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Andrew Sarris and Pauline Kael: the Duel for the Soul of American Film Criticism
1 Andrew Sarris and Pauline Kael: The Duel For the Soul of American Film Criticism By Inge Fossen Høgskolen i Lillehammer / Lillehammer University College Avdeling for TV-utdanning og Filmvitenskap / Department of Television and Film Studies (TVF) Spring 2009 1 2 For My Parents 2 3 ”When we think about art and how it is thought about […] we refer both to the practice of art and the deliberations of criticism.” ―Charles Harrison & Paul Wood “[H]abits of liking and disliking are lodged in the mind.” ―Bernard Berenson “The motion picture is unique […] it is the one medium of expression where America has influenced the rest of the world” ―Iris Barry “[I]f you want to practice something that isn’t a mass art, heaven knows there are plenty of other ways of expressing yourself.” ―Jean Renoir “If it's all in the script, why shoot the film?” ―Nicholas Ray “Author + Subject = Work” ―Andrè Bazin 3 4 Table of Contents Preface and Acknowledgements p. 6. Introduction p. 8. Defining Art in Relation to Criticism p. 14. The Popular As a Common Ground– And an Outline of Study p. 19. Career Overview – Andrew Sarris p. 29. Career Overview – Pauline Kael p. 32. American Film Criticism From its Beginnings to the 1950s – And a Note on Present Challenges p. 35. Notes on Axiological Criticism, With Sarris and Kael as Examples p. 41. Movies: The Desperate Art p. 72. Auteurism – French and American p. 82. Notes on the Auteur Theory 1962 p. 87. "Circles and Squares: Joys and Sarris" – Kael's Rebuttal p. 93. -
[email protected] Website: Nightshift.Oxfordmusic.Net Free Every Month
email: [email protected] website: nightshift.oxfordmusic.net Free every month. NIGHTSHIFT Issue 128 March Oxford’s Music Magazine 2006 From smalltown belarusTo bigtime Meet Faringdon’s finest, inside NIGHTSHIFT: PO Box 312, Kidlington, OX5 1ZU. Phone: 01865 372255 NEWNEWSS Nightshift: PO Box 312, Kidlington, OX5 1ZU Phone: 01865 372255 email: [email protected] LOCAL BANDS have until March 15th to City Girl. This year’s line-up will be announced submit demos for this year’s Oxford Punt. The on the Nightshift website noticeboard and on Punt, organised by Nightshift Magazine, takes Oxfordbands.com on March 16th. place across six venues in Oxford city centre on All-venue Punt passes are now on sale from Wednesday 10th May and will showcase 18 of Polar Bear Records on Cowley Road or online the best new unsigned bands and artists in the from oxfordmusic.net. As ever there will only county. Bands and solo acts can send demos, be 100 passes available, priced at £7 each (plus clearly marked The Punt, to Nightshift, PO Box booking fee). 312, Kidlington, OX5 1ZU. Bands who have previously made their reputations early on at TRUCK FESTIVAL 2006 tickets are now on the Punt include The Young Knives and Fell sale nationally after being made available to Oxfordshire music fans only at the start of STEVE GORE February. Tickets for the two-day festival at Hill Farm, Steventon over the weekend of the GARY NUMAN plays his first Oxford show 1965-2006 22nd and 23rd July are priced at £40 and are on for 12 years when he appears at Brookes th Steve Gore, bass player with local ska-punk sale from the Zodiac box office, Polar Bear University Union on Sunday 30 April. -
Postmodern Orientalism. William Gibson, Cyberpunk and Japan
Copyright is owned by the Author of the thesis. Permission is given for a copy to be downloaded by an individual for the purpose of research and private study only. The thesis may not be reproduced elsewhere without the permission of the Author. POSTMODERN ORIENTALISM William Gibson, Cyberpunk and Japan A thesis presented in fulfillment of the requirements for the degree of Doctor of Philosophy in English at Massey University, Albany, New Zealand Leonard Patrick Sanders 2008 ABSTRACT Taking the works of William Gibson as its point of focus, this thesis considers cyberpunk’s expansion from an emphatically literary