Suchergebnisse

This book draws on the lived experience of sound's capacity to move and shake us in direct, subtle and profound ways through speech, location sound, and music in documentary film. The associative, connotative and sheer emotive power of sound has the capacity to move and shake us in a myriad of direct, subtle and often profound ways. The implications of this for its role as speech, location sound, and music in documentary film are far-reaching. The writers in this book draw on the lived experience of sound's resounding capacity as primary motivation for exploring these implications, united by the overarching theme of how listening is connected with acts of making sense both on its own terms and in conjunction with viewing. The resulting thirteen essays of Soundings: Documentary Film and the Listening Experience cover films made from WWII to the present day in locations across Europe and the Americas, and in styles ranging from political propaganda, industrial promotion and educative exposition, to more aesthetically-driven films taking their bearings from avant-garde art. The authors draw on their experience in scholarly research, practice-as-research, and in the aesthetic and technical practice of documentary filmmaking. This mix of perspectives aims to widen and deepen the outlook of the recent and growing academic interest in the topic of documentary film sound.

Far from teleological historiography, the pan-European perspective on Early Modern drama offered in this volume provides answers to why, how, where and when the given phenomena of theatre appear in history. Using theories of circulation and other concepts of exchange, transfer and movement, the authors analyze the development and differentiation of European secular and religious drama, within the disciplinary framework of comparative literature and the history of literature and concepts. Within this frame, aspects of major interest are the relationship between tradition and innovation, the status of genre, the proportion of autonomous and heteronomous creational dispositions within the artefacts or genres they belong to, as well as strategies of functionalization in the context of a given part of the cultural net. Contributions cover a broad range of topics, including poetics of Early Modern Drama; political, institutional and social practices; history of themes and motifs (Stoffgeschichte); history of genres/cross-fertilization between genres; textual traditions and distribution of texts; questions of originality and authorship; theories of circulation and net structures in Drama Studies.

Lampedusa in Hamburg: Im Mai 2013 gingen über 300 Migrant_innen auf Hamburgs Straßen, um ihre Rechte einzufordern und ihre zwangsweise Rückführung nach Italien zu verhindern. Ihr Protest versetzte die Stadt, ihre Bürger_innen, ihre Debatten und Grenzen in Bewegung. Die Protestierenden machten die europäische Migrationspolitik und ihr Scheitern sichtbar und stellten bestehende Konzepte von Bürgerschaft grundsätzlich infrage. Vor allem aber überraschten sie durch ihr Handeln als Bürger_innen Europas – ein Handeln, das in gängigen Bildern von leidenden, an den Rand gedrängten Migrant_innen nicht vorgesehen ist. Birgit Niess begleitet in dieser Ethnografie den Alltag der beginnenden Protestbewegung und stellt dabei immer wieder die Perspektive der Lampedusa in Hamburg-Mitglieder in den Vordergrund. Wie sah ihr Alltag in der Warteschleife aus? Welche Bündnisse und welche Brüche entstanden dort, wo sich die Protestbewegung und zivilgesellschaftliche Organisationen wie Kirchen und Gewerkschaften begegneten? Wie wurden hier Rechte verhandelt? Mit vielen Alltagserlebnissen, Begegnungen und Originaltönen zeichnet sie ein vielschichtiges, widersprüchliches Bild einer gleichermaßen dynamischen und brüchigen Bewegung, die sich eher mit Fragen als mit Antworten greifen lässt.

Indigenous arts, simultaneously attuned to local voices and global cultural flows, have often been the vanguard in communicating what is at stake in the interactions, contradictions, disjunctions, opportunities, exclusions, injustices and aspirations that globalization entails. Focusing specifically on embodied arts and activism, this interdisciplinary volume offers vital new perspectives on the power and precariousness of indigeneity as a politicized cultural force in our unevenly connected world. Twenty-three distinct voices speak to the growing visibility of indigenous peoples' performance on a global scale over recent decades, drawing specific examples from the Americas, Australia, the Pacific, Scandinavia and South Africa. An ethical touchstone in some arenas and a thorny complication in others, indigeneity is now belatedly recognised as mattering in global debates about natural resources, heritage, governance, belonging and social justice, to name just some of the contentious issues that continue to stall the unfinished business of decolonization. To explore this critical terrain, the essays and images gathered here range in subject from independent film, musical production, endurance art and the performative turn in exhibition and repatriation practices to the appropriation of hip-hop, karaoke and reality TV. Collectively, they urge a fresh look at mechanisms of postcolonial entanglement in the early 21st century as well as the particular rights and insights afforded by indigeneity in that process.

