DOCSLIB.ORG

Teaching Visual Culture in an Interdisciplinary Classroom

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Teaching Visual Culture in an Interdisciplinary Classroom Teaching Visual Culture in an Interdisciplinary Classroom Teaching Teaching Visual Culture in an Interdisciplinary Classroom How to deal with gender, women, gender roles, feminism and gender equality in teaching practices? The ATHENA thematic network brings together specialists in women’s and gender studies, feminist research, women’s rights, gender equality and diversity. In the book series ‘Teaching with Gender’ the partners in this network have collected articles on a wide range of teaching practices in the field of gender. The books in this series address challenges and possibilities of teaching about women and gender in a wide range of educational contexts. The authors discuss pedagogical, theoretical and political dimensions of learning and teaching on women and gender. The books in this series contain teaching material, reflections on feminist pedagogies, practical discussions about the development of gender- sensitive curricula in specific fields. All books address the crucial aspects of education in Europe today: increasing international mobility, growing importance of interdisciplinarity and the many practices of life-long learning and training that take place outside the traditional programmes of higher education. These books will be indispensable tools for educators who take serious the challenge of teaching with gender. (for titles see inside cover) Visual literacy is crucial for understanding the role of visual culture as a key factor in processes of globalization, technologization and multiculturalization, which are all part of our historicity. Certainly, the study of the visual is not limited to the study of images, but also of their effects, material practices they entail and creative potential they offer. Therefore, it is of critical importance to work out new approaches to study both epistemologies and ontologies of the visual. Teaching Visual Culture in an Interdisciplinary Classroom weaves together various critical paradigms, theories and methodologies within the common field of feminist visual culture. By doing so, it demonstrates the importance of the analysis of the visual Teaching Visual Culture for feminist studies as well as the need to increase visual literacy in general. The volume provides theoretical and methodological support and examples of possible in an Interdisciplinary Classroom analyses for researchers and students interested in the field of feminist visual Feminist (Re)Interpretations of the Field culture or, more generally, women’s studies, gender studies, visual studies, art Elżbieta H. Oleksy and Dorota Golańska studies and science studies. It presents feminist theories and methodologies, A book series by ATHENA which were influential for the field of visual culture and encourages readers to think critically about the visual. From Introduction Edited by Elżbieta H. Oleksy and Dorota Golańska The books are printed and also published online. Contact [email protected] or go to www.athena3.org or www.erg.su.se/genusstudier to find out how to download or to order books from this series. ISBN 91-87792-49-4 Edited by Elżbieta H. Oleksy and Dorota Golańska Teaching Visual Culture in an Interdisciplinary Classroom. Feminist (Re)Interpretations of the Field Teaching with Gender. European Women’s Studies in International and Interdisciplinary Classrooms A book series by ATHENA © Iwona Cała Series editors: Annika Olsson, Andrea Peto and Berteke Waaldijk Editorial board: Barbara Bagilhole, Gunilla Bjeren, Rosi Braidotti, Anna Cabó, Sara Goodman, Daniela Gronold, Aino-Maija Hiltunen, Nina Lykke, Linda Lund Pedersen, Elżbieta H. Oleksy, Anastasia-Sasa Lada, Susanna Pavlou, Kirsi Saarikangas, Adelina Sánchez, Svetlana Slapsak Editorial assistant: Noémi Kakucs Titles in the Series: 1. Teaching Gender, Diversity and Urban Space. An Intersectional Approach between Gender Studies and Spatial Disciplines 2. Teaching Gender in Social Work 3. Teaching Subjectivity. Travelling Selves for Feminist Pedagogy 4. Teaching with the Third Wave. New Feminists’ Explorations of Teaching and Institutional