moment in the mid 1980s into a broader multimedia cultural phenomenon. It examines the representation of racial differences, and the formulation of global economic spaces and flows which structure the reception and production of cultural practices. These developments are construed in relation to ongoing debates around Japan’s identity and otherness in terms of both deviations from and congruities with the West (notably America). To account for these developments, this thesis adopts a theoretical framework informed by both postmodernism as the “cultural dominant” of late capitalism (Jameson), and orientalism, those discursive structures which produce the reified polarities of East versus West (Said). Cyberpunk thus exhibits the characteristics of an orientalised postmodernism, as it imagines a world in which multinational corporations characterised as Japanese zaibatsu control global economies, and the excess of accumulated garbage is figured in the trope of gomi. It is also postmodernised orientalism, in its nostalgic reconstruction of scenes from the residue of imperialism, its deployment of figures of “cross-ethnic representation” (Chow) like the Eurasian, and its expressions of a purely fantasmatic experience of the Orient, as in the evocation of cyberspace. -
Copy of A4 Template
THE MICK 53 Xmas 2010 EDITORIAL VOMIT CHRISTMAS PAST: What are your abiding memories of Christmas, and what fills you with the greatest joy, or trepidation? AINE BRANCH I grew up with two sets of great-grandparents still going strong (one www.facebook.com/pandorasbox great-grandmother lived to 102), and so Christmas was always centred The great joy of Christmas past was when I was little and my dad was around their houses. My great-grandmothers had this sort of still alive. He made the holidays magical in way that I have never unspoken, decades-long competition when it came to ornaments. Soft experienced again. The hardest part of Christmas was the night before and tiny Mae would make, say, miniature working postboxes to hold and trying to get to sleep ALAN HICKS (Writer/DJ) www.dominionmag.com www.komodorock.com www.myspace.com/rockmatrix www.myspace.com/hiximus I think like most people I remember Christmas as a kid. As soon as you start work each Christmas seems to meld into one unless you go somewhere special or have kids of your own. My main memories are Christmas dinner (my favourite meal), usually watching at least one film and of course loads of lovely presents! I’ve missed out family as I am lucky enough to live close enough to see them all year round anyway. Snow is the only thing I dislike if it is on any day other than Christmas Day. It just gets in the way and makes everything more difficult. Yes, I have been called Scrooge and used the word ‘humbug’ on various occasions. -
The Music of the Goth Subculture: Postmodernism and Aesthetics Charles Allen Mueller
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2008 The Music of the Goth Subculture: Postmodernism and Aesthetics Charles Allen Mueller Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC THE MUSIC OF THE GOTH SUBCULTURE: POSTMODERNISM AND AESTHETICS By CHARLES ALLEN MUELLER A Dissertation submitted to the College of Music In partial fulfillment of the Requirements for the degree of Doctor of Philosophy Degree Awarded: Summer Semester, 2008 Copyright 2008 Charles Mueller All Rights Reserved The members of the Committee approve the dissertation of Charles Allen Mueller defended on June 12, 2008. __________________________ Charles E. Brewer Professor Directing Dissertation __________________________ Barry Faulk Outside Committee Member __________________________ Denise Von Glahn Committee Member __________________________ Douglass Seaton Committee Member The Office of Graduate Studies has verified and approved the above named committee members. ii ACKNOLEDGEMENTS I would like to extend my most sincere gratitude to the Presser Foundation who funded my research in Great Britain. I would also like to thank journalist Mick Mercer and the staff at Rough Trade in London who provided me with important insights into the development of goth music. All of the past and present goth participants and musicians who took the time to share with me their passion for music and life experiences also -