Soul of the Documentary offers a groundbreaking new approach to documentary cinema.Ilona Hongisto stirs current thinking by suggesting that the work of documentary films is not reducible to representing what already exists. By closely reading a diverse body of films—fromThe Last BolsheviktoGrey Gardens—Hongisto shows how documentary cinema intervenes in the real by framing it and creatively contributes to its perpetual unfolding. The emphasis on framing brings new urgency to the documentary tradition and its objectives, and provokes significant novel possibilities for thinking about the documentary's ethical and political potentials in the contemporary world.

The ROTOЯ partnership between Huddersfield Art Gallery and the University of Huddersfield was established in 2011. ROTOЯ I and II was a programme of eight exhibitions and accompanying events that commenced in 2012 and was completed in 2013. ROTOЯ continues into 2014 and the programme for 2015 and 2016 is already firmly underway. In brief, the aim of ROTOЯ is to improve the cultural vitality of Kirklees, expand audiences, and provide new ways for people to engage with and understand academic research in contemporary art and design. Why ROTOЯ , Why Now? As Vice Chancellors position their institutions' identities and future trajectories in context to national and international league tables, Professor John Goddard1 proposes the notion of the 'civic' university as a 'place embedded' institution; one that is committed to 'place making' and which recognises its responsibility to engaging with the public. The civic university has deep institutional connections to different social, cultural and economic spheres within its locality and beyond. A fundamental question for both the university sector and cultural organisations alike, including local authority, is how the many different articulations of public engagement and cultural leadership which exist can be brought together to form one coherent, common language. It is critical that we reach out and engage the community so we can participate in local issues, impact upon society, help to forge well-being and maintain a robust cultural economy. Within the lexicon of public centered objectives sits the Arts Council England's strategic goals, and those of the Arts and Humanities Research Council – in particular its current Cultural Value initiative. What these developments reveal is that art and design education and professional practice, its projected oeuvre as well as its relationship to cultural life and public funding, is now challenged with having to comprehensively audit its usefulness in financially austere times. It was in the wake of these concerns coming to light, and of the 2010 Government Spending Review that ROTOЯ was conceived. These issues and the discussions surrounding them are not completely new. Research into the social benefits of the arts, for both the individual and the community, was championed by the Community Arts Movement in the 1960s. During the 1980s and '90s, John Myerscough and Janet Wolff, amongst others, provided significant debate on the role and value of the arts in the public domain. What these discussions demonstrated was a growing concern that the cultural sector could not, and should not, be understood in terms of economic benefit alone. Thankfully, the value of the relationships between art, education, culture and society is now recognised as being far more complex than the reductive quantification of their market and GDP benefits. Writing in 'Art School (Propositions for the 21st Century)', Ernesto Pujol proposes:'…it is absolutely crucial that art schools consider their institutional role in support of democracy. The history of creative expression is linked to the history of freedom. There is a link between the state of artistic expression and the state of democracy.' When we were approached by Huddersfield Art Gallery to work collaboratively on an exhibition programme that could showcase academic staff research, one of our first concerns was to ask the question, how can we really contribute to cultural leadership within the town?' The many soundbite examples of public engagement that we might underline within our annual reports or website news are one thing, but what really makes a difference to a town's cultural identity, and what affects people in their daily lives? With these questions in mind we sought a distinctive programme within the muncipal gallery space, that would introduce academic research in art, design and architecture beyond the university in innovative ways.

Im Publikum überlagern sich Kunst und Gesellschaft. Es ist der Ort, an dem ästhetische Praxis in einer Gesellschaft öffentlich wird und an dem politische Fragen in künstlerischer Inszenierung sichtbar und verhandelbar werden.Dieser Band stellt die Frage nach einer Ästhetik des Öffentlichen und den Öffentlichkeiten der Künste. Er versammelt Beiträge aus der Kunstgeschichte, der politischen Philosophie sowie der Film-, Theater- und Medienwissenschaft und sucht Formationen des Gemeinsamen in historischen und gegenwärtigen künstlerischen Produktionen, Prozessen sowie Rezeptionsweisen.

Krystian Lupa (* 1943), to whom this work is dedicated, is a theater director who enjoys the status of a "master" in Poland at the latest since the beginning of the 1990s. He has a reputation for lasting influence on Polish theater. This monograph presents the theatrical work of the Polish director Krystian Lupa for the first time comprehensively to the German speaking public. Starting from Lupas biography, an overview of his previous work and his narrative dramaturgy on individual staging analyzes to the detailed analysis of the staging cycle after Broch's "The Sleepwalkers" Lupas artistic manifesto, in the theater "want to explore new myths" discussed. The depiction of Lupa's theatrical concept is considered in the context of a mythology between martyrology and messianism, which has shaped the Polish cultural paradigm for many years, but is now in transition. Lupa's theater functions as a "metaphysical experience". Nevertheless, it seeks and investigates human cognition, which is why it is called "cognitive psychological theater". As an "interruption of the political," it comes up with a sense design that is put to the test and deliberately unchanged. Lupa integrates radical self-knowledge into a fragmentary totality that remains so human that man is not degraded in it, but rises.

