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From letterpress to offset-lithography

4 The continuity of craft masculinities: from letterpress to offset-lithography I could still get on there and operate that, you know.1 – Norm Rigney, former letterpress-machinist Letterpress printing has traditional associations with craftsmanship and masculinity, where a press-machinist’s technologies, tools and manual skill were powerful indicators of identity and social status. But what happened to letterpress-machinists between the 1960s and the 1980s, when the printing industry underwent dramatic technological change? Letterpress had been the dominant

in Hot metal
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Understanding film, television and radio comedy

This book is a wide-ranging introductory academic book for students and teachers interested in studying comedy on film, television and radio (and for anyone else with an analytic interest in these media). It discusses key issues around comedy through analysis of significant and revealing comedy texts from these media. The first part of the book looks at how comedy works. In order to do this, it considers the nature of comedy as manifested in specific media forms, from the exploitation of the non-visual in radio to the familiar, domesticated settings suited to television's small screen. It examines the historical, industrial and cultural contexts in which British and American comedy in film, radio and television developed (in that order). The book also deals with gender, sexuality and comedy, ranging from the depictions of femininity and masculinity in romantic comedy film to the representations offered of gay and lesbian characters across our chosen media. Studies of low British comedy and American gross-out comedy underpin work on specific examples which directly challenge standards of taste and cultural taboos. Whatever the nature and effect of racial and ethnic humour, it is clear that there have been some significant shifts in the ways in which radio, television and film comedy have presented or inflected it over time. The book deals with broad case studies of British and American culture.

’s obsession with gender and sexuality, and problematising its supposed certainties about masculinity and femininity. To examine what comedy tells us about Anglo-American attitudes to gender and sexuality, we focus initially on the representation of femininity in film romantic comedy, picking up on the genre after the Second World War. From there we move on to discuss masculinity, and representations of

in Laughing matters

director so closely allied to the Revolution, Fernández’ own, high voice was in some way incommensurate not just with his public persona but also with the redefinition of masculinity in the post-Revolution era. However, apart from these two observations, the question of Fernández’ voice is something which does not arise in traditional auteurist accounts of his work (although everything else about his life and being does). This

in Emilio Fernández
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that reflect feminism’s wide, disparate, and contested reach as well as the serious interventions demanded by the sign woman and the narrow range of appearances and meanings assigned to it by a dominant visual culture that prioritises masculinity. The other woman touched upon throughout this book is a figure for the aspiration to imagine women beyond their subordinated status as the others of patriarchal cultures, which started to become increasingly obsolete in the 1970s, but continued to ‘live in the heart and in the head and transmitted over generations,’ as

in Addressing the other woman

Jacques Rivière.17 Solanas’s demand that language represent her presence can also be discerned in her attempt to murder Warhol and in the language of her manifesto. Both attest to the mirroring women have traditionally been denied in western culture – a denial wielded with a particularly aggressive force when women reject the imperative to mirror the value of western culture’s dominant images of masculinity – that is, if they are monsters. Creating a magic world Published in a period in which the feminist manifesto flourished, Solanas’s SCUM Manifesto gives women

in Addressing the other woman
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Material culture and tangible labour

With the increasing digitisation of almost every facet of human endeavour, concerns persist about ‘deskilling’ and precarious employment. The publishing industry has turned its energy to online and electronic media, and jobs continue to disappear from printing, publishing and journalism. The replacement of human labour with computerised technologies is not merely a contemporary issue; it has an established history dating from the mid-twentieth century. What is often missing from this record is an understanding of how the world of work is tightly interwoven with the tangible and affective worlds of material culture and design, even in ‘clean’ computerised environments. Workplace culture is not only made up of socio-political relationships and dynamics. It is also bound up with a world of things, with and through which the social and gendered processes of workplace life are enacted and experienced. Understanding how we interact with and interpret design is crucial for appreciating the complexities of the labour experience, particularly at times of technological disruption. Hot Metal reveals integral labour-design relationships through an examination of three decades in the printing industry, between the 1960s and 1980s. This was the period when hot-metal typesetting and letterpress was in decline; the early years of the ‘digital switch’. Using oral histories from an intriguing case-study – a doggedly traditional Government Printing Office in Australia – this book provides an evocative rendering of design culture and embodied practice in a context that was, like many workplaces, not quite ‘up-to-date’ with technology. Hot Metal is also history of how digital technologies ruptured and transformed working life in manufacturing. Rather than focusing solely on ‘official’ labour, this book will introduce the reader to workers’ clandestine creative practices; the making of things ‘on the side’.

the wider impact which his literal attempt to break out of the artificial confines of the art gallery seemed to demand’ (1991: 25). Yet the revolutionary aspects of his work were likely lost on his expanded audiences and left wanting in much of the attention granted by the media, in favour of accounts that – however sympathetic – may have sensationalised the feat in apolitical or counterproductive terms. Endurance and masculinity In photographs from the 1970s, Trengove’s face is compelling, rugged. It’s handsome, even. Jovial and asymmetrical, his eyes are jolted

in Unlimited action
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Representing people of Algerian heritage

particularly attentive to how gender and ethnicity interact in this area by focusing on works that have probed the role of women among Algerian diasporas and people of Algerian heritage more generally. As such it also aims to counteract the implicit focus on men and masculinity characteristic of many cinematic representations of people of Algerian heritage, which largely remains the case given how few women of Maghrebi heritage have become prominent actors or directors in France. The chapter begins by considering a selection of three works by the renowned French artist of

in Representing ethnicity in contemporary French visual culture
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particular excuse we read off may be one of a non-exclusive range; the first is that the threat is immediately withdrawn because Groucho is too pusillanimous to actually offer any physical violence, thus the line diminishes his masculinity. A second reason might be that he thinks (very literally) that a horse and all the paraphernalia associated with it would be the only way to acquire the necessary equipment (a horsewhip) to carry

in Laughing matters