Suchergebnisse

The volume at hand collects the papers given at a conference at Salzburg University in October 2013 on the topic of Soviet fashion from the Thaw until the beginning of the Perestroika. Divided into the three sections "Socialist Fashion", "Fashion and Society", and "Fashion and the Arts" the contributions cover a wide range of different aspects, such as the history of fashion, the culture of consumption, aspects of economy, and vestimental codes in film and literature. At the centre of this volume thus lies the everyday culture with its implicit gender structures, and issues of transfer, in particular of Western fashion. Focusing on material culture thus the potential of fashion and fashion practices to transform the norms of Soviet society come to the fore

Intro -- Foreword -- Being in the Clouds -- Foreword [Original Spanish Version] -- Estar en las nubes -- Preface -- Praise for Air Travel Fiction and Film -- Contents -- List of Figures -- 1 Introduction -- 1 Skyward -- 2 From Aeromobilities to Airportness -- 3 From Airborne to Air-born: Cloud People -- 4 The Airworld as a Methodology -- References -- 2 The Airworld as an In-between Space -- 1 Urban Center Versus Airport Periphery -- 2 The Traveler and the Absent City -- 3 Globalizing the Local -- 4 Crossing(s) from the Micro-world to the Meta-world -- 5 The Telephone as a Cable Between the City and the Airworld -- References -- 3 Time Out of Control -- 1 The Ever-Present and Unrelenting Burden of Time -- 2 Crystallized Waiting Time -- 3 The Compressed Time of Jet Lag -- References -- 4 Luxury in the Sky with More Than Diamonds -- 1 Luxury as an Air Travel Brand -- 2 Semiotics of Luxury -- 3 Fashion and the Eroticization of the Air Cabin Crew -- References -- 5 Cloud People: Identities and Paradoxes -- 1 Airworld Personnel -- 2 The Fluid Passenger -- 3 The Vulnerable Passenger -- References -- 6 Connections, Disconnections, and Reconnections -- 1 Airborne Families and Relationships -- 2 Chance Encounters and Existential Turning Points -- 3 Love Out of the Blue -- References -- 7 Coda: Flying Over -- References -- Index.

Images in film, paintings, sketches, and sculpture sometimes drive ideas home in ways that words on the page do not, prompting more visceral reactions and the desire to enact change instead of thinking about subjects on a more abstract level. This essay explores how the visual arts were used in a Fall 2020 course on Afrofuturist literature to supplement conventional readings, class discussions, and writing assignments, helping students to grasp many of the central principles of genre, such as re-visioning reality and undermining the "logics" established by colonial regimes, neo-colonial powers, and systemic racism; the ways that the past permeates the present; the possibilities of Africanist existence in a rich and productive future; how intersections of race, gender, and class influence artists' reconfigurations of artistic forms long dominated by White men. Several creative research projects, produced by students at the end of the semester, are described at length and analyzed to illustrate how they proccessed course concepts, and how Afrofuturist texts resonated in powerful ways during the COVID-19 pandemic.

Three years ago, the filmNasser 56(1996), from Muhammad Fadil, a dramatic reenactment of the Suez crisis, set unprecedented attendance records in Egypt. Opening at the end of another disappointing year marked by a steady decline in studio film production and a dearth of high-quality offerings—and held back from public screening a full year by wavering government support—the film breathed new life into the movie industry and precipitated a national discussion about the legacy of Gamal Abdel Nasser. The film has come and gone from Cairo theaters (although screenings abroad continue), butNasser 56will remain a historic film. In dramatic fashion, it broke a long-accepted taboo against cinematic depiction of modern political leaders. It is also the first serious attempt at film biography by an Egyptian filmmaker in thirty years.

This paper compares and contrasts ethnographic writing to ethnographic film-making as different ways of crafting a narrative. Films have the ability to reach larger audiences, including our own informants, and to make audiences feel connected to the central participants who seem to speak directly to them, but are less conducive to providing the broader context for those stories or showcasing stories that are less visually interesting. Film also seems more effective for making an intervention in policy or public opinion. Both modes of storytelling involve the selection of a few key incidents from a much larger set of footage or fieldnotes to tell a compelling story, shaped by emotion or theory, and the manipulation of the strongest elements available to construct that story. Documentary film-makers are more willing to discuss the construction of their product than ethnographic writers. Finally, the form of the final product, whether dissertation, monograph, or film, shapes the process of inquiry and discovery, affecting what is learnt and what is possible to tell. I came to documentary film-making as a result of my dissatisfactions with ethnographic writing, but I have realised that film does not replace writing; rather, they work in tandem, with different goals and possibilities. Based on my experiences of writing three monographs and making, in a less skilled fashion, two short documentaries on the same themes, this paper reflects on ethnographic storytelling through different media.