"The Power of the In-Between: Intermediality as a Tool for Aesthetic Analysis and Critical Reflection gathers fourteen individual case studies where intermedial issues—issues concerning that which takes place in between media—are explored in relation to a range of different cultural objects and contexts, different methodological approaches, and different disciplinary perspectives. The cases investigate the intermediality of such manifold objects and phenomena as contemporary installation art, twentieth-century geography books, renaissance sculpture, media theory, and public architecture of the 1970s. They also bring together scholars from the disciplines of art history, comparative literature, theatre studies, musicology, and the history of ideas. Starting out from an inclusive understanding of intermediality as "relations between media conventionally perceived as different," each author specifies and investigates "intermediality" in their own particular case; that is, each examines how it is inflected by particular objects, methods, and research questions. "Intermediality" thus serves both as a concept employed to cover an inclusive range of cultural objects, cultural contexts, methodological approaches, and so on, and as a concept to be modelled out by the particular cases it is brought to bear on. Rather than merely applying a predefined concept, the objectives are experimental. The authors explore the concept of intermediality as a malleable tool of research. This volume further makes a point of transgressing the divide between media history and semiotically and/or aesthetically oriented intermedial studies. The former concerns the specificity of media technologies and media interrelations in socially, politically, and epistemologically defined space and time, and the latter targets formal considerations of media objects and its various meaning-making elements. These two conventionally separated fields of research are integrated in order to produce a richer understanding of the analytical and historical, as well as the aesthetic and technological, conditions and possibilities of intermedial phenomena. "

How can Michel Foucault's notion of heterotopias be transposed into a concept that describes medial and, more specifically, virtual spaces? What could such virtualized heterotopias look like? Can we find traces of utopian thinking within them? Zones*Virtopiques answers these questions in two ways: first by constructing a conceptual framework using notions of utopia and heterotopia, as well as reality and virtuality; and second, by applying theoretical findings to Zone*Interdite, a media art project on military areas authored by Mathias Jud and Christoph Wachter. Therefore, a micro-analysis of medial dispositifs has been developed.

Dopo secoli di sottomissione alle potenze straniere, tra Sette e Ottocento il Mezzogiorno d'Italia assunse un ruolo di grande prestigio nel panorama europeo, da un lato introiettando nella propria cultura il cospicuo patrimonio di valori e conoscenze di quelle civiltà, dall'altro facendo leva sulle fervide menti dei propri scienziati, intellettuali e tecnici per raggiungere traguardi di assoluto rilievo internazionale nel campo delle opere pubbliche e dell'urbanistica. Sovrani come Carlo di Borbone e Ferdinando II furono i principali promotori di questo riscatto e dei primati conseguiti. Frugando tra i documenti iconografici transitati sulla loro scrivania, oggi riordinati nella raccolta Palatina della Biblioteca Nazionale di Napoli, e interrogando i volumi della Biblioteca Reale, si scopre un ricco fermento di idee e di progettualità, ma anche la conferma del ricco quadro delle potenzialità purtroppo non pienamente espresse dallo Stato napoletano: ciò, va detto, non soltanto a seguito della fine del Regno, ma anche per le precise responsabilità politiche di quella dinastia. Purtroppo con l'Unità d'Italia tale patrimonio di esperienze non fu valorizzato, né corrette le deficienze strutturali del passato regime; anzi, il nuovo Stato contribuì sovente ad amplificarle, soffocando una promessa di sviluppo socio-economico che resta ancor oggi inattuata.

