Dissertation in Which There Appear Lost Punchlines, Dreadful Puns, Low Resolution, Etc.: on the Failure of Humour in Avant-Garde Film and Video
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
No. 109 March
No. OUR PRICE 109 March 30c 67 CHEAP nil .-#» HERE'S ONE "HANG-UP // YOU'LL LOVE! MOBILE THE FOURTH ANNUAL COLLECTION OF BLUNDERS, BOMBS, ACTS OF IDIOCY, AND OTHER... MAD FOLLIES YOU GET IT FREE! IIS THE FULL-COLOR CUT-OUT Bonus in 'MAD FOLLIES' OUR LATEST ANNUAL ON SALE NOW! NUMBER 109 MARCH 1967 "Efficiency Experts are smart enough to tell you how to run your business, and too smart to start one of their own!" —Alfred E. Neuman WILLIAM M. GAINES publisher ALBERT B. FELDSTEIN editor JOHN PUTNAM art director LEONARD BRENNER production JERRY DE FUCCIO, NICK MEGLiN associate editors MARTIN j. SCHEIMAN lawsuits GLORIA ORLANDO, CELIA MORELLI, RICHARD GKILLO Subscriptions CONTRIBUTING ARTISTS AND WRITERS the usual gang of idiots DEPARTMENTS BERGS-EYE VIEW DEPARTMENT The Lighter Side Of Arguments 16 DON MARTIN DEPARTMENT In The Locker Room 14 Downtown 31 EDITORIAL WHEEZE DEPARTMENT Various Mags Handle The Same Cartoon Situation 38 FINGER PAINTING DEPARTMENT Cop Art 48 GRADUATING CRASS DEPARTMENT Correspondence Schools For Obnoxious People 11 HOLLYWOOD AND VINES DEPARTMENT Doc Tari (A MAD TV Satire) 43 JOKE AND DAGGER DEPARTMENT Spy Vs. Spy 23. 34 LETTERS DEPARTMENT Random Samplings Of Reader Mail 2 MAD TAKES PLEASURE IN PRESENTING DEPARTMENT Announcements For Everything 20 MARGINAL THINKING DEPARTMENT Drawn-Out Dramas by Sergio Aragones ** NO ONE OVER 18 ... DEPARTMENT Who In Heck Is Virginia Woolf? (A MAD Movie Satire) 4 SISS-BOOM-BLAH! DEPARTMENT School Songs For Everyday Activities 35 SPOOKING FROM PICTURES DEPARTMENT Horrifying Cliches 32 THE BRAIN AND STRAIN IS MAINLY ON THE WANE DEPT. -
Dlkj;Fdslk ;Lkfdj
MoMA PRESENTS SCREENINGS OF VIDEO ART AND INTERVIEWS WITH WOMEN ARTISTS FROM THE ARCHIVE OF THE VIDEO DATA BANK Video Art Works by Laurie Anderson, Miranda July, and Yvonne Rainer and Interviews With Artists Such As Louise Bourgeois and Lee Krasner Are Presented FEEDBACK: THE VIDEO DATA BANK, VIDEO ART, AND ARTIST INTERVIEWS January 25–31, 2007 The Roy and Niuta Titus Theaters NEW YORK, January 9, 2007— The Museum of Modern Art presents Feedback: The Video Data Bank, Video Art, and Artist Interviews, an exhibition of video art and interviews with female visual and moving-image artists drawn from the Chicago-based Video Data Bank (VDB). The exhibition is presented January 25–31, 2007, in The Roy and Niuta Titus Theaters, on the occasion of the publication of Feedback, The Video Data Bank Catalog of Video Art and Artist Interviews and the presentation of MoMA’s The Feminist Future symposium (January 26 and 27, 2007). Eleven programs of short and longer-form works are included, including interviews with artists such as Lee Krasner and Louise Bourgeois, as well as with critics, academics, and other commentators. The exhibition is organized by Sally Berger, Assistant Curator, Department of Film, The Museum of Modern Art, with Blithe Riley, Editor and Project Coordinator, On Art and Artists collection, Video Data Bank. The Video Data Bank was established in 1976 at the School of the Art Institute of Chicago as a collection of student productions and interviews with visiting artists. During the same period in the mid-1970s, VDB codirectors Lyn Blumenthal and Kate Horsfield began conducting their own interviews with women artists who they felt were underrepresented critically in the art world. -
Nd Mark the Appropriate Box(Es)
