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development of photography and film had important effects on the staging and impact of royal and princely voyages. Organisers initially had some difficulties in managing these ‘new’ media. Some photos were taken during Crown Prince Albert’s 1909 exploratory voyage, but they were not really destined for public circulation. 12 Media coverage (through long newspaper articles) was mainly limited to the prince’s homecoming, which was celebrated with

in Royals on tour
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photography and film making. In the late 1960s this included picking up on the dynamic image making associated with ‘Swinging London’. And we saw how in the development of television advertising the hybridizing and indigenizing of US practices contributed to the development of a distinctive British tradition. While this tradition had its roots in interwar developments in sponsored documentary film making and the traditions of press advertising in Britain, it was stimulated by the appropriation and reworking of US influences as well. The movement of US practices eastwards

in Hard sell

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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The making of a queer marketplace in pre-decriminalisation Britain

as a piece of British censorship bigotry’. With a queer market segment having been identified by Films and Filming’s publisher and editors, advertisers soon cottoned on to the potential of this group. From its very first issues, the magazine also included ads from Vince Man’s Shop, which appealed to homosexual men with coded language and suggestive images that many would have readily recognised.32 Unsurprisingly, the aesthetic of these ads – male models posed in revealing swimwear and tight garments – bore a striking resemblance to the physique photography Bill

in British queer history
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directly to other creative arts such as photography and painting. Yet, unlike paintings, sketches or engravings, film is not a static medium. It comprises a series of moving images which together create meaning. As André Bazin noted in relation to the ‘realism’ and ‘reality’ of some cinematic forms: ‘A film is always presented as a succession of fragments of imaged reality on a rectangular surface of given proportions, the ordering of the images and their duration on the screen determining its import.’3 In the previous chapter on film aesthetics, the different filmic

in Using film as a source
Spirit photography and contemporary art

with spirit photography, or which might have been placed with equal or greater effectiveness in alternative interpretive contexts. Durante’s work, for example, is concerned principally with tracking paths of light by using long exposures, while Crewdson appears indebted more to Hollywood film and a concern with the suburban uncanny than to the legacies of ­nineteenth-century spirit photography.47 The paranormal turn may be more accurately understood as a curatorial conceit, providing the explanations offered by curators with a reflexive character. The literature

in The machine and the ghost
Spiritualist phenomena, Dada photomontage, and magic

suggests a practice rooted in the matter of the world, not picturing the world, but of it. Doherty’s suggestion that Hausmann’s ‘new materials’ are linked to the documentary nature of photography implies that what is mimicked from photography and film is as much its choice of subject as the manner of its coming into being. The ‘exactness’ of photography, then, is more about its faithful reproduction of the surface of the world than its material contiguity with it, and yet Dada practice both acts as a counterpart to this and itself enacts the real of the world. As Doherty

in The machine and the ghost

, offering visual imperial propaganda for colonisation and migration. Some remain important photographic sources for the period, but the relative lateness of the popular exposure to photography is reflected in the actual growth rather than decline in wood-block engraving before 1890. Not until the invention of photographic film made possible the appearance of the cheap Eastman Kodak camera from 1888 could the magic

in Propaganda and Empire
Mediumistic performances for camera

, invoking the ‘authenticity’ that the body inevitably bears with Machine-Ghost.indb 97 6/12/2013 12:11:33 PM 98  Neil Matheson it. In particular, they reference the indexical role of the photograph in providing verifiable evidence of the reality of paranormal phenomena. And at a time when we are experiencing the demise of the analogue photograph and the disappearance of film, when artists such as Tacita Dean and Moyra Davey explore issues of materiality and indexicality in photography and film, we might expect that the image of ectoplasm will continue to pose questions

in The machine and the ghost
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Technologies, spiritualisms, and modernities

order to provide both concepts and knowledge by which an assessment of technology and spiritualism in historical and contemporary art and culture might be pursued, this collection brings together key national and international art practitioners, and academics and specialists in the field, presented here in a number of different formats: academic papers, artists’ papers, and interviews. The emphasis of the collection thus concerns art practice, including photography, film and video, performance, and sound. Indeed, what sets this collection apart from the many

in The machine and the ghost