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A Sheffield Hallam University Thesis
How do I look? Viewing, embodiment, performance, showgirls, and art practice. CARR, Alison J. Available from the Sheffield Hallam University Research Archive (SHURA) at: http://shura.shu.ac.uk/19426/ A Sheffield Hallam University thesis This thesis is protected by copyright which belongs to the author. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author. When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given. Please visit http://shura.shu.ac.uk/19426/ and http://shura.shu.ac.uk/information.html for further details about copyright and re-use permissions. How Do I Look? Viewing, Embodiment, Performance, Showgirls, & Art Practice Alison Jane Carr A thesis submitted in partial fulfilment of the requirements of Sheffield Hallam University for the degree of Doctor of Philosophy ProQuest Number: 10694307 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a com plete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest ProQuest 10694307 Published by ProQuest LLC(2017). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code Microform Edition © ProQuest LLC. ProQuest LLC. 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106- 1346 Declaration I, Alison J Carr, declare that the enclosed submission for the degree of Doctor of Philosophy, and consisting of a written thesis and a DVD booklet, meets the regulations stated in the handbook for the mode of submission selected and approved by the Research Degrees Sub-Committee of Sheffield Hallam University. -
A Wishy-Washy, Sort-Of-Feeling: Episodes in the History of the Wishy-Washy Aesthetic
Western University Scholarship@Western Electronic Thesis and Dissertation Repository 8-22-2014 12:00 AM A Wishy-Washy, Sort-of-Feeling: Episodes in the History of the Wishy-Washy Aesthetic Amy Gaizauskas The University of Western Ontario Supervisor Christine Sprengler The University of Western Ontario Graduate Program in Art History A thesis submitted in partial fulfillment of the equirr ements for the degree in Master of Arts © Amy Gaizauskas 2014 Follow this and additional works at: https://ir.lib.uwo.ca/etd Recommended Citation Gaizauskas, Amy, "A Wishy-Washy, Sort-of-Feeling: Episodes in the History of the Wishy-Washy Aesthetic" (2014). Electronic Thesis and Dissertation Repository. 2332. https://ir.lib.uwo.ca/etd/2332 This Dissertation/Thesis is brought to you for free and open access by Scholarship@Western. It has been accepted for inclusion in Electronic Thesis and Dissertation Repository by an authorized administrator of Scholarship@Western. For more information, please contact [email protected]. A WISHY-WASHY, SORT-OF FEELING: EPISODES IN THE HISTORY OF THE WISHY-WASHY AESTHETIC Thesis Format: Monograph by Amy Gaizauskas Graduate Program in Art History A thesis submitted in partial fulfillment of the requirements for the degree of Master of Art The School of Graduate and Postdoctoral Studies The University of Western Ontario London, Ontario, Canada © Amy Gaizauskas 2014 Abstract Following Sianne Ngai’s Our Aesthetic Categories (2012), this thesis studies the wishy- washy as an aesthetic category. Consisting of three art world and visual culture case studies, this thesis reveals the surprising strength that lies behind the wishy-washy’s weak veneer. -
Image – Action – Space
Image – Action – Space IMAGE – ACTION – SPACE SITUATING THE SCREEN IN VISUAL PRACTICE Luisa Feiersinger, Kathrin Friedrich, Moritz Queisner (Eds.) This publication was made possible by the Image Knowledge Gestaltung. An Interdisciplinary Laboratory Cluster of Excellence at the Humboldt-Universität zu Berlin (EXC 1027/1) with financial support from the German Research Foundation as part of the Excellence Initiative. The editors like to thank Sarah Scheidmantel, Paul Schulmeister, Lisa Weber as well as Jacob Watson, Roisin Cronin and Stefan Ernsting (Translabor GbR) for their help in editing and proofreading the texts. This work is licensed under a Creative Commons Attribution-NonCommercial-No-Derivatives 4.0 License. For details go to https://creativecommons.org/licenses/by-nc-nd/4.0/. Copyrights for figures have been acknowledged according to best knowledge and ability. In case of legal claims please contact the