252 research outputs found

    New Perceptions: Kinugasa Teinosuke\u27s Films And Japanese Modernism

    Get PDF
    This essay offers a reading of Kinugasa Teinosuke\u27s independent silent films as responses to the traumatic experience of twentieth-century modernity. Of particular interest are the global and local intertexts in A Page of Madness and Crossways, their connections to the literary criticism of the shinkankakuha, or New Perception school, and the centrality of sensory perception in Kinugasa\u27s work

    Meet Amadeo: a proposal

    Get PDF
    A aposta nas indústrias criativas e culturais é cada vez mais importante para um desenvolvimento económico sustentável, combinando aspetos económicos, culturais, socias e tecnológicos. É também importante perceber como instituições seculares como os museus se tem adaptado aos novos tempos e aproveitado as novas tecnologias e novas formas de exposição em seu benefício, como o Edutainment. Através da revisão de literatura e entrevistas a entidades que trabalham na área, foi proposto fazer uma análise ao Edutainment e como é que este é usado em contexto museológico. Decorrente desta análise os seus resultados foram aplicados à proposta de transferir o modelo da exposição Edutainment e imersiva Meet Vincent, idealizada pelo Museu Van Gogh de Amesterdão, para a realidade portuguesa. Com realidade portuguesa, quer-se dizer pegar no essencial da exposição imersiva criada na Holanda e aplicá-la à vida e obra de Amadeo de Souza Cardoso, o pintor escolhido para o projeto. Diferente de outras exposições imersivas, tanto a exposição Meet Vincent como a proposta feita doravante prezam por partilhar o homem por detrás do pintor e a forma como a sua vivência terá influenciado a sua arte. Exposições imersivas não são novidades, mas acredita-se que o diferencial de transportar a audiência até aos anos 10 do século XX, ao dia a dia de Amadeo possa tornar a proposta de conhecer Amadeo de Souza Cardoso bem-sucedida.The focus on creative and cultural industries is increasingly important for a sustainable economic development, combining economic, cultural, social and technological aspects. It is also important to understand how secular institutions like museums have adapted to the new times and taken advantage of new technologies and new exhibition formats in their benefit, like Edutainment. Through literature review and interviews with entities that work in the area, we analysed Edutainment and how it is used in the museological context. The results of this analysis were applied to the proposal we present: transferring the Edutainment model and immersive exhibition Meet Vincent, created by the Van Gogh Museum in Amsterdam, to the Portuguese reality. By Portuguese reality, we mean taking the essentials of the immersive exhibition created in the Netherlands and applying them to the life and work of Amadeo de Souza Cardoso, the painter chosen for the project. Unlike other immersive exhibitions, both the Meet Vincent exhibition and the proposal made hereafter aim to share the man behind the painter and the way in which his life experience influenced his art. Immersive exhibitions are not new, but it is believed that the differential of transporting the audience to the 10's of the 20th century, to Amadeo's daily life can make the proposal of meeting Amadeo de Souza Cardoso successful

    Moving forward, looking back: the European avant-garde and the invention of film culture, 1919-1939

    Full text link
    This first critical overview of the European film avant-garde ushers in a new approach and creates its own subject. Arguing that a European perspective is the only way to understand the film avant-garde of the 1920s and 1930s, Hagener provides a much-needed summary of the theory and practice of the movement. This incisive study also pioneers a new approach to the alternative cinema network that sustained the avant-garde, paying particular attention to the emergence of screening clubs, film festivals, and archives

    Moving Forward, Looking Back

    Get PDF
    This first critical overview of the European film avant-garde ushers in a new approach and creates its own subject. Arguing that a European perspective is the only way to understand the film avant-garde of the 1920s and 1930s, Hagener provides a much-needed summary of the theory and practice of the movement. This incisive study also pioneers a new approach to the alternative cinema network that sustained the avant-garde, paying particular attention to the emergence of screening clubs, film festivals, and archives

