Tracing the Shadows of Occupation: Memory As ‘Screen’ in La Dénonciation (1962) and Tu Ne Tueras Point (1961/1963)
Total Page:16
File Type:pdf, Size:1020Kb

Load more
Recommended publications
-
Boo-Hooray Catalog #10: Flyers
Catalog 10 Flyers + Boo-hooray May 2021 22 eldridge boo-hooray.com New york ny Boo-Hooray Catalog #10: Flyers Boo-Hooray is proud to present our tenth antiquarian catalog, exploring the ephemeral nature of the flyer. We love marginal scraps of paper that become important artifacts of historical import decades later. In this catalog of flyers, we celebrate phenomenal throwaway pieces of paper in music, art, poetry, film, and activism. Readers will find rare flyers for underground films by Kenneth Anger, Jack Smith, and Andy Warhol; incredible early hip-hop flyers designed by Buddy Esquire and others; and punk artifacts of Crass, the Sex Pistols, the Clash, and the underground Austin scene. Also included are scarce protest flyers and examples of mutual aid in the 20th Century, such as a flyer from Angela Davis speaking in Harlem only months after being found not guilty for the kidnapping and murder of a judge, and a remarkably illustrated flyer from a free nursery in the Lower East Side. For over a decade, Boo-Hooray has been committed to the organization, stabilization, and preservation of cultural narratives through archival placement. Today, we continue and expand our mission through the sale of individual items and smaller collections. We encourage visitors to browse our extensive inventory of rare books, ephemera, archives and collections and look forward to inviting you back to our gallery in Manhattan’s Chinatown. Catalog prepared by Evan Neuhausen, Archivist & Rare Book Cataloger and Daylon Orr, Executive Director & Rare Book Specialist; with Beth Rudig, Director of Archives. Photography by Evan, Beth and Daylon. -
Masculinism, Resistance, and Recognition in Vietnam
NORMA International Journal for Masculinity Studies ISSN: 1890-2138 (Print) 1890-2146 (Online) Journal homepage: https://www.tandfonline.com/loi/rnor20 Recognising shadows: masculinism, resistance, and recognition in Vietnam Paul Horton To cite this article: Paul Horton (2019): Recognising shadows: masculinism, resistance, and recognition in Vietnam, NORMA, DOI: 10.1080/18902138.2019.1565166 To link to this article: https://doi.org/10.1080/18902138.2019.1565166 © 2019 The Author(s). Published by Informa UK Limited, trading as Taylor & Francis Group Published online: 11 Jan 2019. Submit your article to this journal Article views: 110 View Crossmark data Full Terms & Conditions of access and use can be found at https://www.tandfonline.com/action/journalInformation?journalCode=rnor20 NORMA: INTERNATIONAL JOURNAL FOR MASCULINITY STUDIES https://doi.org/10.1080/18902138.2019.1565166 Recognising shadows: masculinism, resistance, and recognition in Vietnam Paul Horton Department of Behavioural Sciences and Learning, Linköping University, Linköping, Sweden ABSTRACT ARTICLE HISTORY Pride parades, LGBT rights demonstrations, and revisions to the Received 9 July 2017 Marriage and Family Law highlight the extent to which norms and Accepted 12 November 2018 values related to gender, sexuality, marriage, and the family have KEYWORDS recently been challenged in Vietnam. They also illuminate the Vietnam; LGBT; masculinism; gendered power relations being played out in the socio-cultural recognition; power; context of Vietnam, and thus open up for a more in-depth resistance consideration of the ways in which LGBT people have experienced and resisted these relations in everyday life. Drawing on ethnographic fieldwork conducted in Vietnam’s two largest cities, Hanoi and Ho Chi Minh City, in 2012, this article discusses the relations between these power relations, the dominant Vietnamese discourse of masculinity, or masculinism, and the politics of recognition. -
Andy Warhol Shadows Exhibition Brochure.Pdf