Telephone: (416) 944-1096 • Facsimile: (416) 465-4356 • Email: [email protected] • www.takeonemagazine.ca nd mark the appropriate box(es). Individuals: $10 (includes postage and GST) Institutions: $ 1 5 (includes postage and GST) No. 33: Summer Animation Issue: Reboot, 0 No. 7: Picture of Light, Wind from Wyoming, O No. 21: The Herd, Last Night, Un 32 aodt sur O Valentine's Day, Whale Music, Wasaga terre, Dirty, Saul Rubinek, the films of Joyce Xcalibur, Cyber World in 3—D, Paul Driessen, Wieland, interview with Wayne Clarkson Michele Cournoyer, Pierre Hebert, Cinar, 0 No. 8: Dance Me Outside, Goin' down the Road, Quickdraw Animation Society Jesus of Montreal, including 'Roads Not Taken, 0 No. 22: The Red Violin, Such a Long Journey, Avenues Not Explored: Confessions of an Power Play, Telefilm Canada, Canadian cinema: O No. 34: Last Wedding, Lost and Delirious, Unconscious Canonizer' by Peter Harcourt the tax—shelter years Atanarjuat, Century Hotel, a chronology of Canadian film and television 0 No. 9: Le Confessional, Rude, Soul Survivor, No. 23: eXistenZ C't'a ton tour, Laura Cadieux, O The War Between Us, Margaret's Museum, the Boy Meets Girl, Dog Park, Extraordinary Visitor, O No. 35: Un Grebe dans la tete, Picture Claire, Lip films of Mike Hoolboom Foolish Hearts, Emily of New Moon, interview Service: A Mystery, Mariages, Treed Murray, with Colin Low, part I Allan King, Callum Keith Rennie, Nick Mancuso 0 No. 10: Who's Counting? Marilyn Waring, Sex, No. 36: Men with Brooms, Red Green's Duct Lies and Global Economics, Baseball Girls, The O No. -
Issue Hero Villain Place Result Avengers Spotlight #26 Iron Man
Issue Hero Villain Place Result Avengers Spotlight #26 Iron Man, Hawkeye Wizard, other villains Vault Breakout stopped, but some escape New Mutants #86 Rusty, Skids Vulture, Tinkerer, Nitro Albany Everyone Arrested Damage Control #1 John, Gene, Bart, (Cap) Wrecking Crew Vault Thunderball and Wrecker escape Avengers #311 Quasar, Peggy Carter, other Avengers employees Doombots Avengers Hydrobase Hydrobase destroyed Captain America #365 Captain America Namor (controlled by Controller) Statue of Liberty Namor defeated Fantastic Four #334 Fantastic Four Constrictor, Beetle, Shocker Baxter Building FF victorious Amazing Spider-Man #326 Spiderman Graviton Daily Bugle Graviton wins Spectacular Spiderman #159 Spiderman Trapster New York Trapster defeated, Spidey gets cosmic powers Wolverine #19 & 20 Wolverine, La Bandera Tiger Shark Tierra Verde Tiger Shark eaten by sharks Cloak & Dagger #9 Cloak, Dagger, Avengers Jester, Fenris, Rock, Hydro-man New York Villains defeated Web of Spiderman #59 Spiderman, Puma Titania Daily Bugle Titania defeated Power Pack #53 Power Pack Typhoid Mary NY apartment Typhoid kills PP's dad, but they save him. Incredible Hulk #363 Hulk Grey Gargoyle Las Vegas Grey Gargoyle defeated, but escapes Moon Knight #8-9 Moon Knight, Midnight, Punisher Flag Smasher, Ultimatum Brooklyn Ultimatum defeated, Flag Smasher killed Doctor Strange #11 Doctor Strange Hobgoblin, NY TV studio Hobgoblin defeated Doctor Strange #12 Doctor Strange, Clea Enchantress, Skurge Empire State Building Enchantress defeated Fantastic Four #335-336 Fantastic -
Wavebid > Buyers Guide
Auction Catalog April25-May 2 Auction 2021 - Date Posted is When Online Auction Date: Sunday, Apr 25 2021 Bidding Starts: 10:00 AM EDT Granny's Auction House Phone: (727) 572-1567 5175 Ulmerton Rd Email: grannysauction@gmail. Ste B com Clearwater, FL 33760 © 2021 Granny's Auction House 04/26/2021 05:10 PM Lot Title & Description Number 1 1994 Florence Limited Ed. Walt Disney's Ariel Figurine by Giuseppe Armani - made in Italy #1623/1500 (great condition) {in house shipping available} Mixed Metal Los Castillo Taxco Mexico Tipping Inlaid Hard Stone Bird Pitcher - 6 1/4" tall, 4 1/2" wide with handle, maker mark on 2 bottom, {in house shipping available} Franklin Mint Star Trek Starship Enterprise Ship - pewter ships on stands, authorized by Paramount Pictures (one arm of ship has 3 started to pull away from ship and both arms are bent down) {in house shipping available} Spectacular 1998 Vincent Trabucco Art Glass Paperweight - beautiful detailed floral design on white lace - signed on bottom {in house 4 shipping available} Mt Washington Peachblow JIP Tulip and Enameled Blue Glass Victorian Vases - 8" rib optic Victorian blue glass vase with black 5 cartouche enamel decoration surrounding raised gold bird scenic and additional floral decorations, 9" slender tulip lip vase with classic Mt Washington soft white to blush satin body - in house shipping available 6 Lalique Satin Finish Sparrow and Accented Filicaria vase - 4.5" Filicaria with fern like leaf cuttings in original box and 3" x 4.5" sparrow (no box) - in house shipping available Steiff Quality European Construction Vintage Mohair Stuffed 3 Piece Showroom Size Deer Family - 36" high buck with head raised and sewn leather 10 point antler rack, 20" tall momma deer with big eye lashes and head lowered to the side, and 13" fawn with head 7 raised to nuzzle with momma - European construction, they all have beautiful mohair coats over sturdy frame, tan underbellies and air brushed spotted coats, leather hooves and glass eyes. -
