(Self-)Reflexivity and Repetition in Documentary
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Film Funding Grants Programme 2013
Film Funding Grants Programme 2013 Film Funding Grants Programme 2013 Doha Film Institute established its Grants We contribute to films that have strong directorial Programme with the vision of fostering creative vision and that are challenging, creative and talent in the Middle East and North Africa (MENA) thought-provoking. Support for grantees is holistic, region. We are proud that over its first three- with financial assistance bolstered by professional and-a-half years the programme supported the development, mentorship and creative development development of more than 137 projects from opportunities that are made available throughout 14 countries. a project’s life cycle. In 2013, the Institute embarked on a new phase of the Grants Programme designed to further the It is our hope that through the Grants Programme goal of nurturing emerging talent. Projects from and the growing number of its alumni, we will all over the world became eligible for funding, continue to widen our flourishing community with a special focus on first- and second-time of filmmakers. As we extend our reach, we also filmmakers. enable professional, cultural and creative exchanges between our local talent and the wider international Alongside this expansion, the Institute’s industry. commitment to talent from the MENA region remains strong, with specific categories and I am honoured to welcome our newest grant criteria in place. Our focus on first- and second- recipients to the Doha Film Institute family. time filmmakers will greatly enhance our ability to discover and nurture new voices, both at home in Abdulaziz Al-Khater Qatar and around the globe. -
Jewish Identity and German Landscapes in Konrad Wolf's I Was Nineteen
Religions 2012, 3, 130–150; doi:10.3390/rel3010130 OPEN ACCESS religions ISSN 2077-1444 www.mdpi.com/journal/religions Article Homecoming as a National Founding Myth: Jewish Identity and German Landscapes in Konrad Wolf’s I was Nineteen Ofer Ashkenazi History Department, University of Minnesota, 1110 Heller Hall, 271 19th Ave S, Minneapolis, MN 55455, USA; E-Mail: [email protected]; Tel.: 1-651-442-3030 Received: 5 January 2012; in revised form: 13 March 2012 / Accepted: 14 March 2012 / Published: 22 March 2012 Abstract: Konrad Wolf was one of the most enigmatic intellectuals of East Germany. The son of the Jewish Communist playwright Friedrich Wolf and the brother of Markus Wolf— the head of the GDR‘s Foreign Intelligence Agency—Konrad Wolf was exiled in Moscow during the Nazi era and returned to Germany as a Red Army soldier by the end of World War Two. This article examines Wolf‘s 1968 autobiographical film I was Nineteen (Ich war Neunzehn), which narrates the final days of World War II—and the initial formation of postwar reality—from the point of view of an exiled German volunteer in the Soviet Army. In analyzing Wolf‘s portrayals of the German landscape, I argue that he used the audio- visual clichés of Heimat-symbolism in order to undermine the sense of a homogenous and apolitical community commonly associated with this concept. Thrown out of their original contexts, his displaced Heimat images negotiate a sense of a heterogeneous community, which assumes multi-layered identities and highlights the shared ideology rather than the shared origins of the members of the national community. -
Libertarian Marxism Mao-Spontex Open Marxism Popular Assembly Sovereign Citizen Movement Spontaneism Sui Iuris