Andy Warhol Shadows On Tuesday I hung my painting(s) at the Heiner Friedrich gallery in SoHo. Really it’s presentation. Since the number of panels shown varies according to the available and altered through the abstraction of the silkscreen stencil and the appli- one painting with 83 parts. Each part is 52 inches by 76 inches and they are all sort size of the exhibition space, as does the order of their arrangement, the work in cation of color to reconfigure context and meaning. The repetition of each of the same except for the colors. I called them “Shadows” because they are based total contracts, expands, and recalibrates with each installation. For the work’s famous face drains the image of individuality, so that each becomes a on a photo of a shadow in my office. It’s a silk screen that I mop over with paint. first display, the gallery accommodated 83 panels that were selected and arranged stand-in for non-individuated and depersonalized notions of celebrity.5 The I started working on them a few years ago. I work seven days a week. But I get by Warhol’s assistants in two rooms: the main gallery and an adjacent office. replication of a seemingly abstract gesture (a jagged peak and horizontal the most done on weekends because during the week people keep coming by extension) across the panels of Shadows further minimizes the potential to talk. The all-encompassing (if modular) scale of Shadows simultaneously recalls to ascribe any narrative logic to Warhol’s work. Rather, as he dryly explained, The painting(s) can’t be bought. -
NO RAMBLING ON: the LISTLESS COWBOYS of HORSE Jon Davies
WARHOL pages_BFI 25/06/2013 10:57 Page 108 If Andy Warhol’s queer cinema of the 1960s allowed for a flourishing of newly articulated sexual and gender possibilities, it also fostered a performative dichotomy: those who command the voice and those who do not. Many of his sound films stage a dynamic of stoicism and loquaciousness that produces a complex and compelling web of power and desire. The artist has summed the binary up succinctly: ‘Talk ers are doing something. Beaut ies are being something’ 1 and, as Viva explained about this tendency in reference to Warhol’s 1968 Lonesome Cowboys : ‘Men seem to have trouble doing these nonscript things. It’s a natural 5_ 10 2 for women and fags – they ramble on. But straight men can’t.’ The brilliant writer and progenitor of the Theatre of the Ridiculous Ronald Tavel’s first two films as scenarist for Warhol are paradigmatic in this regard: Screen Test #1 and Screen Test #2 (both 1965). In Screen Test #1 , the performer, Warhol’s then lover Philip Fagan, is completely closed off to Tavel’s attempts at spurring him to act out and to reveal himself. 3 According to Tavel, he was so up-tight. He just crawled into himself, and the more I asked him, the more up-tight he became and less was recorded on film, and, so, I got more personal about touchy things, which became the principle for me for the next six months. 4 When Tavel turned his self-described ‘sadism’ on a true cinematic superstar, however, in Screen Test #2 , the results were extraordinary. -
Elementary Secondary Education Act Title This Seventh Grade Math
DOCUMENT RESUME ED 100 668 88 SE 018 359 PITTS Mathematics 7, Environmental Education Guide. INSTITUTION Project I-C-E, Green Bay, Wis. SPONS AGENCY Bureau of Elementary and Secondary Education (DHPW/OP), Washington, D.C.; Wisconsin State Dept. of Education, Madison. PUB DATE (74] NOT! 44p. EPRS PR/CE MF-$0.75 HC-$1.85 PLUS POSTAGE DESCRIPTORS Conservation Education; *Environmental Education; Grade 7; Instructional Materials; Interdisciplinary Approach; Learning Activities; *Mathematical Applications; Mathematics Education; Natural Resources; Outdoor Education; Science Education; Secondary Education; *Secondary School Mathematics; *Teaching Guides IDENTIFII2RS Computtion; Elementary Secondary Education Act Title III; ESEA Title III; *Project I C E; Proportion ABSTRACT This seventh grade mathematics guide ,s one of a series of guides, K-12, that were developed by teachers to help introduce environmental education into the total curriculum. The guides are supplementary in design, containing a series of episodes (minilessons) that reinforce the relationships between ecology and mathematics. It is the teacher's decision when the episodes may best be integrated into the existing classroom curriculum. The episodes are built around 12 major environmental concepts that form a framework for each grade or subject area, as well as for the entire K-12 program. Although the same concepts are used throughout the K-12 program, emphasis is placed on different aspects of each concept at different grade levels or subject levels. This guide focuses on aspects such as proportion, computation, and percent. The 12 concepts are covered in one of the episodes contained in the guide. Further, each episode offers subject area integration, subject area activities, interdisciplinary activities, cognitive and affective behavioral objectives, and suggested references and resource materials useful to teachers and students. -