Feminist Art, the Women's Movement, and History
Working Women’s Menu, Women in Their Workplaces Conference, Los Angeles, CA. Pictured l to r: Anne Mavor, Jerri Allyn, Chutney Gunderson, Arlene Raven; photo credit: The Waitresses 70 THE WAITRESSES UNPEELED In the Name of Love: Feminist Art, the Women’s Movement and History By Michelle Moravec This linking of past and future, through the mediation of an artist/historian striving for change in the name of love, is one sort of “radical limit” for history. 1 The above quote comes from an exchange between the documentary videomaker, film producer, and professor Alexandra Juhasz and the critic Antoinette Burton. This incredibly poignant article, itself a collaboration in the form of a conversation about the idea of women’s collaborative art, neatly joins the strands I want to braid together in this piece about The Waitresses. Juhasz and Burton’s conversation is at once a meditation of the function of political art, the role of history in documenting, sustaining and perhaps transforming those movements, and the influence gender has on these constructions. Both women are acutely aware of the limitations of a socially engaged history, particularly one that seeks to create change both in the writing of history, but also in society itself. In the case of Juhasz’s work on communities around AIDS, the limitation she references in the above quote is that the movement cannot forestall the inevitable death of many of its members. In this piece, I want to explore the “radical limit” that exists within the historiography of the women’s movement, although in its case it is a moribund narrative that threatens to trap the women’s movement, fixed forever like an insect under amber. -
Broadcasting Taste: a History of Film Talk, International Criticism, and English-Canadian Media a Thesis in the Department of Co
Broadcasting Taste: A History of Film Talk, International Criticism, and English-Canadian Media A Thesis In the Department of Communication Studies Presented in Partial Fulfillment of the Requirements For the Degree of Doctor of Philosophy (Communication Studies) at Concordia University Montreal, Quebec, Canada December 2016 © Zoë Constantinides, 2016 CONCORDIA UNIVERSITY SCHOOL OF GRADUATE STUDIES This is to certify that the thesis prepared By: Zoë Constantinides Entitled: Broadcasting Taste: A History of Film Talk, International Criticism, and English- Canadian Media and submitted in partial fulfillment of the requirements for the degree of PhD in Communication Studies complies with the regulations of the University and meets the accepted standards with respect to originality and quality. Signed by the final examining committee: __________________________________________ Beverly Best Chair __________________________________________ Peter Urquhart External Examiner __________________________________________ Haidee Wasson External to Program __________________________________________ Monika Kin Gagnon Examiner __________________________________________ William Buxton Examiner __________________________________________ Charles R. Acland Thesis Supervisor Approved by __________________________________________ Yasmin Jiwani Graduate Program Director __________________________________________ André Roy Dean of Faculty Abstract Broadcasting Taste: A History of Film Talk, International Criticism, and English- Canadian Media Zoë Constantinides, -
Short Film Programme