Autonomist Marxist Theory and Practice in the Current Crisis Brian Marks1 University of Arizona School of Geography and Development [email protected] Abstract Autonomist Marxism is a political tendency premised on the autonomy of the proletariat. Working class autonomy is manifested in the self-activity of the working class independent of formal organizations and representations, the multiplicity of forms that struggles take, and the role of class composition in shaping the overall balance of power in capitalist societies, not least in the relationship of class struggles to the character of capitalist crises. Class composition analysis is applied here to narrate the recent history of capitalism leading up to the current crisis, giving particular attention to China and the United States. A global wave of struggles in the mid-2000s was constituitive of the kinds of working class responses to the crisis that unfolded in 2008-10. The circulation of those struggles and resultant trends of recomposition and/or decomposition are argued to be important factors in the balance of political forces across the varied geography of the present crisis. The whirlwind of crises and the autonomist perspective The whirlwind of crises (Marks, 2010) that swept the world in 2008, financial panic upon food crisis upon energy shock upon inflationary spiral, receded temporarily only to surge forward again, leaving us in a turbulent world, full of possibility and peril. Is this the end of Neoliberalism or its retrenchment? A new 1 Published under the Creative Commons licence: Attribution-Noncommercial-No Derivative Works Autonomist Marxist Theory and Practice in the Current Crisis 468 New Deal or a new Great Depression? The end of American hegemony or the rise of an “imperialism with Chinese characteristics?” Or all of those at once? This paper brings the political tendency known as autonomist Marxism (H. -
Kicking Off with Comedy Central's Roast of Rob Lowe
Media Release: Tuesday August 23, 2016 Get ready for a feast of Roasts on Foxtel Kicking off with Comedy Central’s Roast of Rob Lowe Tuesday September 6 at 8.30pm Express from the US on The Comedy Channel Hollywood heartthrob Rob Lowe is treated with his very own special Roast – and considering the skeletons in Lowe's closet, which include struggles with alcohol and an affair with Princess Stephanie of Monaco – the Roasters should have no problem finding topics to poke fun at. Comedy Central’s Roast of Rob Lowe will premiere Tuesday September 6 at 8.30pm Express from the US on The Comedy Channel. Known for his roles in St Elmo’s Fire, Wayne’s World, the Austin Powers franchise, The West Wing, Brothers & Sisters, Parks & Recreation, The Grinder and many, many more – Lowe has been a handsome fixture of our small and silver screens since the early 1980s. Get ready for Lowe’s dirty laundry to be aired when the Roasters spill the beans on his movie star lifestyle and brat pack antics. Comedy Central’s Roast of Rob Lowe will assemble a dais of comedians and celebrities, along with Roast Master David Spade (Saturday Night Live, Joe Dirt, Just Shoot Me!, Rules of Engagement), to take down the ageless sex symbol one burn at a time. The first round of Roasters confirmed include one of the UK's most distinctive comedians Jimmy Carr, Saturday Night Live’s Pete Davidson, actress and Lowe’s co- star Bo Derek, former NFL quarterback Peyton Manning, comedic actor Rob Riggle, and Roast alumni Jeff Ross. -
Television Satire and Discursive Integration in the Post-Stewart/Colbert Era
