Suchergebnisse

Alexandre Trauner is remembered for his highly evocative `poetic realist' designs in films such as Le Quai des brumes (1938), Hôtel du Nord (1938), Le Jour se lève (1939) and Les Enfants du paradis (1945). His designs intertwined familiar iconography with stylistic accentuation so that the decor became the narrative's organising image. This article will concentrate on three of Trauner's American films: Othello (1952), Land of the Pharaohs (1955) and The Apartment (1960). It will identify the consonances between Trauner's work in 1930s France and 1950s America and argue that his design methodology seamlessly adapted to a different set of professional imperatives, which in turn allowed a fuller development of the `poetic realist' style. The `Trauner style' — cultivated in France and refined in America — revolves around three recurring aspects: visual symbolism, the interplay between monumental and intimate, and the decor paraphrasing the narrative.

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.

This paper analyses business strategies to survive the economic crisis of late socialism in
Yugoslavia. It takes one of Yugoslavia's flagship exporter enterprises, the shipyard "Uljanik" in
Pula as a case study. It argues that the most widespread response to growing economic difficulties in the 1970s and 1980s was a strategy of muddling-through. Yugoslavia, while aiming to become an exporter of industrial goods, never actually managed to adapt its domestic economic institutions to that goal. "Uljanik", like the other shipbuilders in Yugoslavia, produced mostly for export yet failed to earn profits. Domestic conditions and the political over-determination of industry prevented the implementation of measures to increase efficiency. "Uljanik", for example, expanded capacity and hired new workers even at a time when the global demand for ships was depressed after the 1974 oil-price shock. Employment and other social functions turned out to be more salient than any business rationale. Since the mid-1970s this made "Uljanik" dependent on customers, such as the Soviet Union or Third World countries that did not pay in hard currency, or did not pay at all. Frequent illiquidity was the consequence. The paper present the ship-building industry as a case in point for the increasing tensions between Yugoslavia's institutional set-up and its integration in the international economy, and for the unwillingness of policy-makers to affect structural change. The country failed to build resilience for mediating the outfall of global economic crisis.

Abstract The economic tradition of ordoliberalism , understood as the theoretical and policy ideas of the Freiburg School, emerged in 1930s and 1940s Germany. In the years thereafter, it was quickly superseded by Keynesianism and other theories imported from the English-speaking world. The crisis in Keynesian economics in the mid-1970s led to what has been described as a "renaissance of ordoliberal reasoning" (Gebhard Kirchgässner) during the late 1970s and the 1980s. The present paper describes this development in detail and shows how it affected the academic discourse and, more indirectly, policymaking. In academic economics, ordoliberal concepts were used to inform debates about pressing issues of the day such as unemployment, social security reform, competition policy, the provision of public goods, and European integration. There was, however, no consensus on the methodological question of whether ordoliberalism could be fully integrated into international research programs such as the new institutional economics or constitutional economics. The paper argues that the renaissance of ordoliberalism failed to have a lasting impact on German academic economics and discusses possible implications of this finding for the future of the ordoliberal research agenda.

In the 1950s, amateur filmmaking had become a well-established feature of everyday life in the Soviets Union. However, in contrast to the state film industry, no centralized governmental body existed to control amateur filmmakers. As a result, state ideology was not always the primary motivation for making amateur films. The works that dared to experiment invariably emerged from the periphery, and the Latvian SSR became one of the citadels of the Soviet amateur film movement. Drawing upon the amateur film collection held at the Latvian State Archive of Audiovisual Documents, this paper will identify and analyse the various functions that amateur documentary filmmaking performed beyond its ostensible mission of transmitting Soviet ideology, and examine its role in creating alternative political, social, and cultural meanings, and prospects for national identity development and heritage preservation. It will primarily focus on the documentaries by Uldis Lapiņš, Zigurds Vidiņš, and Ingvars Leitis made in the 1970 and the 1980s, and look at how they used everyday matters – such as family, community, and travel – to express artistically as well as to address broader social and political issues of life in the post-war Soviet society.