Press Release (PDF)
G A G O S I A N G A L L E R Y 14 December 2015 My camera and I, together we have the power to confer or to take away. —Richard Avedon They always say that time changes things, but you actually have to change them yourself. —Andy Warhol Gagosian London is pleased to present the first major exhibition to pair works by Richard Avedon and Andy Warhol. Both artists rose to prominence in postwar America with parallel artistic output that occasionally overlapped. Their most memorable images, produced in response to changing cultural mores, are icons of the twentieth century. Portraiture was a shared focus of both artists, and they made use of repetition and serialization: Avedon through the reproducible medium of photography, and in his group photographs, for which he meticulously positioned, collaged, and reordered images; Warhol in his method of stacked screenprinting, which enabled the consistent reproduction of an image. Avedon’s distinctive gelatin-silver prints and Warhol's boldly colored silkscreens variously depict many of the same recognizable faces, including Marella Agnelli, Bianca Jagger, Jacqueline Kennedy, Marilyn Monroe, and Rudolf Nureyev. Both Avedon and Warhol originated from modest beginnings and had tremendous commercial success working for major magazines in New York, beginning in the 1940s. The 1960s marked artistic turning points for both artists as they moved away increasingly from strictly commercial work towards their mature independent styles. The works in the exhibition, which date from the 1950s through the 1990s, emphasize such common themes as social and political power; the evolving acceptance of cultural differences; the inevitability of mortality; and the glamour and despair of celebrity. -
Field Trip to the Moon INFORMAL EDUCATOR’S GUIDE TABLE of CONTENTS
LRO/LCROSS Edition Informal Educator’s Guide Educational Product Educators Grades 3–8 EG-2008-09-48-MSFC Field Trip to the Moon INFORMAL EDUCATOR’S GUIDE TABLE OF CONTENTS 3 PROGRAM OVERVIEW 4 Program Overview 5 National Science Education Standards Correlation 6 FIELD TRIP TO THE MOON DVD 7 DVD Overview 8 LRO/LCROSS ACTIVITIES 9 Activities Overview 10 Background: About the LRO/LCROSS Mission 11 Lava Layers 13 Build the Orbiter 15 The Moon Tune 18 Impact Craters 23 Moon Landforms 36 LUNAR BASE ACTIVITIES 37 Activities Overview 38 Procedure 41 Materials List 43 Questions to Help Guide Investigations 46 Ecosystem Investigation 51 Geology Investigation 63 Habitat Investigation 66 Engineering Investigation 72 Navigation Investigation 87 Medical Investigation 102 Name Tags PROGRAM OVERVIEW Field Trip to the Moon PROGRAM OVERVIEW What is Field Trip to the Moon? Field Trip to the Moon uses an inquiry-based learning approach that fosters team building and introduces participants to careers in science and engineering. The program components include the Field Trip to the Moon DVD, LRO/LCROSS Activities, and Lunar Base Activities. Together these materials can be used to create your own workshop that introduces important concepts about the Earth and the Moon, and motivates participants to use their cooperative learning skills. Working as a full group or in teams, the participants can develop critical thinking skills, problem-solving techniques, and an understanding of complex systems as they discuss solutions to the essential questions in this program. FIELD TRIP TO THE MOON DVD The DVD presents a wide range of media to use in your workshop: an introduction; the Field Trip to the Moon feature presentation; LRO/LCROSS animations and interviews; and additional media including a visualization about the formation of the Moon, and Moon trivia questions. -
