343 research outputs found
Unmasking the Gaze : some thoughts on new feminist film theory and history
Partiendo de perspectivas feministas y psicoanalĂticas, este ensayo de Laura Mulvey profundiza en la importancia de la mirada en el cine. MĂĄs concretamente, argumenta que la mirada cinematogrĂĄfica estĂĄ siempre sujeta a cuestiones de gĂ©nero y sexualidad, de manera que toda/o espectadora/espectador establece una compleja relaciĂłn entre su identidad/sexualidad y la dinĂ mica erĂłtica de la pelĂcula. La autora sostiene, sin embargo, que el anĂĄlisis psicoanalĂtico de la mirada no es irreconciliable con un anĂĄlisis histĂłrico y social de la misma. Para ejemplificar todo ello, examina la pelĂcula Los caballeros las prefieren rubias (Howard Hawks, 1953)
Towards Other Cinemas : a critical re-assessment of 1970s independent film and video
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: âActivated Spacesâ (chair, Clayton) with guest speaker Dr Steve Presence (Research Fellow, University of the West of England, Bristol); âListening Inâ (chair, Holdsworth) with Dr Lucy Reynolds (Senior Lecturer and researcher, Westminster University, London); and âTime and Placeâ (chair Mulvey) with Kodwo Eshun (Lecturer in Contemporary Art Theory at Goldsmiths, Visiting Professor, Haut Ecole dâArt et Design, GenĂšve and co-founder of the Turner Prize nominated Otolith Group)
European Research Agenda for Career Guidance and Counselling
In a changing world, there is a need to reflect about the research basis of career guidance and counselling (CGC) as a professional practice, considering the contributions of various disciplines and research traditions. This paper outlines a possible European research agenda (ERA) to further enhance the knowledge foundation of the CGC practice. The proposed lines of research, which are pronounced in the ERA, are based on a literature review involving 45 researchers concerned with the CGC practice. At three events, approximately 150 researchers from across Europe were engaged in the discussion, what kind of research is needed to enhance the knowledge foundation of the CGC practice. The paper provides a systematic overview of the relevant research fields, and links key research questions to current research endeavours. Due to the necessary involvement of diverse types of practitioners, policy makers, and researchers from different disciplines to share the CGC practice and contribute to the development of its knowledge basis, the paper calls for open, cooperative and integrative research approaches, including the combination of different research paradigms and methods. The development of the European Research Agenda was co-funded by the European Union through the Lifelong Learning Programme
Feminist film studies 40 years after âVisual Pleasure and Narrative Cinemaâ, a triologue
Forty years after the publication of her seminal essay VISUAL PLEASURE AND NARRATIVE CINEMA in Screen, Laura Mulvey, together with Anna Backman Rogers, has edited Feminisms: Diversity, Difference, and Multiplicity in Contemporary Film Cultures, which is the latest instalment of The Key Debates series. NECSUS invited Laura Mulvey and Anna Backman Rogers to join Annie van den Oever, editor of NECSUS and series editor of The Key Debates, in a âtriologueâ, which in part reflects and re-emphasises the topics publicly discussed during the Feminisms symposia
"How long does it take?":The Resurrection of Marilyn Monroe and Somethingâs Got to Give (1962)
'It's a film' : medium specificity as textual gesture in Red road and The unloved
British cinema has long been intertwined with television. The
buzzwords of the transition to digital media, 'convergence' and
'multi-platform delivery', have particular histories in the British
context which can be grasped only through an understanding of the
cultural, historical and institutional peculiarities of the British film
and television industries. Central to this understanding must be two
comparisons: first, the relative stability of television in the duopoly
period (at its core, the licence-funded BBC) in contrast to the repeated
boom and bust of the many different financial/industrial combinations
which have comprised the film industry; and second, the cultural and
historical connotations of 'film' and 'television'. All readers of this
journal will be familiar â possibly over-familiar â with the notion that
'British cinema is alive and well and living on television'. At the end of
the first decade of the twenty-first century, when 'the end of medium
specificity' is much trumpeted, it might be useful to return to the
historical imbrication of British film and television, to explore both
the possibility that medium specificity may be more nationally specific
than much contemporary theorisation suggests, and to consider some
of the relationships between film and television manifest at a textual
level in two recent films, Red Road (2006) and The Unloved (2009)
Assessment of mitochondrial function and oxygen consumption measured during ex vivo normothermic machine perfusion of injured pig kidneys helps to monitor organ viability
Donor kidney assessment may improve organ utilisation. Normothermic Machine Perfusion (NMP) has the potential to facilitate this advance. The mechanism of action is not yet determined and we aimed to assess mitochondrial function during NMP. Anaesthetised pigs (n = 6) had one kidney clamped for 60 min. The healthy contralateral kidney was removed and underwent NMP for 8 h (healthy control (HC), n = 6). Following 60 min warm ischaemia the injured kidney underwent HMP for 24 h, followed by NMP for 8 h (n = 6). Mitochondria were extracted from fresh tissue for analysis. Injured kidneys were analysed as two separate groups (IMa, n = 3 and IMb, n = 3). Renal resistance was higher (0.39ï, ± 0.29 vs. 1.65ï, ± 0.85; p = 0.01) and flow was lower (55ï, ± 28 vs. 7ï, ± 4; p = 0.03) during HMP in IMb than IMa. NMP blood flow was higher in IMa versus IMb (2-way ANOVA; p < 0.001) After 60 min NMP, O2 consumption was significantly lower in IMb versus IMa (p †0.002). State-3 respiration was significantly different between the groups (37ï, ± 19 vs. 24ï, ± 14 vs. 10ï, ± 8; nmolO2/min/mg; p = 0.049). Lactate levels were significantly lower in IMa versus IMb (p = 0.028). Mitochondrial respiration levels during NMP may be suggestive of kidney viability. Oxygen consumption, renal blood flow and lactate can differentiate severity of kidney injury during NMP
Nietzsche on Film
This is the final version of the article. Available from Edinburgh University Press via the DOI in this record.This article tracks the many appearances of Friedrich Nietzsche throughout the history of cinema. It asks how cinema can do Nietzschean philosophy in ways that are unique to the medium. It also asks why the cinematic medium might be so pertinent to Nietzschean philosophy. Adhering to the implicit premise that, as Jacques Derrida once put it, âthere is no totality to Nietzsche's text, not even a fragmentary or aphoristic one,â the essay's mode of argument avoids reductive totalization and instead comprises a playful sampling of variously Nietzschean manifestations across dissimilar films. It begins with an extended account of Baby Face, a 1933 drama from which the abundant references to Nietzsche were either altered or expunged ahead of theatrical release. It then maps some of the philosophical consistencies across two genres in which characters read Nietzsche with apparent frequency: the comedy and the thriller. While comedies and thrillers both treat Nietzsche and his readers with suspicion, and do so for perceptive historical reasons, the essay then asks what an affirmatively Nietzschean film might look like. It explores this possibility through a discussion of cinematic animation in general and then more specifically via several critically familiar films that self-consciously evolve their aesthetic through Nietzsche's philosophy. The essay concludes by affirming BĂ©la Tarr's final film as one of the medium's greatest realizations of a Nietzschean film-philosophy. The Turin Horse, released in 2011, is exemplary because it takes Nietzsche as a narrative premise only to sublate that premise into a unique visual style
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