Even if playing with house money that eventually
sunsets the program, Louisiana legislators should reject allowing the state's
Motion Picture Investors tax credit to bleed, even if reduced fashion, the state for another dozen years.

In this session, legislators have the option of
extending the life of the exception past its scheduled end-of-fiscal year 2025 sunset.
HB 562 by
Republican Speaker Clay Schexnayder
would give it another decade of life after that, and originally would have
freed it from a $150 million annual cap on issuance although the $180 million annual
cap on redemption would remain.

The credit allows for reimbursement of expenses in
film or television production anywhere from 25 to 55 percent of expenses from a
base amount of $50,000 to $300,000 on state income taxes; alternatively, these
may act as a refundable credit at 90 cents to the buck (minus two percent as a
transfer fee). Almost all monies paid out occur through this route, as according
to the latest
data nearly 97 percent goes to corporations, and overwhelmingly to out-of-state
entities that have minimal Louisiana income tax liability. Simply, it's taxpayer
dollars siphoned directly into the pockets of filmmakers, only some of which
makes it back into the state's economic stream.

And not very much at that. Data show Louisiana
taxpayers take a bath on this, even as supporters throw out figures about how
much revenues and jobs the industry generates. The fact is, it loses
77 cents (another estimate puts it closer to 95 cents) on the dollar, with
each job generated costing about $13,300 each (and the methodology suggests
this exaggerates the actual full-time employment, making each job cost to
taxpayers more like $25,000). Nonetheless, this vampire staggers on as special
interests jealously guard the transfer of taxpayer wealth to them and have mesmerized
a number of legislators who should know better to back them.

This was apparent at the April House Ways and Means
Committee hearing,
with dozens of beneficiaries of taxpayer largesse and their representatives in
attendance. Schexnayder testified for it and offered up minor amendments, most
prominently putting a FY 2035 sunset back on. It garnered unanimous
support, which appeared unusual particularly as one committee member in support,
GOP state Rep. Philip
DeVillier, had a bill cued that would have restricted the program and
extensively questioned testifiers, and another, Republican state Rep. Tanner Magee –
Speaker pro tem and a Schexnayder ally – mentioned he felt threatened by
intense industry lobbying but would vote for it.

But when the House dealt with the bill last week,
it seems something had been up. There, DeVillier offered amendments that would
scale back the transferability of the credit by 7.5 percent through the sunset
date, which now only can happen to the state as previous changes to the law
discontinued transfers between individuals and corporations after FY 2017. This
would allow for the backlog of claims that take years for application after
issuance to be turned in and paid off. (Even if terminated on schedule, paying
off will continue for years.)

In other words, DeVillier's amendment – which
could be seen percolating during his committee questioning – gradually ends the
cash rebate which constitutes nearly all of the credit's cost and makes it a
more defensible credit only on tax liability (which in the film business often
wouldn't be owed anyway because for films income generated from within state
boundaries less deductible expenses often is less than zero). Further, it
disallows banking credits for future use.

It is an inspired way to wring out its most
objectionable feature over time, yet still trigger the eventual neutering and
termination while placating a significant number of usually fiscally conservative
Republicans who throw out the window principles when the bright lights of
Hollywood shine in their eyes, by forcing them to acknowledge, as DeVillier
noted during floor debate, that the program was established on an intent to
wean itself from taxpayer assistance after industry establishment. Even more interesting,
Schexnayder apparently acquiesced to this arrangement, which only could happen
if a large portion of legislators – obviously Republicans as seldom ever has a
Democrat voted against this giveaway – signaled they wouldn't support the bill without
it.

The amendment
was added on without objection (despite some grumbling from economic illiterates
such as Democrat state Rep. Mandie Landry,
who alleged no business makes money without government subsidization and admitted
she couldn't understand the economic arguments against the bill), and the bill
passed with only 23 Republicans voting against. Several who voted against
also voted for an amendment, turned back by the body, that would have had
subsidized films list in their credits the amount of subsidy.

Things became still more interesting days later
when Magee offered an amendment during debate of HB 1, the
general appropriations bill, that would provide $51 million for early childhood
education, essentially to replace temporary federal funding going away, if repealing
the entire film tax credit. It was the only amendment to make it onto the bill
and hypocritically
opposed by almost every Democrat, who had caterwauled the absolute
necessity of replacing the federal money with state money yet voted against it to
allow state dollars to make more movies.

That loomed only symbolically, as no move is afoot
to repeal the credit immediately. However, HB 562 in its present form will have
a delayed but growing salutary fiscal effect and is another way to skin the cat.

Nonetheless, even if it puts the program in far
better shape than at present if passed, the bill still should be defeated. The industry
has known for years about the sunset in just over two years and has had three
decades to build itself to the point that it can attract makers of movies, and
if it hasn't done it by now, it's not likely ever to. Even as weaning has its
benefits, it's a stay of execution where its beneficiaries gain time to work in
the future to prevent its needed extinction and to restore refundability.

