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.
photographyandfilm 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
development of photographyandfilm 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
Moving images of the British monarchy, in fact and fiction, are almost as old as the moving image itself, dating back to an 1895 dramatic vignette, The Execution of Mary Queen of Scots. Led by Queen Victoria, British monarchs themselves appeared in the new 'animated photography' from 1896. Half a century later, the 1953 coronation of Elizabeth II was a milestone in the adoption of television, watched by 20 million Britons and 100 million North Americans. At the century's end, Princess Diana's funeral was viewed by 2.5 billion worldwide. Seventeen essays by international commentators examine the portrayal of royalty in the 'actuality' picture, the early extended feature, amateur cinema, the movie melodrama, the Commonwealth documentary, New Queer Cinema, TV current affairs, the big screen ceremonial and the post-historical boxed set. These contributors include Ian Christie, Elisabeth Bronfen, Andrew Higson, Steven Fielding, Karen Lury, Glyn Davis, Ann Gray, Jane Landman, Victoria Duckett, Jude Cowan Montague, James Downs, Barbara Straumann, Deirdre Gilfedder, Jo Stephenson, Ruth Adams, Erin Bell, Basil Glynn and Nicola Rehling.
Dada bodies focuses critical attention on Dada’s limit-forms of the human image from an international and interdisciplinary perspective, in its different centres (Zurich, Berlin, Cologne, Hanover, Paris and New York) and diverse media (art, literature, performance, photography and film). Iconoclastic or grotesque, a montage of disparate elements or reduced to a fragment, machine-part or blob, Dada’s bodily images are confronted here as fictional constructs rather than mimetic integrated unities. They act as both a reflection of, and a reflection on, the disjunctive, dehumanised society of wartime and post-war Europe, whilst also proposing a blueprint of a future, possible body. Through detailed analysis of works by Max Ernst, Francis Picabia, Hannah Höch, Marcel Duchamp and others, informed by recent theoretical and critical perspectives, the work offers a reassessment of the movement, arguing that Dada occupies an ambivalent space, between the battlefield (in the satirical exposure of the lies of an ideology that sought to clothe the corpse of wartime Europe) and the fairground (in the playful manipulation of the body and its joyful renewal through laughter, dream and dance).
– to employ the term developed by Laura Marks – halt the directional flow of the journey and carve out a space of embodied reflection, where individual identities dissolve into a state of collective becoming. 15
While the persistent movement of the train is central to its aesthetic and conceptual framework, we might also consider Perestroika as characterised by a tension between stillness and motion, and by a constant negotiation between photographyandfilm. In a broad sense, the film hinges on two ghostly images: a still photograph of
‘aeropoetry’; prose and drama; synthetic,
variety and total theatre; dance; photographyandfilm; advertising and
mass communication (Crispolti 1986). Giacomo Balla and Fortunato
Depero’s project was thus conceived on a global scale, involving a range
of disciplines, united by a desire to create a total reality. In contrast to
Adamowicz and Storchi, Back to the Furutists.indd 274
the fin de siècle’s resistance to change, Futurists assumed their important
historic role of trying to unveil the future of a new era
This book explores the development of Robert Lepage’s distinctive approach to stage direction in the early (1984–94) and middle (1995–2008) stages of his career, arguing that globalisation had a defining effect in shaping his aesthetic and professional trajectory. It combines examination of Lepage’s theatremaking techniques with discussion of his work’s effects on audiences, calling on Lepage’s own statements as well as existing scholarship and critical response. In addition to globalisation theory, the book draws on cinema studies, queer theory, and theories of affect and reception. As such, it offers an unprecedented conceptual framework, drawing together what has previously been a scattered field of research. Each of six chapters treats a particular aspect of globalisation, using this as a means to explore one or more of Lepage’s productions. These aspects include the relationship of the local (in Lepage’s case, his background in Québec) to the global; the place of individual experience within global late modernity; the effects of screen media on human perception; the particular affect of ‘feeling global’; the place of branding in contemporary creative systems; and the relationship of creative industries to neoliberal economies. Making theatre global: Robert Lepage’s original stage productions will be of interest to scholars of contemporary theatre, advanced-level undergraduates with an interest in the application of theoretical approaches to theatrical creation and reception, and arts lovers keen for new perspectives on one of the most talked-about theatre artists of the late twentieth and early twenty-first centuries.
restricted arts analysis to medium-centric discussions, or arts magazines
producing market-friendly journalism. Writing about the historical precedents
of artists’ radical use of medium specificity populated many of the texts published
in October from the late 1970s into the 1980s, with special attention paid to
photographyandfilm. This was in part due to the renewed influence of the
work of Walter Benjamin, who was reclaimed as a key theoretical source in
the criticism of many October contributors such as Benjamin Buchloh, Douglas
Crimp, Rosalind Krauss, and Annette
relationship between the (new) media
of modernity – photographyandfilm – and the shocks of
industrial and urban life.
Another figure, another medium, is also introduced in
Sade’s discussion: describing the ‘sorcery and
phantasmagoria’ of the new novels, he refers to a popular visual
medium of the time, magic lantern shows (1989: 108). Fashionable across
Europe during the period of