The Jesse Helms Theory of Art”
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
DOROTHY BARENSCOTT “Sensationalising”
EnterText 5.1 DOROTHY BARENSCOTT “Sensationalising” Mapplethorpe a Decade Later: What Dirty Pictures can show us about the “Culture Wars” today “I’m looking for the unexpected. I’m looking for things I’ve never seen before” - Robert Mapplethorpe “No Limits” - Network Slogan for Cable TV Channel Showtime In Spring 2000, the cable television channel Showtime premiered one of the most controversial television movies of the year. Titled Dirty Pictures, the made-for-TV film was billed as a docudrama centered around the Cincinnati Contemporary Art Center’s ill-fated Robert Mapplethorpe exhibition of 1990, The Perfect Moment, and the gallery director Dennis Barrie’s personal struggle to persevere through the subsequent obscenity trial that made headlines across North America at the time. The film, however, had been the subject of its own controversy. After ten years in production, several script changes, and a move from HBO to a lesser known cable network, Dirty Pictures went through a series of legal battles after the MPAA American ratings board initially issued the finished film an NC-17 rating because of its depiction of several of the most explicit Mapplethorpe photographs.1 Not only did this ruling potentially restrict Showtime’s ability to air the final work, but it also put the film squarely in the same category as soft-core pornography. An appeal, however, succeeded Dorothy Barenscott: “Sensationalising” Mapplethorpe 59 EnterText 5.1 in having the film assigned a more-acceptable R rating. And in the same week that Dirty Pictures finally premiered, the Supreme Court ruled in a 5-4 decision to strike down a law barring sexually-explicit programming on cable television outside the hours of ten p.m. -
Art in America, March 1, 2016. Robert Mapplethorpe
Reid-Pharr, Robert. “Putting Mapplethorpe In His Place,” Art in America, March 1, 2016. Robert Mapplethorpe: Self-Portrait, 1988, platinum print, 23⅛ by 19 inches. With a retrospective for the celebrated photographer about to open at two Los Angeles institutions, the author reassesses the 1990 “X Portfolio” obscenity trial, challenging its distinction between fine art and pornography. Americans take their art seriously. Stereotypes about Yankee simplicity and boorishness notwithstanding, we are a people ever ready to challenge each other’s tastes and orthodoxies. And though we always seem surprised when it happens, we can quite efficiently use the work of artists as screens against which to project deeply entrenched phobias regarding the nature of our society and culture. In hindsight it really was no surprise that the traveling retrospective “Robert Mapplethorpe: The Perfect Moment” would so fiercely grip the imaginations of artists, critics, politicians and laypersons alike. Curated by Janet Kardon of the Institute of Contemporary Arts (ICA) in Philadelphia, the exhibition opened in December of 1988, just before the artist’s death in March of 1989. It incorporated some of Mapplethorpe’s best work, including stunning portraits and still lifes. What shocked and irritated some members of his audiences, however, were photographs of a naked young boy and a semi-naked girl as well as richly provocative erotic images of African-American men and highly stylized photographs of the BDSM underground in which Mapplethorpe participated. Indeed, much of what drew such concentrated attention to Mapplethorpe was the delicacy and precision with which he treated his sometimes challenging subject matter. -
Collection of Television Press Kits, 1958, Ca