University of Tennessee, Knoxville TRACE: Tennessee Research and Creative Exchange Masters Theses Graduate School 5-2017 On with the Motley: Television Satire and Discursive Integration in the Post-Stewart/Colbert Era Amanda Kay Martin University of Tennessee, Knoxville, [email protected] Follow this and additional works at: https://trace.tennessee.edu/utk_gradthes Part of the Journalism Studies Commons Recommended Citation Martin, Amanda Kay, "On with the Motley: Television Satire and Discursive Integration in the Post-Stewart/ Colbert Era. " Master's Thesis, University of Tennessee, 2017. https://trace.tennessee.edu/utk_gradthes/4759 This Thesis is brought to you for free and open access by the Graduate School at TRACE: Tennessee Research and Creative Exchange. It has been accepted for inclusion in Masters Theses by an authorized administrator of TRACE: Tennessee Research and Creative Exchange. For more information, please contact [email protected]. To the Graduate Council: I am submitting herewith a thesis written by Amanda Kay Martin entitled "On with the Motley: Television Satire and Discursive Integration in the Post-Stewart/Colbert Era." I have examined the final electronic copy of this thesis for form and content and recommend that it be accepted in partial fulfillment of the equirr ements for the degree of Master of Science, with a major in Communication and Information. Barbara Kaye, Major Professor We have read this thesis and recommend its acceptance: Mark Harmon, Amber Roessner Accepted for the Council: Dixie L. Thompson Vice Provost and Dean of the Graduate School (Original signatures are on file with official studentecor r ds.) On with the Motley: Television Satire and Discursive Integration in the Post-Stewart/Colbert Era A Thesis Presented for the Master of Science Degree The University of Tennessee, Knoxville Amanda Kay Martin May 2017 Copyright © 2017 by Amanda Kay Martin All rights reserved. -
Verlag Der Buchhandlung Walther Und Franz König Sommer 2021
Verlag der Buchhandlung Walther und Franz König Sommer 2021 Verlag der Buchhandlung Walther und Franz König, Köln Sommer 2021 F21_Umschlag.P528U_final.indd 1 02.06.21 16:49 Hessen, Baden-Württemberg, Outside Europe Saarland,Michael Rheinland-Pfalz, Hagner. Bayern und Österreich D.A.P. / Distributed Art Publishers, Inc. Foucaults Pendel und wir.75 AnlässlichBroad Street, Suite einer 630 MichaelInstallation Klein von GerhardUSA Richter New York, NY 10004 c/o Vertreterbüro Würzburg T +1 (0) 212 627 1999 Huebergasse 1, D 97070 Würzburg [email protected] T +49 (0) 931 174 05 F +49 (0) 931 174 10 [email protected] Verlag der Buchhandlung Michael Hagner, * 1960, Professor für Walther und Franz König, Köln Wissenschaftsforschung an der UKETH & Zürich. Eire Für seine Arbeit wurde Leitung Vertrieb und Presse / er u. a. mit dem SigmundFreudPreis Head of Distribution and Press Cornerhousefür wissen schaft Publications liche Prosa der Eva Möller HOME Deutschen Akademie für Sprache und 2Dichtung Tony Wilson sowie Place der Martin Warnke- Ehrenstraße 4, D 50672 Köln UKMedaille Manchester und dem M15 Wissenschaftspreis 4FN T +49 (0) 221 205 96 53 Tder +44Aby (0)161Warburg 212 Stiftung34 66 aus F +49 (0) 221 205 96 60 [email protected]. [email protected] Als der Pariser Physiker Léon Foucault Allezivilisatorischen Preise inkl. MwSt. Fortschritt freibleibend durch die 16 × 24 cm, 396 Seiten/pages Belgium,1851 die ErdrotationNetherlands mit einem Pendel Wissenschaften prägte die öffentliche 92 Abbildungen/illustrations nachweisen konnte, musste niemand Geschichte des Pendels, bis Umberto Hardcover mit Schutzumschlag Exhibitionsmehr von der International Richtigkeit des Heliozen Eco es in einem postmodernen Welt Arttrismus & Illustrated überzeugt Books werden. -
The American Nightmare, Or the Revelation of the Uncanny in Three
