in Oranges and Written on the Body the narrative role relies on a single character, in the later novels this role is shared by two or more characters whose lives are interdependent: by Henri and Villanelle in The Passion; by the Dog Woman, Jordan and their alter egos, the nameless ecologist and Nicolas Jordan in Sexing the Cherry; by Handel, Picasso and Sappho in Art & Lies; by Alice, Stella and Jove in Gut Symmetries; by Ali/x and Tulip in The.PowerBook; and by Silver

in Jeanette Winterson
Chagall’s Homage to Apollinaire and the European avant-garde
Annette Becker

ce qui vivant partout et pour tous nous change un peu de l’inquiétude moderne de l’épiderme à toi r d). 22 There were, obviously, great elective affinities in 1913, but also a return of nationalism. From sharing art to suspicious nationalism Since the nineteenth century, a certain number of artists cultivated a profound interest in primitivism and popular art, becoming somewhat like anthropologists dedicated to renewing culture and the arts. This engagement was extremely fertile for such artists as Matisse, 23 Derain, Picasso and others. The Russian painter

in 1913: The year of French modernism