Contexts 5. Teaching Visual Culture in an Interdisciplinary Classroom. Feminist (Re)Interpretations of the Field 6. Teaching Empires. Gender and Transnational Citizenship in Europe 7. Teaching Intersectionality. Putting Gender at the Centre 8. (previously published by ATHENA and Women’s Center University at NUI Galway). Teaching with Memories. European Women’s Histories in International and Interdisciplinary Classrooms Published by ATHENA3 Advanced Thematic Network in Women’s Studies in Europe, University of Utrecht and Centre for Gender Studies, Stockholm University “This book has been published with the support of the Socrates/Erasmus programme for Thematic Network Projects of the European Commission through grant 227623-CP-I-2006- I-NL-ERASMUS-TNPP” ZuidamUithof Drukkerijen, Utrecht 2009 CONTENTS Introduction 5 CHAPTER 1 15 Critical Visual Empowerment through the Gaze Elżbieta H. Oleksy CHAPTER 2 33 Re-visioning Feminism: Progressive Text, Genre and Female Experience in Alice Doesn’t Live Here Anymore (1974) Joanna Rydzewska CHAPTER 3 55 Intersectionality and Visual Culture: Approaches, Complexities and Teaching Implications Aleksandra M. Różalska CHAPTER 4 75 Zooming in on Photography Online: Three Hundred and Sixty Five Flickering Selves Redi Koobak CHAPTER 5 95 Looking at Science, Looking at You! The Feminist Re-visions of Nature (Brain and Genes) Cecilia Åsberg CHAPTER 6 123 Look and Feel Those Chubby Cheeks: An Intersensory Approach to Seeing the Ultrasound Image Charlotte Kroløkke CHAPTER 7 145 The Potentia of Novelty. Through the Prism of Visual Representations of Human in Vitro Fertilization (IVF) Edyta Just CHAPTER 8 163 The Affective Turn and Visual Literacy renée c. hoogland CHAPTER 9 175 Seeing Differently: Towards Affirmative Reading of Visual Culture Marek M. Wojtaszek and Dorota Golańska NOTES ON CONTRIBUTORS 199 INTRODUCTION Teaching visual culture today requires special skills. We live in the times when not only entertainment but also knowledge are visually constructed. What we see has become as crucial as what we read or hear. School and university curricula have been restructured to include courses on the visual, so that visual grammar can be studied alongside texts and figures. Yet there is still much uncertainty as to how to “read” visual images and—particularly—how to respond to ideology, which is often embedded in visual texts, or how to approach the visual on the aesthetic level, despite its ideological/oppressive character. This teaching manual provides students with the tools they need in order to view critically what the visual has on offer. This kind of approach reconceptualizes the visual and makes visuality a process whereby the search for meanings involves not only resistance to dominant ideologies but also creativity on the part of the student. Visual culture should be seen as an interdisciplinary or even post- disciplinary field of study1 which focuses on a broadly defined problem of visuality. Stemming from art history, the field was inspired by British cultural studies which drew from multiple disciplines and methods of analysis to ex- pose deep hierarchical and intersecting structures of society. Social conditions and effects constitute crucial elements of cultural practices, and they are like- wise important for the articulation of meanings in visual culture. Therefore, critical approaches used within the field should focus on—as William J.T. Mitchell suggests—“the visual construction of the social, not just the social construction of vision”.2 The study of visual culture is crucial for understan- ding its role as a key factor in processes of globalization, technologization and multi culturalization, which are all part of our historicity. Today, the field is de- fined by its interdisciplinary study of images across diverse media, new media, architecture, design and art across a range of social arenas, namely, news, art, science, advertising and popular culture. At the centre of contemporary visual culture stands the image, but—as Mitchell reminds us—“we still do not know exactly what pictures are, what their relation to language is, how they operate on observers and on the world, how their history is to be understood, and what 1 Nicholas Mirzoeff, “The Subject of Visual Culture”, in The Visual Culture Reader, ed. Nicholas Mirzoeff (London and New York: Routledge, 2002). 