    KHM 2006

    Get PDF
    Die KHM, die Kunsthochschule für Medien Köln, ist beinahe zwei Jahrzehnte alt. Für Akademien und Universitäten kein Alter, für eine Kunsthochschule für Medien eine lange Zeit – denn die Medien haben in diesem Zeitraum ihre Entwicklungsschritte rasant unternommen. Heute muss sich die KHM mit HD-Television, mit der Frage von bio-digitalen Lebensbedingungen beschäftigen, sie muss ihren Blick sowohl auf einen Kunstmarkt richten, der die Kunst immer ausschließlicher als Kapitalanlage begreift, sowie sich auf Medien konzentrieren, deren traditionelle Anstalten (wie beispielsweise der öffentlich-rechtliche Rundfunk) vor gravierenden Veränderungen stehen. Die digitalen Medien und ihr Einsatz in den Künsten, im Film, beim Video, in der postproduktionellen Bearbeitung, im Alltag (Kommunikation, Ökonomie und Politik) sind umfassend geworden und haben dadurch ihren Sonderstatus eingebüßt, der Zugriff auf den Computer ist Routine geworden. Für eine Kunsthochschule, deren Selbstverständnis auf den Medien (im Kunst- und Kulturkontext) beruht, sind diese Entwicklungen eine ständige und große Herausforderung. [...]The KHM, Kunsthochschule für Medien Köln – Academy of Media Arts Cologne, is almost twenty years old. For academies and universities in general, this is not very old at all, but for an academy of media arts it is a long time, for within this time span media have developed at an amazing pace. Today the KHM engages with HD television, and with bio-digital conditions of life. It confronts an art market that increasingly, almost exclusively even, views art as a capital investment, and focuses on media whose traditional institutions (for instance, public broadcasting) are on the brink of thoroughgoing changes. Digital media and their applications in the arts, film, video, post-production, and in everyday life communications, economics, and politics) have become all-pervasive and have lost their special status: access to computers is now routine. For an academy whose self-concept resides in the media (in the context of art and culture) these developments are a great and ongoing challenge. [...

    Art and Social Change : Contemporary Art in Asia and the Pacific

    No full text

    Critique of Creativity: Precarity, Subjectivity and Resistance in the ‘Creative Industries’

    Get PDF
    234 p. : il., Tablas.Libro ElectrónicoLa creatividad siempre está en movimiento: surge, se establece en el ente colectivo, palidece y desaparece a veces en el olvido; renace, vuelve con innovaciones, se reformula y resurge iniciando de nuevo el ciclo. Los viejos mitos de la creación y los creadores, los trabajos consagrados y los organismos privilegiados de los demiurgos están de nuevo en marcha, produciendo nuevos cambios. Los ensayos recogidos en este libro analizan ese resurgimiento complejo del mito de la creación y proponen una crítica contemporánea de la creatividad.Creativity is astir: reborn, re-conjured, re-branded, resurgent. The old myths of creation and creators – the hallowed labors and privileged agencies of demiurges and prime movers, of Biblical world-makers and self-fashioning artist-geniuses – are back underway, producing effects, circulating appeals. Much as the Catholic Church dresses the old creationism in the new gowns of ‘intelligent design’, the Creative Industries sound the clarion call to the Cultural Entrepreneurs. In the hype of the ‘creative class’ and the high flights of the digital bohemians, the renaissance of ‘the creatives’ is visibly enacted. The essays collected in this book analyze this complex resurgence of creation myths and formulate a contemporary critique of creativity.Contents vii Contributors ix Acknowledgements xv Introduction: On the Strange Case of ‘Creativity’ and its Troubled Resurrection 1 PART ONE: CREATIVITY 7 1 Immanent Effects: Notes on Cre-activity 9 2 The Geopolitics of Pimping 23 3 The Misfortunes of the ‘Artistic Critique’ and of Cultural Employment 41 4 ‘Creativity and Innovation’ in the Nineteenth Century: Harrison C. White and the Impressionist Revolution Reconsidered 57 PART TWO: PRECARIZATION 77 5 Virtuosos of Freedom: On the Implosion of Political Virtuosity and Productive Labour 79 6 Experiences Without Me, or, the Uncanny Grin of Precarity 91 7 Wit and Innovation 101 PART THREE: CREATIVITY INDUSTRIES 107 8 GovernCreativity, or, Creative Industries Austrian Style 109 9 The Los Angelesation of London: Three Short Waves of Young People’s Micro-Economies of Culture and Creativity in the UK 119 10 Unpredictable Outcomes / Unpredictable Outcasts: On Recent Debates over Creativity and the Creative Industries 133 11 Chanting the Creative Mantra: The Accelerating Economization of EU Cultural Policy 147 PART FOUR: CULTURE INDUSTRY 165 12 Culture Industry and the Administration of Terror 167 13 Add Value to Contents: The Valorization of Culture Today 183 14 Creative Industries as Mass Deception 191 Bibliography 20

    Video Vortex reader : responses to Youtube

    Get PDF
    The Video Vortex Reader is the first collection of critical texts to deal with the rapidly emerging world of online video – from its explosive rise in 2005 with YouTube, to its future as a significant form of personal media. After years of talk about digital convergence and crossmedia platforms we now witness the merger of the Internet and television at a pace no-one predicted. These contributions from scholars, artists and curators evolved from the first two Video Vortex conferences in Brussels and Amsterdam in 2007 which focused on responses to YouTube, and address key issues around independent production and distribution of online video content. What does this new distribution platform mean for artists and activists? What are the alternatives
    • …
    corecore