Künstlerinnen und Künstler interagieren mit dem öffentlichen Raum und seinen Strukturen in einer immer komplexer werdenden Vielschichtigkeit, so dass auch die Rezeption und kunstwissenschaftliche Auseinandersetzung neuartige Formate der Betrachtung und Analyse erfordern. In dem Verständnis, dass sich diese temporären Ereignisse in der Gegenwärtigkeit einer Situation materialisieren, werden in der Dissertation die ästhetischen Dimensionen und künstlerischen Strategien herausgearbeitet. Im Rahmen formalästhetischer Analysen aus kunst-, theater-, politik- und sozialwissenschaftlicher Perspektive steht die Ermittlung der künstlerischen Produktion einer Gegenöffentlichkeit im Mittelpunkt und wie diese neuartige soziale und politische Narrative hervorbringt. Der Fokus liegt dabei auf den Aktionen der Berliner Künstlergruppe Zentrum für Politische Schönheit und der Serie der Präsenz und Produktion des Schweizer Künstlers Thomas Hirschhorn. Wiebke Hahn ist als Kunstwissenschaftlerin und Ausstellungsmacherin für verschiedene Institutionen tätig. Sie studierte Kunstgeschichte an der Universität Leipzig, Kulturmanagement und Kulturtourismus an der Europa-Universität Viadrina sowie Contemporary Art Thoery am Goldsmiths College, University of London, bevor sie 2015 ihre Promotion im Fachbereich Kunstgeschichte der Freien Universität Berlin begann.

Reframing anthropology: contemporary art, curatorial practice, postcolonial activism, and museums How can we rethink anthropology beyond itself? In this book, twenty-one artists, anthropologists, and curators grapple with how anthropology has been formulated, thought, and practised 'elsewhere' and 'otherwise'. They do so by unfolding ethnographic case studies from Belgium, France, Germany, Italy, the Netherlands, and Poland – and through conversations that expand these geographies and genealogies of contemporary exhibition-making. This collection considers where and how anthropology is troubled, mobilised, and rendered meaningful. Across Anthropology charts new ground by analysing the convergences of museums, curatorial practice, and Europe's reckoning with its colonial legacies. Situated amid resurgent debates on nationalism and identity politics, this book addresses scholars and practitioners in fields spanning the arts, social sciences, humanities, and curatorial studies. Preface by Arjun Appadurai. Afterword by Roger Sansi Contributors: Arjun Appadurai (New York University), Annette Bhagwati (Museum Rietberg, Zurich), Clémentine Deliss (Berlin), Sarah Demart (Saint-Louis University, Brussels), Natasha Ginwala (Gropius Bau, Berlin), Emmanuel Grimaud (CNRS, Paris), Aliocha Imhoff and Kantuta Quirós (Paris), Erica Lehrer (Concordia University, Montreal), Toma Muteba Luntumbue (Ecole de Recherche Graphique, Brussels), Sharon Macdonald (Humboldt-Universität zu Berlin), Wayne Modest (Research Center for Material Culture, Leiden), Bonaventure Soh Bejeng Ndikung (SAVVY Contemporary, Berlin), Margareta von Oswald (Humboldt-Universität zu Berlin), Roger Sansi (Barcelona University), Alexander Schellow (Ecole de Recherche Graphique, Brussels), Arnd Schneider (University of Oslo), Anna Seiderer (University Paris 8), Nanette Snoep (Rautenstrauch-Joest-Museum, Cologne), Nora Sternfeld (Kunsthochschule Kassel), Anne-Christine Taylor (Paris), Jonas Tinius (Humboldt-Universität zu Berlin)

The writings of Mao Zedong have been circulated throughout the world more widely, perhaps, than those of any other single person this century. The "Talks at the Yan'an Conference on Literature and Art" has occupied a prominent position among his many works and has been the subject of intense scrutiny both within and outside China. This text has undoubted importance to modern Chinese literature and history. In particular, it reveals Mao's views on such questions as the relationship between writers or works of literature and their audience, or the nature and value of different kinds of literary products.In this translation and commentary, Bonnie S. McDougall finds that Mao was in fact ahead of many of his critics in the West and his Chinese contemporaries in his discussion of literary issues. Unlike the majority of modern Chinese writers deeply influenced by Western theories of literature and society (including Marxism), Mao remained close to traditional patterns of thought and avoided the often mechanical or narrowly literal interpretations that were the hallmark of Western schools current in China in the early twentieth century.Many of the detailed discussions on the "Talks" in the West have been concerned with their political and historical significance. However, since Mao is a literary figure of some importance in twentieth-century China, McDougall finds it worthwhile to follow up his published remarks on the nature and source of literature and the means of its evaluation. By better understanding the complex and revolutionary ideas contained in the "Talks," McDougall suggests we may acquire the necessary analytical tools for a more fruitful investigation into contemporary Chinese literature.

Double-talented artists were particularly numerous during the period of expressionism, which was characterized by political and radical social changes. The book presented offers informations about the artists' motivations and focuses on two excellent examples of artistic double-talent - Oskar Kokoschka, the founder of drama expressionism and Ludwig Meidner, highly praised for his apocalyptic landscapes. The interdisciplinary comparison of paintings and graphics with the dramas, poems and prose texts written by the artists allows offers valuable insights into their entire expressionistic oevre and, at the same time, a closer understanding of the relationship between art and literature.