2 William J.T. Mitchell, “Showing Seeing: a Critique of Visual Culture”, Journal of Visual Culture 1(2) (2002), 170. 5 is to be done with or about them”.3 Consequently, the study of visual culture is not limited to the study of images, but also examines their effects, the material practices they entail, and the creative potential they offer. Therefore, it is of critical importance to work out new approaches to study both epistemologies and ontologies of the visual. For these reasons, further exploration of the topic is necessary, especially from diversified feminist/minority perspectives, to improve our visual literacy of the increasingly sophisticated visual world in which we are all immersed. Both vision and visual culture belong to the most celebrated yet simultaneously hotly debated technologies of self and sources of knowledge. The different practices of seeing, looking and being looked at, organize and restrain the processes of subjectification. Clearly, looking contributes to the ways in which the hierarchy of gender is maintained within the phallocentric order, a system which is built on the principle
Load more

Recommended publications
  • Before the Forties
    Before The Forties director title genre year major cast USA Browning, Tod Freaks HORROR 1932 Wallace Ford Capra, Frank Lady for a day DRAMA 1933 May Robson, Warren William Capra, Frank Mr. Smith Goes to Washington DRAMA 1939 James Stewart Chaplin, Charlie Modern Times (the tramp) COMEDY 1936 Charlie Chaplin Chaplin, Charlie City Lights (the tramp) DRAMA 1931 Charlie Chaplin Chaplin, Charlie Gold Rush( the tramp ) COMEDY 1925 Charlie Chaplin Dwann, Alan Heidi FAMILY 1937 Shirley Temple Fleming, Victor The Wizard of Oz MUSICAL 1939 Judy Garland Fleming, Victor Gone With the Wind EPIC 1939 Clark Gable, Vivien Leigh Ford, John Stagecoach WESTERN 1939 John Wayne Griffith, D.W. Intolerance DRAMA 1916 Mae Marsh Griffith, D.W. Birth of a Nation DRAMA 1915 Lillian Gish Hathaway, Henry Peter Ibbetson DRAMA 1935 Gary Cooper Hawks, Howard Bringing Up Baby COMEDY 1938 Katharine Hepburn, Cary Grant Lloyd, Frank Mutiny on the Bounty ADVENTURE 1935 Charles Laughton, Clark Gable Lubitsch, Ernst Ninotchka COMEDY 1935 Greta Garbo, Melvin Douglas Mamoulian, Rouben Queen Christina HISTORICAL DRAMA 1933 Greta Garbo, John Gilbert McCarey, Leo Duck Soup COMEDY 1939 Marx Brothers Newmeyer, Fred Safety Last COMEDY 1923 Buster Keaton Shoedsack, Ernest The Most Dangerous Game ADVENTURE 1933 Leslie Banks, Fay Wray Shoedsack, Ernest King Kong ADVENTURE 1933 Fay Wray Stahl, John M. Imitation of Life DRAMA 1933 Claudette Colbert, Warren Williams Van Dyke, W.S. Tarzan, the Ape Man ADVENTURE 1923 Johnny Weissmuller, Maureen O'Sullivan Wood, Sam A Night at the Opera COMEDY
    [Show full text]
  • School Nixes Leasing Agreement with Township
    25C The Lowell Volume IS, Issue 2 Serving Lowell Area Readers Since 1893 Wednesday, November 21, 1990 earns The Lowell Ledger's "First Buck Contest" turnout was a.m., bagged the buck at 7:45 a.m. better than voter turnout on election day. On Saturday, Vezino bagged a four-point buck with a Well, not quite, but 10 area hunters did walk through the bow. Ledger d(X)r between 7:30 a.m. and 12:30 p.m. on Wednes- Don Post. Ada. was along the Grand River on the flats, day. when he used one shot from his 16-gauge to drop a seven- The point sizes varied from four to eight-point. The weight point. 160-165 pound buck at 8 a.m. Post, hunting since of the bucks fluctuated from 145-200 pounds and the spreads the age of 14. said the seven is the biggest point size buck on the rack were anywhere from eight to 15 inches. he has ever shot. Lowell's Jack Bartholomew was the first hunter to hag Chuck Pfishner, Lowell, fired his winning shot at 7:50 and drag his buck to the Ledger office at 7:35 a.m. Barth- a.m. east on Four Mile. Using a 12-gauge, Pfishner shot olomew was out of the house by 6 a.m., saw his first buck an eight-point, 145-150 pound buck with a nine-inch spread. at 6:55 and shot it at 7:10. Randy Mclntyre. Lowell, was in Delton when he dropped "When I first saw the buck it was about 100 yards away.