The French Revolution in the French-Algerian War (1954-1962): Historical Analogy and the Limits of French Historical Reason
City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 9-2016 The French Revolution in the French-Algerian War (1954-1962): Historical Analogy and the Limits of French Historical Reason Timothy Scott Johnson The Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/1424 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] THE FRENCH REVOLUTION IN THE FRENCH-ALGERIAN WAR (1954-1962): HISTORICAL ANALOGY AND THE LIMITS OF FRENCH HISTORICAL REASON By Timothy Scott Johnson A dissertation submitted to the Graduate Faculty in History in partial fulfillment of the requirements for the degree of Doctor of Philosophy, The City University of New York 2016 © 2016 TIMOTHY SCOTT JOHNSON All Rights Reserved ii The French Revolution in the French-Algerian War (1954-1962): Historical Analogy and the Limits of French Historical Reason by Timothy Scott Johnson This manuscript has been read and accepted for the Graduate Faculty in History in satisfaction of the dissertation requirement for the degree of Doctor of Philosophy Richard Wolin, Distinguished Professor of History, The Graduate Center, CUNY _______________________ _______________________________________________ Date Chair of Examining Committee _______________________ -
Speaking Through the Body
DE LA DOULEUR À L’IVRESSE: VISIONS OF WAR AND RESISTANCE Corina Dueñas A dissertation submitted to the faculty of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Romance Languages and Literatures (French). Chapel Hill 2007 Approved by: Advisor: Dominique Fisher Reader: Martine Antle Reader: Hassan Melehy Reader: José M. Polo de Bernabé Reader: Donald Reid © 2007 Corina Dueñas ALL RIGHTS RESERVED ii ABSTRACT CORINA DUEÑAS: De la douleur à l’ivresse: Visions of War and Resistance (Under the direction of Dominique Fisher) This dissertation explores the notion of gendered resistance acts and writing through close readings of the personal narratives of three French women who experienced life in France during the Second World War. The works of Claire Chevrillon (Code Name Christiane Clouet: A Woman in the French Resistance), Marguerite Duras (La Douleur), and Lucie Aubrac (Ils partiront dans l’ivresse) challenge traditional definitions of resistance, as well as the notion that war, resistance and the writing of such can be systematically categorized according to the male/female dichotomy. These authors depict the day-to-day struggle of ordinary people caught in war, their daily resistance, and their ordinary as well as extraordinary heroism. In doing so, they debunk the stereotypes of war, resistance and heroism that are based on traditional military models of masculinity. Their narratives offer a more comprehensive view of wartime France than was previously depicted by Charles de Gaulle and post-war historians, thereby adding to the present debate of what constitutes history and historiography. -
Andy Warhol¬タルs Deaths and the Assembly-Line Autobiography
OCAD University Open Research Repository Faculty of Liberal Arts & Sciences and School of Interdisciplinary Studies 2011 Andy Warhol’s Deaths and the Assembly-Line Autobiography Charles Reeve OCAD University [email protected] © University of Hawai'i Press | Available at DOI: 10.1353/bio.2011.0066 Suggested citation: Reeve, Charles. “Andy Warhol’s Deaths and the Assembly-Line Autobiography.” Biography 34.4 (2011): 657–675. Web. ANDY WARHOL’S DEATHS AND THE ASSEMBLY-LINE AUTOBIOGRAPHY CHARLES REEVE Test-driving the artworld cliché that dying young is the perfect career move, Andy Warhol starts his 1980 autobiography POPism: The Warhol Sixties by refl ecting, “If I’d gone ahead and died ten years ago, I’d probably be a cult fi gure today” (3). It’s vintage Warhol: off-hand, image-obsessed, and clever. It’s also, given Warhol’s preoccupation with fame, a lament. Sustaining one’s celebrity takes effort and nerves, and Warhol often felt incapable of either. “Oh, Archie, if you would only talk, I wouldn’t have to work another day in my life,” Bob Colacello, a key Warhol business functionary, recalls the art- ist whispering to one of his