Any legislator who calls himself a "fiscal
conservative" or "fiscal hawk" should ask himself two questions on this issue:
if the benefits are so great should not the state remove the caps and sunset
and argue for unlimited 100 percent refundability, and if he truly believes that
government should subsidize the private sector in this fashion then should not
the state enact programs like this for every industry, vastly expanding
government and tax burdens, such as in manufacturing widgets? If unable to
answer the affirmative to both, ideological consistency and adherence to
principle demands a vote against.

Abstract
Erika Lust is a film-maker, writer and blogger based in Barcelona. Born in 1977 in Sweden, she studied political sciences, feminism and sexuality. Tired of chauvinistic and tacky mainstream porn, she burst into the adult film industry in 2004, with the indie short film The Good Girl – a Humorous Statement of Principles. The immediate success of this first attempt encouraged her to pursue a film career. Besides the XConfessions series, Erika has directed four multi-award winning features: Five Hot Stories For Her, Barcelona Sex Project, Life Love Lust and Cabaret Desire. Last year she gave her 'It's Time for Porn to Change' talk at TEDxVienna, which gained her notoriety for her campaign to change porn. She defends the need of having women behind the camera in all key positions. Her female characters are sex-positive, powerful and active, and captured within films that embody sexually intelligent narratives with relatable characters and realistic hot sex.

Cinematic narratives of eating disorders run the risk of presenting their characters as largely passive — a risk compounded by the fear of 'contagion' that haunt the images of bodies affected by these disorders. Paradigmatic examples are not only the images produced by the fashion industry but also the controversial photos posted online by 'pro-ana' communities (often presenting anorexia as a lifestyle). The mimetic aspect indeed plays an ambiguous role in drawing the contours of both the definition and the proliferation of eating disorders. For instance, after having diagnosed 'bulimia nervosa' in 1979, the psychiatrist Gerald Russell worried that his description of the symptoms had contributed to the dramatic spread of the pathology itself. This is a question for all newly introduced medical categories: do the symptoms proliferate or the diagnosis? But what is, in this respect, the role of cinema in recirculating both highly visible and hidden aspects of eating disorders forming such a prominent part of today's visual culture? Moara Passoni's Ecstasy (2020, 80 min) tells the story of the development of the film's protagonist Clara's anorexia, from her childhood to her late teenage years, against the background of the political changes of 1990s Brazil. In order to find a language that speaks against visual stereotypes of eating disorders and their spectacularization, Moara shows the way Clara perceives and tries to control reality through her relationship with food. Instead of overexposing the anorectic body, or protecting it by leaving its frailty outside the frame, the Brazilian filmmaker puts the audience in front of the ecstatic spectacle Clara witnesses: her phantasies and desires, her idiosyncrasies and her fears. Thus, in Ecstasy, the overused and often obscure word 'dysmorphia' takes multiple forms. It does not only correspond to the discrepancy between the way one looks and the way one perceives oneself. Body dysmorphia here also takes the shape of two imaginary friends/enemies of Clara, a blue dot and ...

"Clicas examines Latina/o/x literature and film by and/or about gay and women gang members. Through close readings of literature and film, Frank García reimagines the typical narratives describing gang membership and culture, amplifying and complicating critical gang studies in the social sciences and humanities and looking at gangs across racial, ethnic, and national identities. Analyzing how the autobiographical poetry of Ana Castillo presents gang fashion, culture, and violence to the outside world, the effects of women performing female masculinity in the novel Locas, and gay gang members' experiences of community in the documentary Homeboy, García complicates the dialogue regarding hypermasculine gang cultures, showing how they are accessible not only to straight men, but also the complicated ways that women and gay members can appropriate these qualities, which can be harming and also, at times, emancipating. Reading gang members as (de)colonial agents who contest the power relations, inequalities, oppressions, and hierarchies of the United States, Clicas considers how women and gay gang members resist materially and psychologically within a milieu shaped by the intersection of race, gender, sexuality, and class"--

Costumes in Hindi cinema are traditionally cared for on set by workers known as dressmen. Dressmen have always employed informal methods and techniques in their work, and they now find their skills, knowledge, as well as their privilege of maleness in a male-dominated industry being eroded as Hindi filmmaking is transforming itself aesthetically and organizationally in response to global forces. Interviews with dressmen with careers spanning nearly fifty years form the basis of a description of dressmen's discourses and practices. Dressman practices, in particular, are revealed to contribute in important ways to the appearance and meaning of costume in film. De-skilling of the dressman's job coincides with new organizational structures and the entry of assistant directors, many of them female, who claim superior knowledge of filmmaking techniques and of the fashion world that informs film costume. Studying film workers like dressmen informs our understanding of urban skilled workers in the Indian context, and provides a corrective to the exclusively semiotic approach to costume analysis that has prevailed to date.

