Suchergebnisse

In the 1970s, retro fashion came to Poland from the West. It concerned recalling the interwar years with nostalgia in film, television and fashion. Its adoption was possible due to political and socio-demographic changes. In Poland, retro fashion was correlated with a specific fashion for the past, which involved full ennoblement of the nobility culture in the media. What is worth noting is that this fashion for the interwar period and nobility was not only eagerly adopted by the general public, but was also used politically to the legitimization of power. There were also attempts by some of the government apparatus to "attach themselves to the historical class".

Northern California based filmmakers in the late 1960s and 1970s pushed the traditional boundaries of filmmaking practices in ways that have been adopted and reworked into contemporary Hollywood filmmaking practices. The article examines labour issues and conditions and politics of film sound work during this era, some of which continue to be applicable today. The development of new production practices pushed filmmakers including George Lucas, Francis Ford Coppola, and Walter Murch to produce films outside the traditional Hollywood studio production paradigm. This new generation of filmmakers held sound with a higher status and popularized non- traditional ways of working with sound. They created the new job title of sound designer to signify a person who supervises and collaborates with the director, department heads, and screenwriter on the use and function of sound through all of the filmmaking phases from the writing stage through the final mix. Through this historical view of the issues, conditions, and politics of Hollywood film sound labour as experienced by practitioners at the early period of the contemporary film sound era, this article illuminates the reasons and ways in which filmmakers sought to work outside of studio controls and union regulations that inhibited their emerging production processes, and led to formation of a media capital for film sound in the San Francisco Bay Area.

Four screenings curated by Claire M. Holdsworth (Kingston School of Art) with writer and director Professor Sue Clayton (Goldsmiths University London) and theorist Professor Laura Mulvey (Birkbeck, University of London) in partnership with LUX, London and the Whitechapel Gallery. Each installment examined experimental film- and video- making in 1970s Britain, bringing together thematic collections of diverse works to explore how younger generations re-activate this recent past, engaging with essays in a new collection of writings. 4037 The opening event (Saturday 16 September) screened works by Clayton and Mulvey at Close-Up cinema, with a Q&A chaired by Helen de Witt (Curator, BFI). This was followed by a day-long series (Sunday 17 September) at the Whitechapel Gallery cinema: 'Activated Spaces' (chair, Clayton) with guest speaker Dr Steve Presence (Research Fellow, University of the West of England, Bristol); 'Listening In' (chair, Holdsworth) with Dr Lucy Reynolds (Senior Lecturer and researcher, Westminster University, London); and 'Time and Place' (chair Mulvey) with Kodwo Eshun (Lecturer in Contemporary Art Theory at Goldsmiths, Visiting Professor, Haut Ecole d'Art et Design, Genève and co-founder of the Turner Prize nominated Otolith Group).

In recent years, there has been increasing discontent with feminism's understanding of its own history and, more specifically, the place of the feminist 1970s. Feminist scholars – most prominently, Elizabeth Freeman, Victoria Hesford, Kate Eichhorn and Kathi Weeks – have sought to move beyond the feelings of progress and nostalgia that the feminist 1970s often inspires. There is a need to mediate between the urge to leave the past behind and the desire to return to it, with feminists adopting positions that ricochet between progress and nostalgia. In this article, I argue that the feminist literary utopia offers a particularly productive means by which to represent this ambivalent, paradoxical temporal understanding. The classic feminist utopias of the 1970s have become the object of critical contention in more recent speculative texts, which destabilise both progress and nostalgia in their evocation of second-wave separatism. To elaborate this claim, I turn to Sarah Hall's The Carhullan Army, which critically assesses the feminist 1970s via an account of a separatist feminist enclave in a near-future Britain. The community of women is a homage to the feminist 1970s, displaying both the potentialities of the movements of this time as well as their sometimes violent limitations. The dreams of the 1970s emerge in the text as an unsettling presence in the world, a force that can neither be left behind nor fully embraced.