http://oac.cdlib.org/findaid/ark:/13030/c87082fc No online items Finding Aid for the Collection of television press kits, 1958, ca. 1974-ca. 2004 Finding aid prepared by Arts Special Collections staff; machine-readable finding aid created by Caroline Cubé. UCLA Library Special Collections Room A1713, Charles E. Young Research Library Box 951575 Los Angeles, CA, 90095-1575 (310) 825-4988 [email protected] © 2012 The Regents of the University of California. All rights reserved. Finding Aid for the Collection of 1908 1 television press kits, 1958, ca. 1974-ca. 2004 Title: Collection of television press kits Collection number: 1908 Contributing Institution: UCLA Library Special Collections Language of Material: English Physical Description: 9.5 linear ft.(19 boxes and 1 flat box.) Date (inclusive): 1958, ca. 1974-2004 Abstract: This collections documents a variety of television show genres broadcast on networks such as ABC, CBS, NBC, HBO, PBS, SHOWTIME, and TNT. Physical location: Stored off-site at SRLF. Advance notice is required for access to the collection. Please contact UCLA Library Special Collections for paging information. Restrictions on Access Open for research. STORED OFF-SITE AT SRLF. Advance notice is required for access to the caollection. Please contact UCLA Library Special Collections for paging information. Restrictions on Use and Reproduction Property rights to the physical object belong to the UC Regents. Literary rights, including copyright, are retained by the creators and their heirs. It is the responsibility of the researcher to determine who holds the copyright and pursue the copyright owner or his or her heir for permission to publish where The UC Regents do not hold the copyright. -
POPULAR DVD TITLES – As of JULY 2014
POPULAR DVD TITLES – as of JULY 2014 POPULAR TITLES PG-13 A.I. artificial intelligence (2v) (CC) PG-13 Abandon (CC) PG-13 Abduction (CC) PG Abe & Bruno PG Abel’s field (SDH) PG-13 About a boy (CC) R About last night (SDH) R About Schmidt (CC) R About time (SDH) R Abraham Lincoln: Vampire hunter (CC) (SDH) R Absolute deception (SDH) PG-13 Accepted (SDH) PG-13 The accidental husband (CC) PG-13 According to Greta (SDH) NRA Ace in the hole (2v) (SDH) PG Ace of hearts (CC) NRA Across the line PG-13 Across the universe (2v) (CC) R Act of valor (CC) (SDH) NRA Action classics: 50 movie pack DVD collection, Discs 1-4 (4v) NRA Action classics: 50 movie pack DVD collection, Discs 5-8 (4v) NRA Action classics: 50 movie pack DVD collection, Discs 9-12 (4v) PG-13 Adam (CC) PG-13 Adam Sandler’s eight crazy nights (CC) R Adaptation (CC) PG-13 The adjustment bureau (SDH) PG-13 Admission (SDH) PG Admissions (CC) R Adoration (CC) R Adore (CC) R Adrift in Manhattan R Adventureland (SDH) PG The adventures of Greyfriars Bobby NRA Adventures of Huckleberry Finn PG-13 The adventures of Robinson Crusoe PG The adventures of Rocky and Bullwinkle (CC) PG The adventures of Sharkboy and Lavagirl in 3-D (SDH) PG The adventures of TinTin (CC) NRA An affair to remember (CC) NRA The African Queen NRA Against the current (SDH) PG-13 After Earth (SDH) NRA After the deluge R After the rain (CC) R After the storm (CC) PG-13 After the sunset (CC) PG-13 Against the ropes (CC) NRA Agatha Christie’s Poirot: The definitive collection (12v) PG The age of innocence (CC) PG Agent -
HBO: Brand Management and Subscriber Aggregation: 1972-2007
1 HBO: Brand Management and Subscriber Aggregation: 1972-2007 Submitted by Gareth Andrew James to the University of Exeter as a thesis for the degree of Doctor of Philosophy in English, January 2011. This thesis is available for Library use on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgement. I certify that all material in this thesis which is not my own work has been identified and that no material has previously been submitted and approved for the award of a degree by this or any other University. ........................................ 2 Abstract The thesis offers a revised institutional history of US cable network Home Box Office that expands on its under-examined identity as a monthly subscriber service from 1972 to 1994. This is used to better explain extensive discussions of HBO‟s rebranding from 1995 to 2007 around high-quality original content and experimentation with new media platforms. The first half of the thesis particularly expands on HBO‟s origins and early identity as part of publisher Time Inc. from 1972 to 1988, before examining how this affected the network‟s programming strategies as part of global conglomerate Time Warner from 1989 to 1994. Within this, evidence of ongoing processes for aggregating subscribers, or packaging multiple entertainment attractions around stable production cycles, are identified as defining HBO‟s promotion of general monthly value over rivals. Arguing that these specific exhibition and production strategies are glossed over in existing HBO scholarship as a result of an over-valuing of post-1995 examples of „quality‟ television, their ongoing importance to the network‟s contemporary management of its brand across media platforms is mapped over distinctions from rivals to 2007. -