editors. ISBN 978-3-11-046366-8 e-ISBN (PDF) 978-3-11-046497-9 e-ISBN (EPUB) 978-3-11-046377-4 Library of Congress Control Number: 2018956404 Bibliographic information published by the Deutsche Nationalbibliothek The Deutsche National bibliothek lists this publication in the Deutsche Nationalbibliographie; detailed bibliographic data are available on the internet at http://dnb.dnb.de. © 2018 Luisa Feiersinger, Kathrin Friedrich, Moritz Queisner, published by Walter de Gruyter GmbH, Berlin/Boston The book is published with open access at www.degruyter.com, https://www.doabooks.org and https://www.oapen.org. Cover illustration: Malte Euler Typesetting and design: Andreas Eberlein, aromaBerlin Printing and binding: Beltz Bad Langensalza GmbH, Bad Langensalza Printed in Germany www.degruyter.com Inhalt 7 Editorial 115 Nina Franz and Moritz Queisner Image – Action – Space. -
Against Expression?: Avant-Garde Aesthetics in Satie's" Parade"
Against Expression?: Avant-garde Aesthetics in Satie’s Parade A thesis submitted to the Division of Graduate Studies and Research of the University of Cincinnati In partial fulfillment of the requirements for the degree of MASTER OF MUSIC In the division of Composition, Musicology, and Theory of the College-Conservatory of Music 2020 By Carissa Pitkin Cox 1705 Manchester Street Richland, WA 99352 [email protected] B.A. Whitman College, 2005 M.M. The Boston Conservatory, 2007 Committee Chair: Dr. Jonathan Kregor, Ph.D. Abstract The 1918 ballet, Parade, and its music by Erik Satie is a fascinating, and historically significant example of the avant-garde, yet it has not received full attention in the field of musicology. This thesis will provide a study of Parade and the avant-garde, and specifically discuss the ways in which the avant-garde creates a dialectic between the expressiveness of the artwork and the listener’s emotional response. Because it explores the traditional boundaries of art, the avant-garde often resides outside the normal vein of aesthetic theoretical inquiry. However, expression theories can be effectively used to elucidate the aesthetics at play in Parade as well as the implications for expressability present in this avant-garde work. The expression theory of Jenefer Robinson allows for the distinction between expression and evocation (emotions evoked in the listener), and between the composer’s aesthetical goal and the listener’s reaction to an artwork. This has an ideal application in avant-garde works, because it is here that these two categories manifest themselves as so grossly disparate. -
Eric Rohmer's Film Theory (1948-1953)
MARCO GROSOLI FILM THEORY FILM THEORY ERIC ROHMER’S FILM THEORY (1948-1953) IN MEDIA HISTORY IN MEDIA HISTORY FROM ‘ÉCOLE SCHERER’ TO ‘POLITIQUE DES AUTEURS’ MARCO GROSOLI ERIC ROHMER’S FILM THEORY ROHMER’S ERIC In the 1950s, a group of critics writing MARCO GROSOLI is currently Assistant for Cahiers du Cinéma launched one of Professor in Film Studies at Habib Univer- the most successful and influential sity (Karachi, Pakistan). He has authored trends in the history of film criticism: (along with several book chapters and auteur theory. Though these days it is journal articles) the first Italian-language usually viewed as limited and a bit old- monograph on Béla Tarr (Armonie contro fashioned, a closer inspection of the il giorno, Bébert 2014). hundreds of little-read articles by these critics reveals that the movement rest- ed upon a much more layered and in- triguing aesthetics of cinema. This book is a first step toward a serious reassess- ment of the mostly unspoken theoreti- cal and aesthetic premises underlying auteur theory, built around a recon- (1948-1953) struction of Eric Rohmer’s early but de- cisive leadership of the group, whereby he laid down the foundations for the eventual emergence of their full-fledged auteurism. ISBN 978-94-629-8580-3 AUP.nl 9 789462 985803 AUP_FtMh_GROSOLI_(rohmer'sfilmtheory)_rug16.2mm_v02.indd 1 07-03-18 13:38 Eric Rohmer’s Film Theory (1948-1953) Film Theory in Media History Film Theory in Media History explores the epistemological and theoretical foundations of the study of film through texts by classical authors as well as anthologies and monographs on key issues and developments in film theory. -