The American Nightmare, or the Revelation of the Uncanny in three documentary films by Werner Herzog La pesadilla americana, o la revelación de lo extraño en tres documentales de DIEGO ZAVALA SCHERER1 Werner Herzog http://orcid.org/0000-0002-7362-4709 This paper analyzes three Werner Herzog’s films: How Much Wood Would a Woodchuck Chuck (1976), Huie’s Sermon (1981) and God´s Angry Man (1981) through his use of the sequence shot as a documentary device. Despite the strong relation of this way of shooting with direct cinema, Herzog deconstructs its use to generate moments of filmic revelation, away from a mere recording of events. KEYWORDS:Documentary device, sequence shot, Werner Herzog, direct cinema, ecstasy. El presente artículo analiza tres obras de la filmografía de Werner Herzog: How Much Wood Would a Woodchuck Chuck (1976), Huie´s Sermon (1981) y God´s Angry Man (1981), a partir del uso del plano secuencia como dispositivo documental. A pesar del vínculo de esta forma de puesta en cámara con el cine directo, Herzog deconstruye su uso para la generación de momentos de revelación fílmica, lejos del simple registro. PALABRAS CLAVE: Dispositivo documental, plano secuencia, Werner Herzog, cine directo, éxtasis. 1 Tecnológico de Monterrey, México. E-mail: [email protected] Submitted: 01/09/17. Accepted: 14/11/17. Published: 12/11/18. Comunicación y Sociedad, 32, may-august, 2018, pp. 63-83. 63 64 Diego Zavala Scherer INTRODUCTION Werner Herzog’s creative universe, which includes films, operas, poetry books, journals; is labyrinthine, self-referential, iterative … it is, we might say– in the words of Deleuze and Guattari (1990) when referring to Kafka’s work – a lair. -
Contemporary Art Magazine Issue # Sixteen December | January Twothousandnine Spedizione in A.P
contemporary art magazine issue # sixteen december | january twothousandnine Spedizione in a.p. -70% _ DCB Milano NOVEMBER TO JANUARY, 2009 KAREN KILIMNIK NOVEMBER TO JANUARY, 2009 WadeGUYTON BLURRY CatherineSULLIVAN in collaboration with Sean Griffin, Dylan Skybrook and Kunle Afolayan Triangle of Need VibekeTANDBERG The hamburger turns in my stomach and I throw up on you. RENOIR Liquid hamburger. Then I hit you. After that we are both out of words. January - February 2009 DEBUSSY URS FISCHER GALERIE EVA PRESENHUBER WWW.PRESENHUBER.COM TEL: +41 (0) 43 444 70 50 / FAX: +41 (0) 43 444 70 60 LIMMATSTRASSE 270, P.O.BOX 1517, CH–8031 ZURICH GALLERY HOURS: TUE-FR 12-6, SA 11-5 DOUG AITKEN, EMMANUELLE ANTILLE, MONIKA BAER, MARTIN BOYCE, ANGELA BULLOCH, VALENTIN CARRON, VERNE DAWSON, TRISHA DONNELLY, MARIA EICHHORN, URS FISCHER, PETER FISCHLI/DAVID WEISS, SYLVIE FLEURY, LIAM GILLICK, DOUGLAS GORDON, MARK HANDFORTH, CANDIDA HÖFER, KAREN KILIMNIK, ANDREW LORD, HUGO MARKL, RICHARD PRINCE, GERWALD ROCKENSCHAUB, TIM ROLLINS AND K.O.S., UGO RONDINONE, DIETER ROTH, EVA ROTHSCHILD, JEAN-FRÉDÉRIC SCHNYDER, STEVEN SHEARER, JOSH SMITH, BEAT STREULI, FRANZ WEST, SUE WILLIAMS DOUBLESTANDARDS.NET 1012_MOUSSE_AD_Dec2008.indd 1 28.11.2008 16:55:12 Uhr Galleria Emi Fontana MICHAEL SMITH Viale Bligny 42 20136 Milano Opening 17 January 2009 T. +39 0258322237 18 January - 28 February F. +39 0258306855 [email protected] www.galleriaemifontana.com Photo General Idea, 1981 David Lamelas, The Violent Tapes of 1975, 1975 - courtesy: Galerie Kienzie & GmpH, Berlin L’allarme è generale. Iper e sovraproduzione, scialo e vacche grasse si sono tra- sformati di colpo in inflazione, deflazione e stagflazione. -
Dissertação Final Corrigida