Hliebing Dissertation Revised 05092012 3
Copyright by Hans-Martin Liebing 2012 The Dissertation Committee for Hans-Martin Liebing certifies that this is the approved version of the following dissertation: Transforming European Cinema : Transnational Filmmaking in the Era of Global Conglomerate Hollywood Committee: Thomas Schatz, Supervisor Hans-Bernhard Moeller Charles Ramírez Berg Joseph D. Straubhaar Howard Suber Transforming European Cinema : Transnational Filmmaking in the Era of Global Conglomerate Hollywood by Hans-Martin Liebing, M.A.; M.F.A. Dissertation Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin May 2012 Dedication In loving memory of Christa Liebing-Cornely and Martha and Robert Cornely Acknowledgements I would like to thank my committee members Tom Schatz, Charles Ramírez Berg, Joe Straubhaar, Bernd Moeller and Howard Suber for their generous support and inspiring insights during the dissertation writing process. Tom encouraged me to pursue this project and has supported it every step of the way. I can not thank him enough for making this journey exciting and memorable. Howard’s classes on Film Structure and Strategic Thinking at The University of California, Los Angeles, have shaped my perception of the entertainment industry, and having him on my committee has been a great privilege. Charles’ extensive knowledge about narrative strategies and Joe’s unparalleled global media expertise were invaluable for the writing of this dissertation. Bernd served as my guiding light in the complex European cinema arena and helped me keep perspective. I consider myself very fortunate for having such an accomplished and supportive group of individuals on my doctoral committee. -
Moral Knowledge and the Politics of Cinema Censorship Erin Elif Alp
Screen Cleaning: Moral Knowledge and the Politics of Cinema Censorship Erin Elif Alp Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2016 © 2015 Erin Elif Alp All rights reserved ABSTRACT Screen Cleaning: Moral Knowledge and the Politics of Cinema Censorship Erin Elif Alp This dissertation asks how the structure of moral authority and media viewership in America has changed over the course of the 20th century. In order to address this question, I examine the ways in which American films are, and have been, labeled inappropriate or appropriate for public viewership. I ask how censorship, regulation and rating systems work to create and manage moral ambiguity, and what types of ramifications moral ambiguity is thought to have on viewers. I also address the types of problems associated with American cinema over time, and propose several analytical dimensions to capture and unpack the processes of censoring cinema. This framework is built on the notions of filth and moral ambiguity, moral repercussion, a process of responsibilization, and the telos for cinema, all of which influences how an organization interacts with movies and morality. In lapses of symmetry between on- and off-screen worlds, moral ambiguity arises in ways that responsibilize either content controllers or audiences themselves. I show the links between these articulations and how the moral repercussions of exposure to cinema are defined. I also argue that where in the past moral ambiguity was commonly perceived as a dangerous aspect of cinema, especially by censors and Hollywood film production regulators, contemporary movie raters present a film’s moral ambiguity as a resource to the viewer. -
Broadcasting Dec 5