    [Show full text]
  • Rights Guide
    Prószyński Media Sp. z o.o. RIGHTS GUIDE CONTACT DETAILS 2018 e-mail: [email protected] Izabela Delesiewicz FOREIGN RIGHTS email: [email protected] ph. +48 22 278 17 35 Prószyński Media Gintrowskiego 28 02-697 Warsaw, Poland www.proszynski.pl www.facebook.com/proszynski www.proszynski.pl INDEKS ANDRYKA DAGMARA, Trąf, trąf misia bela, p. 21 KOŁAKOWSKA AGATA, Pięć minut Raisy, p. 9 CONTENTS BRALCZYK JERZY, 1000 słów, p. 35 KOŁCZEWSKA KATARZYNA, Odzyskać utracone, p. 10 BUDKA SUFLERA, SAWIC JAROSŁAW, Memu miastu KORWIN PIOTROWSKA KAROLINA, Sława, p. 47 FICTION na do widzenia, p. 36 KOWALSKA ALEKSANDRA, Ucieczka, p. 11 LITERARY FICTION, p. 1 BULICZ-KASPRZAK KATARZYNA, Pójdę do jedynej, p. 1 kozioł Marcin, Tajemnica przeklętej harfy, p. 29 CRIME & THRILLER, p. 21 CHAJZER FILIP, CHAJZER ZYGMUNT, Chajzerów dwóch, Krzysztoń Antonina, Przeźroczysty chłopiec, p. 30 poetry, p. 26 p. 37 MAN MATYLDA, Trzeba marzyć, p. 12 CHILDREN AND YOUTH LITERATURE, p. 27 CZAJKOWSKA JADWIGA, Ufać zbyt mocno, p. 2 MISZCZUK JOANNA, Wiara i nadzieja, p. 13 DZIEWULSKI JERZY, PYZIA KRZYSZTOF, MŁYNARSKA pAULINA, Rebel, p. 49 p. 35 NON-FICTION, Jerzy Dziewulski o polskiej policji, p. 38 MORAWSKI IRENEUSZ, PRYZWAN MARIOLA, Tylko FRĄCZYK IZABELLA, Jedną nogą w niebie, p. 3 mnie pogłaszcz…Listy do Heleny Poświatowskiej, p. 48 FRĄCZYK IZABELLA, Koncert cudzych życzeń, p. 3 NIEDŹWIEDZKA MAGDALENA, Maria Skłodowska Curie, FRĄCZYK IZABELLA, Spalone mosty, p. 3 p. 14 GIEDROJĆ MAGDALENA, Księżyc nad Rzymem, p. 4 NIEDŹWIEDZKA MAGDALENA, GORSKY VICTOR, Kameleon, p. 39 Opowieści z angielskiego dworu. Diana, p. 15 GRYGIER MARCIN, Nie myśl, że znikną, p. 22 NIEDŹWIEDZKA MAGDALENA, GRZELA REMIGIUSZ, Bądź moim bogiem, p.
    [Show full text]
  • The Inventory of the Richard Roud Collection #1117
    The Inventory of the Richard Roud Collection #1117 Howard Gotlieb Archival Research Center ROOD, RICHARD #1117 September 1989 - June 1997 Biography: Richard Roud ( 1929-1989), as director of both the New York and London Film Festivals, was responsible for both discovering and introducing to a wider audience many of the important directors of the latter half th of the 20 - century (many of whom he knew personally) including Bernardo Bertolucci, Robert Bresson, Luis Buiiuel, R.W. Fassbinder, Jean-Luc Godard, Werner Herzog, Terry Malick, Ermanno Ohni, Jacques Rivette and Martin Scorsese. He was an author of books on Jean-Marie Straub, Jean-Luc Godard, Max Ophuls, and Henri Langlois, as well as the editor of CINEMA: A CRITICAL DICTIONARY. In addition, Mr. Roud wrote extensive criticism on film, the theater and other visual arts for The Manchester Guardian and Sight and Sound and was an occasional contributor to many other publications. At his death he was working on an authorized biography of Fran9ois Truffaut and a book on New Wave film. Richard Roud was a Fulbright recipient and a Chevalier in the Legion of Honor. Scope and contents: The Roud Collection (9 Paige boxes, 2 Manuscript boxes and 3 Packages) consists primarily of book research, articles by RR and printed matter related to the New York Film Festival and prominent directors. Material on Jean-Luc Godard, Francois Truffaut and Henri Langlois is particularly extensive. Though considerably smaller, the Correspondence file contains personal letters from many important directors (see List ofNotable Correspondents). The Photographs file contains an eclectic group of movie stills.