Too Loud in ‘Ere
1 Too Loud In ‘Ere A Tale of 20 Years of Live Music Jonny Hall, June 2017 (c) Jonny Hall/DJ Terminates Here, 2017. Some rights reserved. This work is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International License. 2 Introduction Every live gig I’ve ever been to has given me some kind of story to tell. You could ask me about any of them and I could come up with at least one occurrence that captured the spirit of the night. But not every live show has been truly ‘special’. I’ve seen excellent performances by bands with crowds numbering in their thousands that were simply ‘very good nights out’. No more, no less. No, it’s those gigs that leave you buzzing all the way home that count, the ones where you really felt part of something special and years later, need only think of that occasion to be right back there, in soul if not in body. Sometimes the whole gig doesn’t have to be brilliant, a single ‘magic moment’ is all you need. And it’s those events that have kept me coming back for more. Most people just settle for a few favourites and watch them every time they come round. I’m not like that. I’ve rolled the dice on catching relatively unknown bands plenty of times (especially at festivals). You never know what you might discover. It doesn’t always work. I’ve had my share of dead nights, shitty soundsystems and line-ups that seem to shift every time you look at them. -
54281199.Pdf
2 FORTRESS EUROPE The Big Shiny Prison Vol. II c/o Ryan Bartek 3 **ATTN: ALL RECIPIENTS OF THIS PROMOTIONAL PDF** The First Edition of “FORTRESS EUROPE (The Big Shiny Prison Vol II)” will be released on 3/15/2016, available worldwide through Amazon.com . Its USA predecessor “THE BIG SHINY PRISON (Volume One)” was released on 2/15/2016, available worldwide through Amazon.com . Both are available through the LSI/Ingram Spark distribution network to booksellers and stores at 55% wholesale in both USA & Europe. This book will remain a Free PDF download at the author’s official website (www.BigShinyPrison.com ), and also remain Free on Kindle. Any reviews or news coverage is highly appreciated. Ryan Bartek is available for interview upon request: [email protected] Copyright © 2012 Ryan Bartek “Fortress Europe (The Big Shiny Prison Vol. II)” First Edition 2016 // All Rights Reserved. ISBN-13: 978-0692628430 ISBN-10: 0692628436 No part of this book may be physically reproduced, transmitted or digitally stored without the express, written permission of the author: “Fortress Europe (The Big Shiny Prison Vol. II)” and Anomie Press are independent of any product, vendor, company, music group or person mentioned in this book. No product, company, or person mentioned or quoted in this book have in any way financially sponsored this manuscript. No product, vendor, company, music group or person mentioned in this book directly endorses any of Mr. Bartek’s personal opinions, social or political views. **Please ask your local book store to carry books by Anomie Press. Anomie Press is a D.I.Y. -
Fortress Europe”
– to all recipients of “FORTRESS EUROPE” ... This promotional PDF is hereby offered to the public. File sharing is approved & encouraged by its author, Ryan Bartek. While reviews are appreciated, we know this is a time-consuming request. Therefore, we mainly seek news mentions & web-links that clearly explain where to download “FORTRESS EUROPE (The Big Shiny Prison Vol. II)” for FREE. “FORTRESS EUROPE” is the sequel to “THE BIG SHINY PRISON.” Both books are works of nonfiction travel journalism revolving around the counterculture. While “THE BIG SHINY PRISON (Volume One)” covered the USA underground, it's follow-up details the author's odyssey thropugh the European underground in 2011. “FORTRESS EUROPE” is the third book by Ryan Bartek, preceded