dachshunds: “Talk, Archie, talk” (144). Absent a talking dog, maybe cult status could relieve the pressure of fame, since it shoots celebrities into a timeless realm where their notoriety never fades. But cults only reach diehard fans, whereas Warhol’s posthumously pub- lished diaries emphasize that he coveted the stratospheric stardom of Eliza- beth Taylor and Michael Jackson—the fame that guaranteed mobs wherever they went. (Reviewing POPism in the New Yorker, Calvin Tomkins wrote that Warhol “pursued fame with the single-mindedness of a spawning salmon” [114].) Even more awkwardly, cult status entails dying—which means either you’re not around to enjoy your notoriety or, Warhol once nihilistically pro- posed, you’re not not around to enjoy it. -
Photographs of the Paris Massacre of October 17, 1961
1 2 And Paris Saw Them: An Examination of Elie Kagan's Photographs of the Paris Massacre of October 17, 1961 A thesis submitted to the Miami University Honors Program in partial fulfillment of the requirements for University Honors with Distinction by Andrew L. Hansen May 2005 Oxford, Ohio 3 ABSTRACT History is not a single, homogenous account of the past. It is instead characterized by multiple, often conflicting narratives on which different social groups base their identities. By examining a series of Elie Kagan’s photographs of the October 17 massacre of Algerian demonstrators in Paris, this thesis looks to determine the role of these photographs in French and Algerian collective memory of the event. It also addresses issues surrounding compassion fatigue in the modern image culture and the effects of drawing photographic parallels between modern atrocity and the Holocaust. 4 5 And Paris Saw Them: An Examination of Elie Kagan's Photographs of the Paris Massacre of October 17, 1961 by Andrew L. Hansen Approved by: _________________________, Advisor Dr. Mark McKinney _________________________, Reader Dr. Judi Hetrick _________________________, Reader Dr. Sven-Erik Rose Accepted by: __________________________ Dr. Carolyn Haynes Director, University Honors Program 6 7 Acknowledgements I would like to thank both the Miami University Honors and Scholars Program and the Department of French and Italian for their generous financial support. Thanks also to Alexandra Gottely and Laure Lacroix from the Bibliothèque de documentation internationale contemporaine (BDIC) for being so accommodating and helpful with my research. Thanks to Dr. Judi Hetrick and Dr. Sven-Erik Rose for their time and comments, and a special thanks to Dr. -
What the Shadows Know 99
What the Shadows Know 99 What the Shadows Know: The Crime- Fighting Hero the Shadow and His Haunting of Late-1950s Literature Erik Mortenson During the Depression era of the 1930s and the war years of the 1940s, mil- lions of Americans sought escape from the tumultuous times in pulp magazines, comic books, and radio programs. In the face of mob violence, joblessness, war, and social upheaval, masked crusaders provided a much needed source of secu- rity where good triumphed over evil and wrongs were made right. Heroes such as Doc Savage, the Flash, Wonder Woman, Green Lantern, Captain America, and Superman were always there to save the day, making the world seem fair and in order. This imaginative world not only was an escape from less cheery realities but also ended up providing nostalgic memories of childhood for many writers of the early Cold War years. But not all crime fighters presented such an optimistic outlook. The Shad- ow, who began life in a 1931 pulp magazine but eventually crossed over into radio, was an ambiguous sort of crime fighter. Called “the Shadow” because he moved undetected in these dark spaces, his name provided a hint to his divided character. Although he clearly defended the interests of the average citizen, the Shadow also satisfied the demand for a vigilante justice. His diabolical laughter is perhaps the best sign of his ambiguity. One assumes that it is directed at his adversaries, but its vengeful and spiteful nature strikes fear into victims, as well as victimizers. He was a tour guide to the underworld, providing his fans with a taste of the shady, clandestine lives of the criminals he pursued.