    [Show full text]
  • Culturalistic Design: Design Approach to Create Products
    CULTURALISTIC DESIGN: DESIGN APPROACH TO CREATE PRODUCTS FOR SPECIFIC CULTURAL AND SUBCULTURAL GROUPS Except where reference is made to the work of others, the work described in this thesis is my own or was done in collaboration with my advisory committee. This thesis does not include proprietary or classified information. Brandon J. Allen Certificate of Approval: Bret Smith Tin Man Lau, Chair Professor Professor Industrial Design Industrial Design Tsai Lu Liu George T. Flowers Assistant Professor Dean Industrial Design Graduate School CULTURALISTIC DESIGN: DESIGN APPROACH TO CREATE PRODUCTS FOR SPECIFIC CULTURAL AND SUBCULTURAL GROUPS Brandon J. Allen A Thesis Submitted to the Graduate Faculty of Auburn University in Partial Fulfillment of the Requirements for the Degree of Master of Industrial Design Auburn, Alabama May 9, 2009 CULTURALISTIC DESIGN: DESIGN APPROACH TO CREATE PRODUCTS FOR SPECIFIC CULTURAL AND SUBCULTURAL GROUPS Brandon J. Allen Permission is granted to Auburn University to make copies of this thesis at its discretion, upon request of individuals or institutions and at their expense. The author reserves all publication rights. Signature of Author Date of Graduation iii THESIS ABSTRACT CULTURALISTIC DESIGN: DESIGN APPROACH TO CREATE PRODUCTS FOR SPECIFIC CULTURAL AND SUBCULTURAL GROUPS Brandon J. Allen Master of Industrial Design, May 9, 2009 (B.I.D., Auburn University, 2005) 93 Typed Pages Directed by Tin Man Lau Designers have a unique process for solving problems commonly referred to as design thinking. Design thinking, especially on a cultural level can be used to tackle a wide range of creative and business issues. Design thinking with true cultural infusion is known as “Culturalistic Design”, and can have profound and varying effects on product designs.
    [Show full text]
  • Carol Zemel, Looking Jewish: Visual Culture and Modern Diaspora, Bloomington: Indiana University Press, 2015, 216 Pp. 72 B/W Illus
    Document généré le 30 sept. 2021 02:25 RACAR : Revue d'art canadienne Canadian Art Review Carol Zemel, Looking Jewish: Visual Culture and Modern Diaspora, Bloomington: Indiana University Press, 2015, 216 pp. 72 b/w illus. $ 45 (hardback) ISBN 978-0-253-01542-6 Nicholas Chare Volume 43, numéro 1, 2018 URI : https://id.erudit.org/iderudit/1050830ar DOI : https://doi.org/10.7202/1050830ar Aller au sommaire du numéro Éditeur(s) UAAC-AAUC (University Art Association of Canada | Association d'art des universités du Canada) ISSN 0315-9906 (imprimé) 1918-4778 (numérique) Découvrir la revue Citer ce compte rendu Chare, N. (2018). Compte rendu de [Carol Zemel, Looking Jewish: Visual Culture and Modern Diaspora, Bloomington: Indiana University Press, 2015, 216 pp. 72 b/w illus. $ 45 (hardback) ISBN 978-0-253-01542-6]. RACAR : Revue d'art canadienne / Canadian Art Review, 43(1), 111–113. https://doi.org/10.7202/1050830ar Tous droits réservés © UAAC-AAUC (University Art Association of Canada | Ce document est protégé par la loi sur le droit d’auteur. L’utilisation des Association d'art des universités du Canada), 2018 services d’Érudit (y compris la reproduction) est assujettie à sa politique d’utilisation que vous pouvez consulter en ligne. https://apropos.erudit.org/fr/usagers/politique-dutilisation/ Cet article est diffusé et préservé par Érudit. Érudit est un consortium interuniversitaire sans but lucratif composé de l’Université de Montréal, l’Université Laval et l’Université du Québec à Montréal. Il a pour mission la promotion et la valorisation de la recherche. https://www.erudit.org/fr/ der bildenden Künste (1843).