by “THE BIG SHINY PRISON” (2009) & his debut anthology “THE SILENT BURNING” (2005). Ryan Bartek is a veteran musician of grindpunk acts SASQUATCH AGNOSTIC & A.K.A. MABUS. He also performs acoustic/antifolk under the alias JACK CASSADY, does live spoken word (as Ryan Bartek) & has toured nationally. Bartek has been published in a host of zines/newspapers, including Metal Maniacs, PIT Magazine, and HAILS & HORNS, among others. Having glimpsed the future & again been cast into the hopeless, futile purgatory that is The United States, the author is seeking citizenship, residency, or legitimate working visa to any country in the European Union. If anyone can assist relocation by legal means, contact Bartek directly (via) [email protected] or [email protected] When in the United States, Ryan Bartek lives & works in Portland, Oregon. Download the author's entire artistic canon 100% FREE here: http://ryanbartek.angelfire.com/blog/ Thanks in Advance, The Anomie PR Team * * * FORTRESS EUROPE is dedicated to Frank Castle, Water Kovacs & Paul Kersey The worst childhood friends a boy could ever have. -
Confronting the Shadow: a Power Electronics Praxis Michael Blenkarn
Confronting the Shadow: A Power Electronics Praxis Michael Blenkarn Doctor of Philosophy The International Centre for Music Studies Newcastle University August 2019 Abstract Confronting the Shadow is a practice-led research project based on composition and recording in the Power Electronics music modality. The submission comprises seven albums and a written thesis. Power Electronics is a confrontational form of music practice situated within the noise music genre. The purpose of the research is to use this modality as a vehicle for exploring relations between noise, the urban space and mental health. As practice-led research, these relations are accounted for in a written thesis that has been structured to support and map the recorded material. The discursive methodology described by Somerville as postmodern emergence is employed to describe how the ideas and arguments made in the thesis component have emerged from the process of creating the portfolio. Key ideas incorporated in this manner throughout the thesis are adapted from the psychoanalytic works of Carl Gustav Jung, in particular his confrontation with the shadow. Jung’s ideas are explored in conjunction with material from musicology (Hegarty, Novak, Keenan, Attali), social policy (Barham, Moon, Kearns & Joseph, Laurance, the Schizophrenia Commission, Rethink Mental Illness), psychogeography (Sinclair, Raban, Vidler, Coverley), psychology (Laing & Esterson), film studies (Balsom & Peleg, Rabiger), and more, to create a nuanced multidisciplinary mapping of the portfolio and its interrogation of noise, the urban space and mental health. Emphasis is placed on the context of deinstitutionalisation – the socio- cultural and political transfer of mental healthcare from institutions to the community in the late 20th century – that transformed the experience of both the urban space and mental illness in this period. -
Felix Issue 0854, 1990
WE'W GOING TO SPAIM f ( ( C ICU Social Colours Malcolm Aldridge Amanda Green 1 Hie ' John St-Hill Joseph Andrews Chris Greenwood Lesley Mayers Nick Stafford Susan Appleby Rhydian Hapgood ! • 'iien McCabe Dr David Stuckey Rose Atkins Richard Hardiman Vernon McClure Vijay Thakur Pat Baker Dr John Harrison Neil McCluskey Andy Thompson Michelle Began Jen Hardy-Smith << Namee Benjamin Turner Reggie Blennerhassett Simon Heaps ! • *' 'i-e ' Louise van der Straeten Pete Bowen Zoe Hellinger 1 . Meyfroidt Wouter van Hulten Terry Briley Simon Holden Dr Don Monro Dr Ken Weale Jeremy Bunnell Chris Home Ramin Nakisa Dave Williams Hal Calamvokis Rufus Isaacs Fiona Nicholas Nicola Williams Dr Chris Champion Adrian Johnson Dave Osborne Murray Williamson Dr John Cosgrove Gwyn Jones Chris Owen Bob Westaway Rory Curtis Doug King David Peacock Yvonne Woods Steve Farrant Tim King Yve Posner Tom Yates Joe Ferrtley Andy Klava Chris Pote Ken Young John Finley Spenser Lane Ian Richards Paula Young Robin Fisher Lay Hamish Rose Ian Frith Lester fiisb flews " Dr John Galley Graeme Littler i >r mi, Schrater Alistair Goodall Andy Lovatt Jackie :>mn Pierre Grosgogeat Carol Luscombe ...Emma :*itt. Mike Graveston Nick Marley David I Full Athletic Colours Half Athletic Colours Chris Cox Carl Boone Peter Cripwell Simon Brindle Cathy Drake Gully Burns Rhys Wyn Evans Chris Burton Russell Green Simon Cain Nick Hills Diane Chadwick-Jones Simon Holden Richard Court James Hurr Gordon Davies J.F. Lucas Pete Drew Helen Mackintosh Simon Evans Dave Matthews Dom Faulkner Tony Menzies -