5Bfbeeac3776649f9b212fdfb326
5 Foreword raymond Walravens 9 opening and Closing Ceremony / awards 10 world Cinema Amsterdam Competition 20 mexiCan landsCapes Features 22 new mexiCan Cinema presentation paula Astorga riestra 24 postCards From a new mexiCan Cinema Carlos BonFil 42 mexiCan landsCapes shorts 46 speCial sCreenings (out oF Competition) 51 speCials 55 world Cinema Amsterdam open Air 62 world Cinema Amsterdam on Tour 63 we would like to thank 67 index Filmmakers A – Z 69 index Films A – Z 70 sponsors and partners Foreword From 12 through 22 August, the best independently world Cinema Amsterdam Competition produced films from Latin America, Asia and Africa The World Cinema Amsterdam competition programme will be brought together in one festival: World Cinema features nine truly exceptional films, taking us on a Amsterdam. fascinating odyssey around the world in Chad, South Africa, Thailand, Malaysia, Turkey, the Philippines, World Cinema Amsterdam is a new initiative by Argentina, Mexico and Nicaragua, and presenting work independent art cinema Rialto, which for many years both by filmmakers who have more than earned their has been promoting the presentation of films and spurs and debut films by young, talented directors. filmmakers from Africa, Asia and Latin America. Award winners from renowned foreign festivals such as Cannes or Berlin, and films that have captured our In 2006, Rialto started working towards the realization attention elsewhere will have their Dutch or Amsterdam of its long-cherished dream: to set up a festival of its premieres during the festival. own dedicated to presenting the many pearls of world The most recent productions by the following cinema. -
Animated Works by Nancy Andrews
FILM AT REDCAT PRESENTS Tue Mar 8 | 8:30 pm Jack H. Skirball Series $9 [students $7, CalArts $5] The Birdwoman and Her Dreams: Animated Works by Nancy Andrews World premiere and Los Angeles premieres With characters and stories synthesized from sources including history and autobiography, Nancy Andrews works in a hybrid form that combines research with storytelling, documentary, puppetry and vaudeville. The program presents the World Premiere of a Surprise Film along with two of her latest animated works. Inspired by classic "mad scientist" horror films and research into the physiology of insects, Behind the Eyes are the Ears (2010, 26 min.) features a soundtrack by Andrews and Zach Soares and mixes animation, live action and found footage to follow the revolutionary attempts of Dr. Sheri Myes to expand human perception and consciousness. On a Phantom Limb (2009, 35 min.), with music by John Cooper, invokes the realm of the invisible and takes as its starting point the filmmaker’s near-death experience during a harrowing surgical procedure. Andrews is the recipient of awards and grants from the John Simon Guggenheim Memorial Foundation and the National Endowment for the Arts, among others. In person: Nancy Andrews “Nancy Andrews’s films are small treasures, finely crafted, exquisite in small details and as rare as they come. Her cinema is artisanal, beautiful in its homespuness, expressive in its miscellany of hand-made images, whether drawn, animated or acted, and sly in its humor.” www.redcat.org | 1 – Lawrence Kardish, The Museum of Modern Art “Behind the Eyes are the Ears embraces the full scope of the unknown—from the sinister to the rhapsodic… The now-familiar Rorschach is consumed/ subsumed by an unknown, other-dimensional entity growing inward from the sides of the screen—making the peripheral central, conflating analog and digital into a warm, comforting, enigmatic, oily stain of a talisman. -
Richard Linklater