    [Show full text]
  • Chapter Thirty Visual Culture/Visual Studies James D. He"Bert
    Chapter Thirty Visual Culture/Visual Studies James D. He"bert "Visual culture" has emerged of late as a term meant to encom­ pass all h Ulnan products with a pronounced visual as­ pect-including those that do not, as a matter of social practice, carry the imprimatur of art. "Visual studies" (which I select from a number of cognate designations currently in use) serves as a convenient name for the academic discipline that takes visual cul­ ture as its object of study. The day has passed, however, when a nascent discipline such as visual studies can justify itself simply by gathering more goodies behind its disciplinary parapets: art ... and much more! Practical considerations aside (and such consid­ erations are far from trifling in the modern university), the exer­ cise smacks of unreasonable acquisitiveness, of academic hubris. Visual studies, rather than engaging in the science of accounting for a massive collection of fresh data points, must embark on the historical and social analysis of the hierarchies whose formation and operation have generated-and will continue to generate, even under the aegis of visual studies-greater interest in some artifacts than in others. To enlarge the compass of the study of vi­ sual artifacts beyond art does not force scholars to homogenize away the differences between art (or other favored categories) and things not thus endowed. Visual studies, rather than leveling all artifacts into the meaningless commonality of "the visuaL" treats the field of the visual as a place to examine the social mech"ni51115 of differentiation. Let me, then, offer an abbreviated sketch of the expanded tcr­ ritory-the necessarily and self-consciously artificial territory­ across which visual studies hopes to chart the production of hier­ archies among artifacts.
    [Show full text]
  • Cinestudio-Flyer-2020-02-23-04-08
    Sun Feb 23 Bolshoi Ballet: SWAN LAKE LIVE PRESENTATION FROM MOSCOW 12:55 Sun Feb 23 4:30, 7:30 Mon Tue Wed Feb 24 25 26 PARASITE in black and white 7:30 Thu Fri Feb 27 28 KNIVES OUT 7:30 Sat Feb 29 2:30, 7:30 Sun Mar 1 NTLive: CYRANO DE BERGERAC ENCORE 1:00 Sun Mar 1 4:30, 7:30 Mon Tue Wed Mar 2 3 4 BEANPOLE 7:30 Thu Fri Mar 5 6 LITTLE WOMEN 7:30 Sat Mar 7 2:30, 7:30 General Admission $10 Sun Mar 8 Exhibition on Screen: LUCIAN FREUD: A SELF PORTRAIT 1:00, 3:00 Friends of Cinestudio $7 Sun Mar 8 5:00 only Mon Tue Wed Mar 9 10 11 MEPHISTO 7:30 Senior Citizens (62+) $8 Students with valid ID Thu Mar 12 AND THEN WE DANCED 7:30 Ticket Prices for NTLive, Bolshoi, Exhibition, Fri Mar 13 7:30 70mm, Special Shows & Benefits vary Sat Mar 14 JUST MERCY 2:30, 7:30 Cinestudio’s boxoffice is now online, so you can buy Sun Mar 15 Royal Opera House: LA BOHÈME 1:00 Sun Mar 15 4:30, 7:30 tickets for any listed show at any time CLEMENCY - online or at the boxoffice. Mon Tue Wed Mar 16 17 18 7:30 DONATING TO CINESTUDIO? Thu Fri Mar 19 20 1917 7:30 You can do that online or at the boxoffice, and now Sat Mar 21 2:30, 7:30 100% of your donation comes to Cinestudio! Sun Mar 22 2:30, 7:30 Mon Tue Wed Mar 23 24 25 THE ASSISTANT 7:30 Thu Fri Mar 26 27 THE TRAITOR 7:30 Sat Mar 28 2:30, 7:30 Sun Mar 29 VOYAGES OF THE CINEMATIC IMAGINATION Silent, with Piano Accompaniment by PATRICK MILLER 2:30 Sun Mar 29 L’ATALANTE 7:30 Mon Mar 30 IMAGE BOOK 7:30 Tue Mar 31 MAKALA 7:30 Wed Apr 1 HIGH LIFE 7:30 Thu Apr 2 A FAITHFUL MAN 7:30 Cinestudio programs are usually listed in