University of Southampton Research Repository Eprints Soton
University of Southampton Research Repository ePrints Soton Copyright © and Moral Rights for this thesis are retained by the author and/or other copyright owners. A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the copyright holder/s. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the copyright holders. When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given e.g. AUTHOR (year of submission) "Full thesis title", University of Southampton, name of the University School or Department, PhD Thesis, pagination http://eprints.soton.ac.uk UNIVERSITY OF SOUTHAMPTON The Web of Community Trust Amateur Fiction Online: A Case Study in Community Focused Design for the Semantic Web by K. Faith Lawrence A thesis submitted in partial fulfillment for the degree of Doctor of Philosophy in the Faculty of Engineering and Applied Science Department of Electronics and Computer Science March 2008 UNIVERSITY OF SOUTHAMPTON ABSTRACT FACULTY OF ENGINEERING AND APPLIED SCIENCE DEPARTMENT OF ELECTRONICS AND COMPUTER SCIENCE Doctor of Philosophy by K. Faith Lawrence This thesis describes a case study online community: online amateur authors. Taking this case study community as a base, this thesis considers how the concept of community is applied within the Semantic Web domain. Considering the community structures that can be demonstrated through the case study, this thesis makes the case for the recognition of a specific type of social network structure, one that fulfils the traditional definitions of `community'. -
TOTALITARIAN EASTERN EUROPE SIMON PAUL BELL a Thesis I
ANGLIA RUSKIN UNIVERSITY LAIBACH AND THE NSK: AN EAST-WEST NEXUS IN POST- TOTALITARIAN EASTERN EUROPE SIMON PAUL BELL A thesis in partial fulfilment of the requirements of Anglia Ruskin University for the degree of Doctor of Philosophy Submitted: January 2014 ACKNOWLEDGEMENTS Dr. Alexei Monroe, Christian Matzke, Dr. Susan Wilson, Dr. Gianna Bouchard, Dr. Duška Radosavljević, Pil and Galia Kollectiv, Dr. David Crilly, respondents to the audience survey questionnaire (anonymous), Lili Anamarija No, Lina Dzuverovic of Calvert 22 gallery, the Chelsea Space gallery, Timo Vuorensola, Sakshi Gupta, IRWIN, the Slovenian Embassy, Avi Pitchon, Michelle Whitney, Dr. Rowlie Wymer, Paul Jackson, Dr. Michael Goddard, The NSK, Chris Bohn (a.k.a. Biba Kopf), Stephanie and Stevphen Shukaitis, Dr. Michael Goddard. Funding bodies The Equity Trust Fund. i ANGLIA RUSKIN UNIVERSITY ABSTRACT FACULTY OF ARTS, LAW AND SOCIAL SCIENCES DOCTOR OF PHILOSOPHY LAIBACH AND THE NSK: AN EAST-WEST NEXUS IN POST- TOTALITARIAN EASTERN EUROPE SIMON PAUL BELL JANUARY 2014 This thesis is a study of the Slovenian multi-disciplinary collective the NSK (Neue Slowenische Kunst), with particular focus on the music group Laibach. This thesis interrogates how Laibach and the NSK operate as a nexus between Eastern Europe and the West through the ritualised staging of ideology as a mechanism of power. This research addresses the wider issue of Eastern European aesthetic discourse in the context of hegemonic Western aesthetic discourse. Research involved an analysis of Laibach and the NSK’s prime aesthetic strategy, Retrogardism, in the context of Western aesthetic discourse. This required an analysis of diverse fields such as the historic avant-garde, European history, critical theory, cultural activism, and Performance Art.