8 Monday April 22 2013 | the times arts artscomedy DESPINA SPYROU; GRAEME ROBERTSON “Studioshave financedfourofmy [23]films.Idon’thave aproblemwith Find thenextbig thing Theone-nightstand Hollywood,butthe airwe breathe hereisn’tpermeatedbybusiness. My familylifeishere.” Linklateris unmarried(“Iam Go to Edinburgh anti-institutionalineveryareaofmy life”).He andTina,hispartnerof andjoin thepanel thatsparked aclassic 20years,have threemuch-cherished daughters—19-year-oldLorelei, an actress,and the8-year-old“fascinating” that decides who identicaltwinsCharlotte andAlina. “That’s abig gapbetweenchildren,”he is thestand-up ThedirectorRichard Linklater tells Tim Teeman says.“Tinasaid:‘I wantmorekidsand ifyoudon’tI’ll gohave themwith comedianof2013 thebittersweet story of abrief encounterwitha someoneelse’,” Linklaterlaughs. He quotesastatisticthat70 percentof oyouwant togo tothe strangerthatgaveusBeforeSunrise andits sequels marriedmen and72percentofmarried EdinburghFestivalFringefor women havestrayed.Isheoneofthe afortnight andstay there hosewhoracefor chanceonenight inVienna.Lehrhaupt, monogamousones?“No, of coursenot!” free?Thinkyoucouldhandle theexitasamovie’s Linklaterrevealsforthefirsttime,was heroars.“Anyonewhowantsto bewith D morethan 100hours of closingcredits rollwill thewoman with“crazy, cute,wonderful mehastoacceptthecomplexityofbeing comedyintwoweeks?Thenyouhave miss,at theendof We talked energy”hemetonenight inOctober ahuman.Itrynotto live inastraitjacket. whatittakesto beaFoster’sEdinburgh RichardLinklater’s aboutart, 1989who inspiredthefilms.“What -
4 | 2017 Volume 8 (2017) Issue 4 ISSN 2190-3387
4 | 2017 Volume 8 (2017) Issue 4 ISSN 2190-3387 Editorial: A Christmas Gift by Séverine Dusollier Designing Competitive Markets for Industrial Data – Between Propertisation and Access Law and Electronic Commerce Information Technology, Intellectual Property, Journal of by Josef Drexl From Cyberpunk to Regulation – Digitised Memories as Personal and Sensitive Data within the EU Data Protection Law by Krzysztof Garstka Copyright, Doctrine and Evidence-Based Reform by Stef van Gompel Non-Commercial Quotation and Freedom of Panorama: Useful and Lawful? by Eleonora Rosati Where is the Harm in a Privacy Violation? Calculating the Damages Afforded in Privacy Cases by the European Court of Human Rights by Bart van der Sloot Editors: Thomas Dreier Axel Metzger Gerald Spindler Lucie Guibault Miquel Peguera www.jipitec.eu Séverine Dusollier Chris Reed Karin Sein Journal of Intellectual Property, Information Technology and Electronic Commerce Law Table Of Contents Volume 8 Issue 4 December 2017 www.jipitec.eu [email protected] A joint publication of: Articles Prof. Dr. Thomas Dreier, M. C. J., KIT - Karlsruher Institut für Technologie, Zentrum für Angewandte Rechtswissenschaft (ZAR), Vincenz-Prießnitz-Str. 3, Editorial: A Christmas Gift 76131 Karlsruhe Germany by Séverine Dusollier 255 Prof. Dr. Axel Metzger, LL. M., Humboldt-Universität zu Designing Competitive Markets for Industrial Data – Between Berlin, Unter den Linden 6, Propertisation and Access 10099 Berlin by Josef Drexl 257 Prof. Dr. Gerald Spindler, Dipl.-Ökonom, Georg-August- From Cyberpunk to Regulation – Digitised Memories as Personal Universität Göttingen, and Sensitive Data within the EU Data Protection Law Platz der Göttinger Sieben 6, by Krzysztof Garstka 293 37073 Göttingen Copyright, Doctrine and Evidence-Based Reform Karlsruhe Institute of Technology, by Stef van Gompel 304 Humboldt-Universität zu Berlin and Georg-August-Universität Non-Commercial Quotation and Freedom of Panorama: Göttingen are corporations under Useful and Lawful? public law, and represented by their respective presidents. -
EF International Language Center, Munich
EF Munich EF INTERNATIONAL LANGUAGE CENTER EF PRIV. SPRACHINSTITUT GMBH,STERNSTR. 5 – LEHEL CARRE, 80538 MÜNCHEN City Highlights One of Germany's most popular city. Just 1 hour by train to the Alps Enjoy both the vibrant impressive life of a metropolis and the beautiful Bavarian countryside Culture, historic monuments, superb architecture and great shopping Very varied and exciting nightlife to suit all musical tastes and lifestyles Busy city festivals all year round (film, music, opera festival, Springfestival, Tollwood Festival, Octoberfest, Christmas market This cosmopolitan city is home to three of Germany’s top universities Book at worldwide lowest price at: https://www.languagecourse.net/school-ef-international-language-center-munich.php3 +1 646 503 18 10 +44 330 124 03 17 +34 93 220 38 75 +33 1-78416974 +41 225 180 700 +49 221 162 56897 +43 720116182 +31 858880253 +7 4995000466 +46 844 68 36 76 +47 219 30 570 +45 898 83 996 +39 02-94751194 +48 223 988 072 +81 345 895 399 +55 213 958 08 76 +86 19816218990 School Highlights Around the school Established EF school with more than 28 years of Cafes/restaurants experience 2 minutes walking - Italian, Indian, German, French Warm and friendly welcome from a team of professional City centre staff, dedicated to providing excellent service and 10 min walking - 5 min public transport support Situated in trendy suburb Lehel, just 5 minutes bus Public transportation stop/station ride from the town centre and 5 minutes walk from 1 Min - Lehel (Metro U4/U5) Maximilianstrasse. 10 minutes walk from Marienplatz, 150 meters from the Isar and 5 minutes walk to the Shops English Garden. -