    [Show full text]
  • Liff-2020-Catalogue.Pdf
    Welcome Introduction from the LIFF 2020 Team While we greatly miss not presenting LIFF 2020 in venues, we’re delighted to share the line-up on our new streaming platform Leeds Film Player. We return with our regular programme sections for new films – Official Selection, Cinema Versa, Fanomenon, and Leeds Short Film Awards – all curated with the same dedication to diverse filmmaking from the UK and around the world. A huge thank you to everyone who made this transformation to streaming possible and to everyone who helped us plan and prepare for LIFF 2020 being in venues. We hope you enjoy the LIFF 2020 programme from home and we can’t wait to welcome you back to venues for LIFF 2021! Presented by Leading Funders Contents Official Selection 6 Cinema Versa 26 Fanomenon 42 Leeds Short Film Awards 64 Leeds Young Film Festival 138 Indexes 152 Sun Children 2– LIFF 2020 Opening film 3 Team LIFF 2020 LYFF 2020 Team Team Director Director Chris Fell Debbie Maturi Programme Manager Producer Alex King Martin Grund Production Manager Youth Engagement Coordinator Jamie Cross Gage Oxley Film Development Coordinator Youth Programme Coordinator Nick Jones Eleanor Hodson Senior Programmer LYFF Programmers Molly Cowderoy Martin Grund, Eleanor Hodson, Sam Judd Programme Coordinator Alice Duggan Production Coordinator Anna Stopford Programme & Production Assistant Ilkyaz Yagmur Ozkoroglu Virtual Volunteers Lee Bentham, Hannah Booth, Tabitha Burnett, Paul Douglass, Owen Herman, Alice Lassey, Ryan Ninesling, Eleanor Storey, Andrew Young Volunteer Officer Sarah
    [Show full text]
  • What Is Visual Culture Studies? Visual Culture Studies Is the Discipline Or Sub-Discipline Or Field of Inquiry That Studies Visual Culture
    01-Smith-Intro 4/10/08 3:47 PM Page 1 INTRODUCTION Visual Culture Studies: History, Theory, Practice 1 What is Visual Culture Studies? Visual Culture Studies is the discipline or sub-discipline or field of inquiry that studies visual culture. If we go to our university or college library, to a local bookshop or to any website that sells printed matter, we will encounter numerous books with ‘visual’ and ‘culture’ in the title. When they are not in a section of their own – which rarely happens – Visual Culture Studies books are shelved throughout the library or bookshop in sections that are in keeping with the categorizing systems of these places and the programmed drifting of the potential lender or purchaser. Depending on the type of library or bookshop you’re in, these books appear in sections as diverse as Art History or Art Theory or Aesthetics or Critical Theory or Philosophy or Film and Media Studies or Women’s Studies or Black Studies or Theatre and Drama or Architecture or Queer Theory or Anthropology or Sociology. No one quite knows where to put ‘Visual Culture Studies’ books and no one quite knows where to look for them. Neither authors, publishers, retailers, nor customers are entirely clear as to what a Visual Culture Studies book should do or where it should be placed. 2 Why is this? Because books with ‘visual’ and ‘culture’ in the title come in all shapes and sizes, they provide an almost infinite diversity of texts that seem to want to address all historical periods, explore any and every geographical loca- tion, conceive of all manner of thematic, and recommend an encyclopaedia of accompanying methodological tools and practices.