The provision of menstrual products for free has become one part of the larger push by menstrual activists to make menstrual equity a global priority. Menstrual equity includes addressing and solving concerns that connect menstruation to public health issues, gender equality, and access to complete and comprehensive health and menstrual education. This last point is the focus of this paper. The Period Products (Free Provision) (Scotland) Bill in Scotland did not emerge out of nowhere; neither did legislation across the US that addresses period poverty. Rather, these legal advances are the latest in a complicated and complex fight for menstrual education and healthcare. The Period Products Act's emphasis on 'access'—access to education and to menstrual products—is rooted in Scottish sex and menstrual education. This seemingly subtle difference from American menstrual education reveals how access has historically been integrated into Scottish menstrual education, a comparison particularly visible in the American and Scottish films studied here, Naturally … a Girl (1973) and Having a Period: Menstruation (1980), respectively.

Given as part of a day-long panel of papers exploring the artist's interview, this 20-minute paper considered the 'interview' as an on-going and underlying theme in artists' moving image. It discussed how interviews are a complex and subjective method for exploring recent history; a particular kind of source material connected to artists' critical writing; and a format used in films, videos and performances. Taking the dialogic back-and-forth of interview interaction as a starting point, it considered how 'speaking-out' and 'listening-in' are active modes of engagement that are channelled by and subverted in works of moving image, particularly early video art of the 1970s. Using writings by Steven Connor (2000) and Mladen Dolar (2006), it explored how the split condition and antiphonal dynamics of the artists' recorded voice enables them to re-enter conversations from and about the past. Taking Rosalind Krauss' 1976 essay 'Video: The aesthetics of narcissism' as an initial point of departure, the presentation posited that the interview as a very different cumulative, moving and open-ended format, which enables it to have immediacy in later contexts. Discussion referenced 'Sculpture in the Expanded Field', another essay written by Krauss in 1979, used in the overall AAH conference description. By exploring 'expanded' performance-based artworks and drawing upon recent post-doc research into the intersections between experimental sound/music and artists' moving image, it considered how Kevin Atherton's In Two Minds (1978–2018) installations and performances alter understanding of recorded material and the archive. Framed by this potential 'performative afterlife' of recorded artworks, it asked how and in what ways the interview as a format can be used to re-engage with history – activating re-examination of queer and feminist approaches to making and disseminating artworks in seventies Britain. Supported by a bursary from the Doctoral and Early Career Research Network of the Association for Art History.

The rise of neo-conservatism defined the critical context of many appraisals of artistic work produced in downtown New York in the late 1970s and early 1980s. Although initial reviews of the scene were largely enthusiastic, subsequent assessments of artistic work from this period have been largely negative. Artists like Keith Haring, Jean-Michel Basquiat and Kenny Scharf have been assessed primarily in terms of gentrification, commodification, and political commitment relying upon various theoretical assumptions about social processes. The conclusions reached have primarily centred upon the lack of resistance by these artists to postindustrial capitalism in its various manifestations. My investigation engages in a debate with these texts by challenging these assumptions by which the downtown artists have been understood. I address the work of Richard Bolton, Suzi Gablik, Hal Foster and Craig Owens, amongst others, by critiquing their differing conceptions of structure and agency and introducing the analytical dualist approach of sociologist Margaret Archer, one which theorises the agency of social actors within social structures in a superior manner. After making my case, I investigate five economic and political conditions facing these artists, including corporate expansion, entrepreneurialism, the entertainment industry, the rise of the neo-conservative political agenda and the struggle for dominance amongst critics themselves. In each, I investigate the production and distribution practices of a wide range of downtown artists in relation to the historical context, from groups such as Colab and PADD to individuals including Ann Magnuson, David McDermott, Jenny Holzer, Richard Hambleton, John Fekner, Jane Dickson and David Wojnarowicz, in order to illuminate the relationship between such practices and the social structures which shaped such activity. In so doing, I conclude that artists were both constrained and enabled by these contexts, thus providing a more complex picture of their place in art history.