MEDIA-MAKERS FORUM October 8 • 12-4 PM • FREE Join Our Four-Person Panel As They Discuss the Not-For-Profit Filmmaking Going on in the Area
MEDIA-MAKERS FORUM October 8 • 12-4 PM • FREE Join our four-person panel as they discuss the not-for-profit filmmaking going on in the area. It’s your chance to help make movies! See you at The Neville Public Museum! Wednesday, September 21 • THE RETURN (Russia, 2003) Directed by Andrei Zvyagintsev Winner of the Golden Lion at the 2003 Venice Film Festival, “The Return” is a magnificent re-working of the prodigal son parable, this time with the father returning to his two sons after a 12 year absence. Though at first ecstatic to be reunited with the father they’ve only known from a photograph, the boys strain under the weight of their dad’s awkward and sometimes brutal efforts to make up for the missing years. In Russian with English subtitles. Presenter to be announced Wednesday, October 12 • BRIGHT FUTURE (Japan, 2003) Directed by Kiyoshi Kurosawa Called by the New York Times a Japanese David Lynch, Kurosawa’s film is about two young friends who work at a hand-towel factory and raise deadly jellyfish. A casual visit by their boss unleashes a serious of events which change the two friends lives forever. One of the pleasures of this slow, suspenseful film is how casually Kurosawa tosses in ideas about contemporary life, the state of the family, the place of technology, all while steadily shredding your nerves. In Japanese with English subtitles. Presented by Ben Birkinbine, Green Bay Film Society Wednesday, October 19 • OSCAR-NOMINATED AND OSCAR-WINNING SHORT FILMS Once again we present a series of the best of live-action and animated short films from around the world. -
Deepa Mehta (See More on Page 53)
table of contents TABLE OF CONTENTS Introduction Experimental Cinema: Welcome to the Festival 3 Celluloid 166 The Film Society 14 Pixels 167 Meet the Programmers 44 Beyond the Frame 167 Membership 19 Annual Fund 21 Letters 23 Short Films Ticket and Box Offce Info 26 Childish Shorts 165 Sponsors 29 Shorts Programs 168 Community Partners 32 Music Videos 175 Consulate and Community Support 32 Shorts Before Features 177 MSPFilm Education Credits About 34 Staff 179 Youth Events 35 Advisory Groups and Volunteers 180 Youth Juries 36 Acknowledgements 181 Panel Discussions 38 Film Society Members 182 Off-Screen Indexes Galas, Parties & Events 40 Schedule Grid 5 Ticket Stub Deals 43 Title Index 186 Origin Index 188 Special Programs Voices Index 190 Spotlight on the World: inFLUX 47 Shorts Index 193 Women and Film 49 Venue Maps 194 LGBTQ Currents 51 Tribute 53 Emerging Filmmaker Competition 55 Documentary Competition 57 Minnesota Made Competition 61 Shorts Competition 59 facebook.com/mspflmsociety Film Programs Special Presentations 63 @mspflmsociety Asian Frontiers 72 #MSPIFF Cine Latino 80 Images of Africa 88 Midnight Sun 92 youtube.com/mspflmfestival Documentaries 98 World Cinema 126 New American Visions 152 Dark Out 156 Childish Films 160 2 welcome FILM SOCIETY EXECUTIVE DIRECTOR’S WELCOME Dear Festival-goers… This year, the Minneapolis St. Paul International Film Festival celebrates its 35th anniversary, making it one of the longest-running festivals in the country. On this occasion, we are particularly proud to be able to say that because of your growing interest and support, our Festival, one of this community’s most anticipated annual events and outstanding treasures, continues to gain momentum, develop, expand and thrive… Over 35 years, while retaining a unique flavor and core mission to bring you the best in international independent cinema, our Festival has evolved from a Eurocentric to a global perspective, presenting an ever-broadening spectrum of new and notable film that would not otherwise be seen in the region.