    [Show full text]
  • Films Vrijzinnig Bennekom Kopie
    FILMS VRIJZINNIG BENNEKOM ABOUT A BOY Regie Paul Weitz Spelers Hugh Grant, Toni ColleFe, Rachel Weisz ADAM’S APPLES regie Anders Thomas Jensen Spelers Ulrich Thomsen, Nicolas Bro, Paprika Steen, Ali Kazim, Mads Mikkelsen A FEW GOOD MEN regie Rob Reiner Spelers Tom Cruise, Jack Nicholson, Demi Moore AKA some of them come true Regie Duncan Roy Spelers MaFhew Leitch, Diana Quick, George Asprey ALL ABOUT MY MOTHER regie Almodóvar Spelers Cecilia Roth, Marisa Paredes, Penelope Cruz,Candela Pena AMADEUS regie Milos Forman Spelers F.Murray, Tom Hulce, Elizabeth Berridge,Jeffrey Jones A MATTER OF LIFE AND DEATH regie Michael Powell & Emeric Pressburger Spelers David Niven, Roger Livesey, Raymond Massey AMELIE Regie Jean- Pierre Jeunet Spelers Audrey Tautou, Mathieu Kassovitz AMOUR regie Michael Haneke Spelers Jean-Louis TrinZgnant, Emmanuelle Riva, Isabelle Huppert AN ANGEL AT MY TABLE regie Jane Campion Spelers Kerry Fox, Alexia Keogh, Karen Fergusson, Iris Churn ANCHE LIBERO VA BENE regie Kim Rossi Stuart Spelers Alessandro Morace, Kim Rossi Stuart, Barbora Bobulova ANKLAGET ACCUSED Regie Jacob Thuesen Spelers Sofie Grabol, Troels Lyby ANNA ZERNIKE , de eerste vrouwelijke predikant Regie Annet Huisman Speler Henny Rinsma A RIVER RUNS THROUGH IT regie Robert Redford Spelers Brad PiF,Craig Sheffer, Tom SkerriF A SINGLE MAN Regie Tom Ford Spelers Colin Firth, Julianne Moore A STREETCAR NAMED DESIRE regie Charles Feldman Spelers Vivien Leigh, Marlon Brando A STREETCAT NAMED BOB regie Roger Spo^swoode Spelers James Bowen, Bob the cat ATONEMENT regie
    [Show full text]
  • How Has Visual Culture Been Defined?
    How has visual culture been defined? Visual culture, or visual studies, or visual culture studies, is an academic movement that has coalesced over the last thirty or so years, as the product of an increased self- consciousness about, and belief in, the importance of sight and its correlatives (the visual, vision, visuality) in the workings of cultures. Prior to being subjected to rigorous critical debate, the term visual culture came into being rather informally, introduced at different times by writers (Marshall McLuhan in Understanding Media, Michael Baxandall in Painting and Experience in Fifteenth Century Italy, Svetlana Alpers in The art of describing: Dutch art in the seventeenth century) who all meant something slightly different. Its two constituent terms are in themselves elusive. Raymond Williams is often quoted as saying that the word ‘culture’ is ‘one of the two or three most complicated words in the English language’. Defining what is ‘visual’ is no less problematic, a term potentially so expansive it becomes meaningless. The phrase has thus proven both usefully and confusingly versatile, and the issue is frequently clouded by the conflation of terms for the object of study with the activity of studying it. As an academic field, its diversity of origin is matched by its current contested status. Is it a new set of tools with which to analyse traditional forms of ‘art’, or an opening up of the canon to include all images and representational objects? Or, remembering that it is not only images that are ‘visual’, and not all art is images, or appreciable only through the eyes, how is the new object domain to be defined? Rather than placing the emphasis on the object, many scholars believe it is instead a question of analysing the subject: how people see, rather than the things they look at.
    [Show full text]