SHORT FILM PROGRAMME If you’d like to see some of the incredible short films produced in Canada, please check out our description of the Short Film Programme on page 50, and contact us for advice and assistance. IM Indigenous-made films (written, directed or produced by Indigenous artists) Films produced by the National Film Board of Canada NFB CLASSIC ANIMATIONS BEGONE DULL CARE LA FAIM / HUNGER THE STREET Norman McLaren, Evelyn Lambart Peter Foldès 1973 11 min. Caroline Leaf 1976 10 min. 1949 8 min. Rapidly dissolving images form a An award-winning adaptation of a An innovative experimental film satire of self-indulgence in a world story by Canadian author Mordecai consisting of abstract shapes and plagued by hunger. This Oscar- Richler about how families deal with colours shifting in sync with jazz nominated film was among the first older relatives, and the emotions COSMIC ZOOM music performed by the Oscar to use computer animation. surrounding a grandmother’s death. Peterson Trio. THE LOG DRIVER’S WALTZ THE SWEATER THE BIG SNIT John Weldon 1979 3 min. Sheldon Cohen 1980 10 min. Richard Condie 1985 10 min. The McGarrigle sisters sing along to Iconic author Roch Carrier narrates A wonderfully wacky look at two the tale of a young girl who loves to a mortifying boyhood experience conflicts — global nuclear war and a dance and chooses to marry a log in this animated adaptation of his domestic quarrel — and how each is driver over more well-to-do suitors. beloved book The Hockey Sweater. resolved. Nominated for an Oscar. -
Difficulty in the Origins of the Canadian Avant-Garde Film
CODES OF THE NORTH: DIFFICULTY IN THE ORIGINS OF THE CANADIAN AVANT-GARDE FILM by Stephen Broomer Master of Arts, York University, Toronto, Canada, 2008 Bachelor of Fine Arts, York University, Toronto, Canada, 2006 A dissertation presented to Ryerson University and York University in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Joint Program in Communication and Culture Toronto, Ontario, Canada, 2015 © Stephen Broomer, 2015 Author’s Declaration I hereby declare that I am the sole author of this dissertation. This is a true copy of the dissertation, including any required final revisions, as accepted by my examiners. I authorize Ryerson University to lend this dissertation to other institutions or individuals for the purpose of scholarly research. I further authorize Ryerson University to reproduce this dissertation by photocopying or by other means, in total or in part, at the request of other institutions or individuals for the purpose of scholarly research. I understand that my dissertation may be made electronically available to the public. ii Codes of the North: Difficulty in the Origins of the Canadian Avant-Garde Film Stephen Broomer Doctor of Philosophy in Communication and Culture, 2015 Ryerson University and York University Abstract This dissertation chronicles the formation of a Canadian avant-garde cinema and its relation to the tradition of art of purposeful difficulty. It is informed by the writings of George Steiner, who advanced a typology of difficult forms in poetry. The major works of Jack Chambers (The Hart of London), Michael Snow (La Region Centrale), and Joyce Wieland (Reason Over Passion) illustrate the ways in which a poetic vanguard in cinema is anchored in an aesthetic of difficulty. -
Newsletter 2009
NEWSLETTER 2009 NEWSLETTER CONTENTS 2 Letter from the Chair and President, Board of Trustees Skowhegan, an intensive 3 Letter from the Chair, Board of Governors nine-week summer 4 Trustee Spotlight: Ann Gund residency program for 7 Governor Spotlight: David Reed 11 Alumni Remember Skowhegan emerging visual artists, 14 Letters from the Executive Directors seeks each year to bring 16 Campus Connection 18 2009 Awards Dinner together a gifted and 20 2010 Faculty diverse group of individuals 26 Skowhegan Council & Alliance 28 Alumni News to create the most stimulating and rigorous environment possible for a concentrated period of artistic creation, interaction, and growth. FROM THE CHAIR & PRESIDENT OF THE BOARD OF TRUSTEES FROM THE CHAIR OF THE BOARD OF GOVERNORS ANN L. GUND Chair / GREGORY K. PALM President BYRON KIM (’86) We write to you following another wonderful Trustees’/ featuring a talk by the artist and in June for a visit leadership. We will miss her, but know she will bring Many years ago, the founders of the Skowhegan great food for thought as we think about the shape a Governors’ Weekend on Skowhegan’s Maine campus, to Skowhegan Trustee George Ahl’s eclectic and her wisdom and experience to bear in the New York School of Painting & Sculpture formed two distinct new media lab should take. where we always welcome the opportunity to see beautiful collection which includes several Skowhegan Arts Program of Ohio Wesleyan University, where governing bodies that have worked strongly together to As with our participants, we are committed to diversity the School’s program in action and to meet the artists. -