Universidade Estadual Paulista “Julio de Mesquita Filho” Instituto de Artes ALINE PIRES LUZ A ARTE PSICODÉLICA E SUA RELAÇÃO COM A ARTE CONTEMPORÂNEA NORTE-AMERICANA E INGLESA DOS ANOS 1960: uma dissolução de fronteiras São Paulo 2014 ALINE PIRES LUZ A ARTE PSICODÉLICA E SUA RELAÇÃO COM A ARTE CONTEMPORÂNEA NORTE-AMERICANA E INGLESA DOS ANOS 1960: uma dissolução de fronteiras Dissertação apresentada ao curso de Pós- Graduação em Artes, do Instituto de Artes da Universidade Estadual Paulista – UNESP, como requisito parcial para obtenção do título de Mestre em Artes Visuais, Área de concentração: História da Arte. Linha de Pesquisa: Abordagens Teóricas, Históricas e Culturais da Arte. Orientador: Prof. Dr. Omar Khouri. São Paulo 2014 ALINE PIRES LUZ A ARTE PSICODÉLICA E SUA RELAÇÃO COM A ARTE CONTEMPORÂNEA NORTE-AMERICANA E INGLESA DOS ANOS 1960: uma dissolução de fronteiras Dissertação aprovada como requisito parcial para obtenção do grau de Mestre em Artes Visuais no curso de Pós-Graduação em Artes, do Instituto de Artes da Universidades Estadual Paulista – UNESP, com área de concentração em História da Arte, pela seguinte banca examinadora: __________________________________________ Prof. Dr. Omar Khouri Instituto de Artes (UNESP) – Orientador. __________________________________________ Prof. Dr. Sérgio Mauro Romagnolo Instituto de Artes (UNESP) __________________________________________ Dr. Júlio César Mendonça Pontifícia Universidade Católica – PUC/SP São Paulo, 10 de Junho de 2014 RESUMO Tem-se por objetivo situar a produção de arte psicodélica vinculada ao movimento de contracultura da década de 1960, em relação à chamada arte contemporânea, que se iniciava no mesmo período e que pode ser tomada como uma arte que se deu no âmbito mainstream , por circular nas principais galerias, museus e fazer parte da História da Arte. -
Torture and the Cruel, Inhuman and Degrading Treatment of Detainees: the Effectiveness and Consequences of 'Enhanced
TORTURE AND THE CRUEL, INHUMAN AND DE- GRADING TREATMENT OF DETAINEES: THE EFFECTIVENESS AND CONSEQUENCES OF ‘EN- HANCED’ INTERROGATION HEARING BEFORE THE SUBCOMMITTEE ON THE CONSTITUTION, CIVIL RIGHTS, AND CIVIL LIBERTIES OF THE COMMITTEE ON THE JUDICIARY HOUSE OF REPRESENTATIVES ONE HUNDRED TENTH CONGRESS FIRST SESSION NOVEMBER 8, 2007 Serial No. 110–94 Printed for the use of the Committee on the Judiciary ( Available via the World Wide Web: http://judiciary.house.gov U.S. GOVERNMENT PRINTING OFFICE 38–765 PDF WASHINGTON : 2008 For sale by the Superintendent of Documents, U.S. Government Printing Office Internet: bookstore.gpo.gov Phone: toll free (866) 512–1800; DC area (202) 512–1800 Fax: (202) 512–2104 Mail: Stop IDCC, Washington, DC 20402–0001 VerDate Aug 31 2005 15:46 Jul 29, 2008 Jkt 000000 PO 00000 Frm 00001 Fmt 5011 Sfmt 5011 H:\WORK\CONST\110807\38765.000 HJUD1 PsN: 38765 COMMITTEE ON THE JUDICIARY JOHN CONYERS, JR., Michigan, Chairman HOWARD L. BERMAN, California LAMAR SMITH, Texas RICK BOUCHER, Virginia F. JAMES SENSENBRENNER, JR., JERROLD NADLER, New York Wisconsin ROBERT C. ‘‘BOBBY’’ SCOTT, Virginia HOWARD COBLE, North Carolina MELVIN L. WATT, North Carolina ELTON GALLEGLY, California ZOE LOFGREN, California BOB GOODLATTE, Virginia SHEILA JACKSON LEE, Texas STEVE CHABOT, Ohio MAXINE WATERS, California DANIEL E. LUNGREN, California WILLIAM D. DELAHUNT, Massachusetts CHRIS CANNON, Utah ROBERT WEXLER, Florida RIC KELLER, Florida LINDA T. SA´ NCHEZ, California DARRELL ISSA, California STEVE COHEN, Tennessee MIKE PENCE, Indiana HANK JOHNSON, Georgia J. RANDY FORBES, Virginia BETTY SUTTON, Ohio STEVE KING, Iowa LUIS V. GUTIERREZ, Illinois TOM FEENEY, Florida BRAD SHERMAN, California TRENT FRANKS, Arizona TAMMY BALDWIN, Wisconsin LOUIE GOHMERT, Texas ANTHONY D. -
Sage Global Template