Instead of trying to recreate the ancient life of Jesus, Mark Dornford-May's film Son of Man depicts many famous scenes from the gospels, reworked to tell the story of Jesus in the fictitious "Kingdom of Judea, Afrika" with the concerns of local and global poverty, violence, and imperialism. Jesus's life turns when he directly challenges the Judean leadership, and his arrest, torture, and death reinterpret the dynamics of power from first century imperial Rome in brilliantly analogous fashion both for a localized South African setting and for global settings that struggle under violently repressive governments. Jesus's death stands as the focal point of communal resurrection, inspiring Mary to challenge the oppression perpetrated by those in power. Jesus's death serves to express the complexities of international injustice in South Africa and other countries in Africa and around the world, to embolden and unite an oppressed community, and to shine a light on a mother as the leader of this resurrected community.

Describes cultural change occurring in Latin America due to the influence of market reforms; focuses on the phenomenon of "McOndo", which refers to a global, diverse, urban Latin American culture that is increasingly present in television, literature, music, art, fashion, film, and journalism. The title and "McOndo" spoof the magical realism found in the novels of Colombian novelist Gabriel García Márquez and the imaginary, magical town of Macondo which appears in Márquez' works; "McOndo" is also the title of a 1996 anthology of new Latin American literature co-edited by the author.

Drawing upon ethnographic data, this article discusses the adoption of technologies into everyday life in People's Poland, in the wider theoretical context of the consumer revolution or a shift in consumption patterns towards fashion. There were two mechanisms of the consumer revolution in People's Poland: collective usefulness and modern hedonism. For the mechanism of collective usefulness, the main factors in the shift in consumption patterns were the state-controlled propaganda of 'progress' and the domestication of technology. Household appliances were adopted as necessities that helped people fulfil their needs, in line with the idea of 'progress' propagated by the authorities of People's Poland in the post-war period. In the process of the domestication of technology, customarily female activities were changing into flexible practices of using household appliances driven by fashion. In the case of modern hedonism, the main factor in the shift towards fashion was the 'advertising' of a Western standard of living in American films shown on television in the 1960s. The course of the consumer revolution was diversified by gender, social class and generation.

CrN thin films with an N/Cr ratio of 95% were deposited by reactive magnetron sputtering onto (0001) sapphire substrates. X-ray diffraction and pole figure texture analysis show CrN (111) epitaxial growth in a twin domain fashion. By changing the nitrogen versus argon gas flow mixture and the deposition temperature, thin films with different surface morphologies ranging from grainy rough textures to flat and smooth films were prepared. These parameters can also affect the CrN(x )system, with the film compound changing between semiconducting CrN and metallic Cr2N through the regulation of the nitrogen content of the gas flow and the deposition temperature at a constant deposition pressure. Thermoelectric measurements (electrical resistivity and Seebeck coefficient), scanning electron microscopy, and transmission electron microscopy imaging confirm the changing electrical resistivity between 0.75 and 300 m omega cm, the changing Seebeck coefficient values between 140 and 230 mu VK-1, and the differences in surface morphology and microstructure as higher temperatures result in lower electrical resistivity while gas flow mixtures with higher nitrogen content result in single phase cubic CrN. ; Funding Agencies|European Research Council under the European Community/ERC [335383]; Swedish Government Strategic Research Area in Materials Science on Functional Materials at Linkoping University [2009 00971]; Swedish Foundation for Strategic Research (SSF) through the Future Research Leaders 5 program; Knut and Alice Wallenberg Foundation under the Wallenberg Academy Fellows program; Swedish Research Council (VR) [2016-03365]; European Union; Danish Innovation Fund for the NanoCaTe project [604647]; Danish Innovation Fund for the CTEC project [1305-00002B]

"In ever-increasing numbers, people around the world are opting for a vegan lifestyle (eating a plant-based diet and eschewing animal products such as leather), and those who do report feeling happy and healthier, with boundless energy and glowing skin among the benefits. But what happens when their love interest unapologetically orders a steak on a date? Vegan Love offers guidance on how to spread the vegan love and bring compassion for all beings into one's romantic life. Going cruelty-free need not mean alienating potential partners or long-term lovers. Author Maya Gottfried shares her experiences of going vegan and playing the vegan dating game, as well as insights by notable vegan women, both straight and LGBT, from various walks of life, including Jane Velez-Mitchell of JaneUnchained.com; Marisa Miller Wolfson of the film Vegucated; Jasmin Singer, author of Always Too Much and Never Enough; and Colleen Patrick-Goudreau of the Food for Thought podcast. Vegan Love also features a wealth of fun, practical advice about vegan makeup, vegan clothes, and vegan weddings, with a detailed resource guide"--