The Fifth Estate Broadcasting Dec 5 , " TAKING ADVANTAGE ;:jir ENTERTAINMENT TONIGHT zAr TAXI "vor 171 % to all of our friends who have helped us give the gift of entertainment all year round. TELEVISION DOMESTIC DISTRISLIIION FAMILY TIES CHEERS Zi WEBSTER AIR UNIVERSITY LIBRARY MAXWELL AIR FORCE BASE, ACT U. S. PfCE PROPERTY our winn ng combination for ereo o NrcAn.L u r, 19,iiii,;¡.?" PWATrvr RIGHT St uannv ou CONTINENTAL ELECTRONICS TYPE PMX]MT AM STEREO MOO. MONITOR J._ J J i l L . ,a. .. .. a, a, s .. ; ' . L..IL cu.1u ¡ SET TO TOO 1 `r- Iii) o i LnT. 0ENWT w OUTPUT wwi ILLLLIIO o.0 ó C l: WTN LILVi 7.14t7,:' O .O, eEeos uiñN Mw T . HIM, L.Tp . O OIf LLT O iii? Mi." L.I OLYOO 40 111 .., ,] N I .- .... .._- ^'vC .-vcm .v .. '''''i Is AM Stereo ready to move up? Hearing is believing. on -air reliability with complete Market -place decisions With the PMX System, AM Stereo transparency. notwithstanding, the recent music sounds like FM Stereo Ultimately, the day -to-day introduction of receivers able to music. So it makes for higher operation of your AM Stereo decode signals from any of the four listener appeal and better System will depend upon systems in use today makes it numbers: For audience and the equipment and service. easier for broadcasters to move bottom line. We stand on our track record of ahead with AM Stereo plans. The Winning Combination providing the best of both. Which system is #1? Our Type 302A Exciter, developed If you're considering AM Stereo, or The PMX (Magnavox) System was for the PMX System, and our new if you just want more facts, give us first selected by the FCC to be the Type PMX -SM I AM Stereo a call. -
Sexual Politics in the Defense of Art: Culture Wars, Mapplethorpe, and the Road from Formalism to Identity Politics
SEXUAL POLITICS IN THE DEFENSE OF ART: CULTURE WARS, MAPPLETHORPE, AND THE ROAD FROM FORMALISM TO IDENTITY POLITICS Dustin Kidd ABSTRACT This paper examines the 1990 trial in Cincinnati that resulted from the ~ ;:if" display of controversial photographs by Robert Mapplethorpe. 1 focus J' on how the art world attempted to defend Mapplethorpe's work from the charge of obscenity and to demonstrate the artistic merit of the photographs. Although formalist aesthetics provided the primary defense, by the trial's end,formalism had been abandoned infavor of identity politics - specifically, a sexual politics that focused on the sexual identity of the photographer and the content of the photographs. Bringing content 'and context into the discussion of art has made, 1 argue, for a more democratic art world. It has opened the door to forms of art that are less elite and that offer voices of counter-hegemonic contestation. These findings reveal that large-scale cultural conflict can have positive benefits for the public square. Politics of Change: Sexuality, Gender and Aging Research in Political Sociology, Volume 13, 79-112 Copyright © 2004 by Elsevier Ltd. All rights of reproduction in any form reserved ISSN: 0895-9935/doi:l0.l016/S0895-9935(04)13003-9 79 80 DUSTIN KIDD Sexual Politics ill the Defense ofArt 81 INTRODUCTION the Contemporary Arts Center. The resulting trial, as well as associated art world activities surrounding the trial, is the focus of this paper. On May 18th, 1989, the New York art world turned out for a memorial service at The arts were not the only American institution to experience such controversy, the Whitney Museum of American Art to mourn the death of photographer Robert as heated debate erupted in the media, the courts, and the houses of public Mapplethorpe. -
Film Festivals: from European Geopolitics to Global Cinephilia 2007
Repositorium für die Medienwissenschaft Marijke de Valck Film Festivals: From European Geopolitics to Global Cinephilia 2007 https://doi.org/10.5117/9789053561928 Buch / book Empfohlene Zitierung / Suggested Citation: de Valck, Marijke: Film Festivals: From European Geopolitics to Global Cinephilia. Amsterdam University Press 2007 (Film Culture in Transition). DOI: https://doi.org/10.5117/9789053561928. Nutzungsbedingungen: Terms of use: Dieser Text wird unter einer Creative Commons BY-NC 3.0/ This document is made available under a creative commons BY- Lizenz zur Verfügung gestellt. Nähere Auskünfte zu dieser Lizenz NC 3.0/ License. For more information see: finden Sie hier: https://creativecommons.org/licenses/by-nc/3.0/ https://creativecommons.org/licenses/by-nc/3.0/ * pb omslag Film