Joyce Wieland and Michael Snow: Conceptual Landscape Art
Conceptual Landscape Art Johanne sloan Joyce Wieland and Michael Snow Joyce Wieland, 109 Views, 1971, cloth assemblage, York University between 1969 and 1977, both Michael Snow and Joyce vice versa, but rather to suggest that looking at these bodies of Wieland made remarkable works of art using photography, film, work side by side is extremely instructive. In somewhat different and, in Wieland’s case, various unconventional materials to ways, both artists strove to bring the Canadian preoccupation anatomize, explore, and revitalize the legacy of landscape art in with landscape up to date, resituating it in relation to a techno- Canada. Snow began work on La Région Centrale (1970), saying: “I logically expanded visual culture, a shifting sense of nationhood, want to make a gigantic landscape film equal in terms of film to and a destabilized natural world. the great landscape paintings of Cézanne, Poussin, Corot, Monet, Wieland’s and Snow’s idiosyncratic explorations of landscape Matisse and in Canada the Group of Seven.”1 Wieland had by then aesthetics at this time did develop in tandem with international just completed her own “gigantic” cross-country landscape film movements in Land Art and Conceptual Art, while other avant- Reason over Passion (1969), soon to be followed by the multimedia garde filmmakers shared an interest in landscape. The artworks True Patriot Love exhibition at the National Gallery (1971), which under discussion can be profitably compared with multimedia itself included fragments of a script for another feature-length experimental landscape projects from the late 1960s and early film about Canadian landscape (which would eventually get made 1970s by Canada’s N.E. -
The Raunchy Splendor of Mike Kuchar's Dirty Pictures
MIKE KUCHAR ART The Raunchy Splendor of Mike Kuchar’s Dirty Pictures by JENNIFER KRASINSKI SEPTEMBER 19, 2017 “Blue Eyes” (1980–2000s) MIKE KUCHAR/ANTON KERN GALLERY/GHEBALY GALLERY AS AN ILLUSTRATOR, MY AIM IS TO AMUSE THE EYE AND SPARK IMAGINATION, wrote the great American artist and filmmaker Mike Kuchar in Primal Male, a book of his collected drawings. TO CREATE TITILLATING SCENES THAT REFRESH THE SOUL… AND PUT A BIT MORE “FUN” TO VIEWING PICTURES — and that he has done for over five decades. “Drawings by Mike!” is an exhibition of erotic illustrations at Anton Kern Gallery, one of the fall season’s great feasts for the eye and a welcome homecoming for one of New York’s most treasured prodigal sons. Sympathy for the devil: Mike Kuchar’s “Rescued!” (2017) MIKE KUCHAR/ANTON KERN GALLERY As boys growing up in the Bronx, Mike and his twin brother — the late, equally great film and video artist George (1942–2011) — loved to spend their weekends at the movies, watching everything from newsreels to B films to blockbusters, their young minds roused by all the thrills that Hollywood had to offer: romance, drama, action, science fiction, terror, suspense. As George remembered in their 1997 Reflecons From a Cinemac Cesspool, a memoir-cum–manual for aspiring filmmakers: “On the screen there would always be a wonderful tapestry of big people and they seemed so wild and crazy….e women wantonly lifted up their skirts to adjust garter-belts and men in pin-striped suits appeared from behind shadowed décor to suck and chew on Technicolor lips.” For the Kuchars, as for gay male contemporaries like Andy Warhol and Jack Smith, the movie theater was a temple for erotics both expressed and repressed, projected and appropriated, homo and hetero, all whirled together on the silver screen.