This is a manuscript of an article subsequently published as: Walz, M., Hoyer, P. and Statler, M. (2016). After Herzog: Blurring fact and fiction in visual organizational ethnography. Journal of Organizational Ethnography, 5(3): 202-218. The published version can be accessed here: http://dx.doi.org/10.1108/JOE-07-2016-0017 ©Emerald After Herzog: Blurring fact and fiction in visual organizational ethnography Markus Walz Stockholm Business School, Stockholm University, Sweden Patrizia Hoyer Research Institute for Organizational Psychology, University of St. Gallen, Switzerland Matt Statler NYU Stern School of Business, New York University, USA Abstract Purpose – The purpose of this paper is to introduce the unique artistic approach of filmmaker Werner Herzog as an inspiration to rethink ethnographic studies in general and the notion of reflexivity in particular. Approach – This paper reviews the particularities of Werner Herzog’s approach to film making, linking them to the methodological tradition of visual ethnography and especially the debate about the role of reflexivity and performativity in research. Findings – Herzog’s conceptualization of meaning as ‘ecstatic truth’ offers an avenue for visual organizational ethnographers to rethink reflexivity and performativity, reframe research findings and reorganize research activities. The combination of multiple media and the strong authorial involvement exhibited in Herzog’s work, can inspire and guide the development of ‘meaningful’ organizational ethnographies. Originality/value – The paper argues that practicing visual organizational ethnography ‘after Herzog’ offers researchers an avenue to engage creatively with their research in novel and highly reflexive ways. It offers a different way to think through some of the challenges often associated with ethnographic research. -
H Amm Er M Useum Spring 09
24 Non Profit Org. Hammer Museum Spring 09 US Postage PAID 10899 Wilshire Boulevard Los Angeles, California 90024 USA Los Angeles, CA For additional program information: 310-443-7000 Permit no. 202 www.hammer.ucla.edu LLYN FOULKES. DELIVERANCE (DETAIL), 2007. MIXED MEDIA. 72 X 84 IN. (182.9 X 213.4 CM). COURTESY THE ARTIST AND KENT GALLERY, NEW YORK. PHOTO: RANDEL URBAUER. 100% recycled paper Spring 09Calendar Spring 25 3 2 news HAMMER NEWS director NEW HAMMER WEBSITE 1 the VISIT WWW.HAMMER.UCLA.EDU The Hammer launched its new website in November to rave A MESSAGE FROM THE DIRECTOR reviews and received extraordinary visitor traffic from all from over the world, including unexpected places such as Iran, LOS ANGELES’S PULSE Namibia, and Pakistan. The Chronicle of Higher Education’s Lawrence Biemiller said: For more than a century artists working as writers, visual cultural collaborations. Opening in 2010, the Ring Festival LA artists, filmmakers, actors, and musicians have defined is a celebration, led by the LA Opera, of Wagner’s Ring Cycle, The “museum surpassed itself—and every message Los Angeles’s history and formed the city’s heart and soul. showcasing a variety of exhibitions, symposia, conferences, other museum I can think of.... Making so a much smart content available free online is a Every two years the Hammer mounts an invitational performances, and programs hosted by many of L.A.’s most exhibition that focuses on work created in L.A. These shows important cultural institutions. The Hammer will present a tremendous service to art and culture—a service COLLECTION NEWS other university museums would do well to study.” present opportunities for all of us to explore the vast wealth series of corresponding public programs exploring historical GIFT FROM THE ANDY WARHOL 1 of artistic expression this city has to offer.