Festivals 07-11-2007 15:19 Pagina 1 Film festivals are hugely popular events that attract lovers of cinema worldwide, but they are also a uniquely revealing index of globalization in the realm of culture MARIJKE DE VALK FILM FESTIVALS and the arts. Focusing on the world’s most famous fes- tivals – Cannes, Berlin, Venice and Rotterdam – Film FILM FILM Festivals: From European Geopolitics to Global Cinephilia tells the story of a phenomenon that began in the midst CULTURE CULTURE of geopolitical disputes in war-torn Europe. De Valck IN TRANSITION IN TRANSITION shows how festivals in Europe turned political divisions and national rivalry into advantages, eventually expanding into a successful global network. Taking into account the multilateral influences of major actors – such as Holly- wood, the avant-garde as well as political, regional and tourist agendas – the book proposes a comprehensively new understanding of film festivals. -
Crime Wave for Clara CRIME WAVE
Crime Wave For Clara CRIME WAVE The Filmgoers’ Guide to the Great Crime Movies HOWARD HUGHES Disclaimer: Some images in the original version of this book are not available for inclusion in the eBook. Published in 2006 by I.B.Tauris & Co Ltd 6 Salem Road, London W2 4BU 175 Fifth Avenue, New York NY 10010 www.ibtauris.com In the United States and Canada distributed by Palgrave Macmillan, a division of St. Martin’s Press, 175 Fifth Avenue, New York NY 10010 Copyright © Howard Hughes, 2006 The right of Howard Hughes to be identified as the author of this work has been asserted by him in accordance with the Copyright, Designs and Patents Act 1988. All rights reserved. Except for brief quotations in a review, this book, or any part thereof, may not be reproduced, stored in or introduced into a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior written permission of the publisher. The TCM logo and trademark and all related elements are trademarks of and © Turner Entertainment Networks International Limited. A Time Warner Company. All rights reserved. © and TM 2006 Turner Entertainment Networks International Limited. ISBN 10: 1 84511 219 9 EAN 13: 978 1 84511 219 6 A full CIP record for this book is available from the British Library A full CIP record for this book is available from the Library of Congress Library of Congress catalog card: available Typeset in Ehrhardt by Dexter Haven Associates Ltd, London Printed and bound in Great Britain by TJ International, -
A New Perfect Moment Cincinnati Celebrates Photographer Robert Mapplethorpe 25 Years After Controversy
A New Perfect Moment Cincinnati celebrates photographer Robert Mapplethorpe 25 years after controversy STEVEN ROSEN - OCT 14, 2015 10 AM 'Robert Mapplethorpe' For two days this month — Oct. 23 and 24 — Cincinnati will celebrate the glory of Robert Mapplethorpe’s art and life. Mapplethorpe + 25, a symposium sponsored by FotoFocus and the Contemporary Arts Center, will commemorate the 25th anniversary of the landmark traveling retrospective of the photographer’s work, The Perfect Moment, coming to the CAC. (Mapplethorpe died in 1989 of AIDS-related complications at age 42, not long after the show’s opening at the University of Pennsylvania’s Institute of Contemporary Art, whose Janet Kardon had curated it.) Appearing at the symposium will be those who have curated, studied, collected and/or been inspired by his work, including Michael Ward Stout, president of the Robert Mapplethorpe Foundation; Catherine Opie, a top contemporary art photographer influenced by Mapplethorpe’s work; and two photography curators working together on a 2016 Mapplethorpe retrospective, Britt Salvesen of Los Angeles County Museum of Art and Paul Martineau of the J. Paul Getty Museum. The symposium, which begins Oct. 23 with a 6 p.m. reception followed by a 7 p.m. keynote lecture by independent curator Germano Celant, will be free and open to the public. Reservations are requested at mapplethorpe25.org. (A detailed story on all symposium activities ran in the Oct. 7 issue of CityBeat; you can read it at citybeat.com.) Even before he died, Mapplethorpe was a major name in contemporary photography — although not so known outside of it.