Effects on training of experimental film variables. Study II: Verbalization, "how-it-works," nomenclature, audience participation, and succinct treatment. (Tech Rep.-SDC 269-7-11.).

1950 ◽  
Author(s):  
N. Jaspen
Keyword(s):  
Experimental Film ◽  
Audience Participation

Misreading Egypt

2018 ◽  
Author(s):  
Jesse Schotter
Keyword(s):  
New Media ◽  
Narrative Form ◽  
Experimental Film ◽  
Tower Of Babel ◽  
Avant Garde ◽  
Sergei Eisenstein ◽  
History Of ◽  
The One ◽  
The Relationship ◽  
Modern Technologies

The first chapter of Hieroglyphic Modernisms exposes the complex history of Western misconceptions of Egyptian writing from antiquity to the present. Hieroglyphs bridge the gap between modern technologies and the ancient past, looking forward to the rise of new media and backward to the dispersal of languages in the mythical moment of the Tower of Babel. The contradictory ways in which hieroglyphs were interpreted in the West come to shape the differing ways that modernist writers and filmmakers understood the relationship between writing, film, and other new media. On the one hand, poets like Ezra Pound and film theorists like Vachel Lindsay and Sergei Eisenstein use the visual languages of China and of Egypt as a more primal or direct alternative to written words. But Freud, Proust, and the later Eisenstein conversely emphasize the phonetic qualities of Egyptian writing, its similarity to alphabetical scripts. The chapter concludes by arguing that even avant-garde invocations of hieroglyphics depend on narrative form through an examination of Hollis Frampton’s experimental film Zorns Lemma.

Cinema Expanded

2020 ◽  
Author(s):  
Jonathan Walley
Keyword(s):  
New Media ◽  
Film History ◽  
Video Art ◽  
Experimental Film ◽  
Art World ◽  
Film Culture ◽  
Moving Image ◽  
Avant Garde ◽  
Expanded Cinema ◽  
History Of

Cinema Expanded: Avant-Garde Film in the Age of Intermedia is a comprehensive historical survey of expanded cinema from the mid-1960s to the present. It offers an historical and theoretical revision of the concept of expanded cinema, placing it in the context of avant-garde/experimental film history rather than the history of new media, intermedia, or multimedia. The book argues that while expanded cinema has taken an incredible variety of forms (including moving image installation, multi-screen films, live cinematic performance, light shows, shadow plays, computer-generated images, video art, sculptural objects, and texts), it is nonetheless best understood as an ongoing meditation by filmmakers on the nature of cinema, specifically, and on its relationship to the other arts. Cinema Expanded also extends its historical and theoretical scope to avant-garde film culture more generally, placing expanded cinema in that context while also considering what it has to tell us about the moving image in the art world and new media environment.

Alternative Workstations: Magic Pills for Office Worker Health?

2017 ◽  
Vol 61 (1) ◽  
pp. 460-464 ◽  
Author(s):  
Jia-Hua Lin ◽  
Carisa Harris-Adamson ◽  
Stephen Bao ◽  
David Rempel ◽  
Lora Cavuoto ◽  
...  
Keyword(s):  
Public Health ◽  
Computer Work ◽  
Musculoskeletal Symptoms ◽  
Office Worker ◽  
Audience Participation ◽  
Research Needs ◽  
Health Concerns ◽  
Research And Practice ◽  
Workplace Interventions ◽  
Worker Health

Routine office or computer work are of public health concerns due to their sedentary nature. Sit- stand desks may be prescribed for employees based on medical or ergonomic factors. Sit-stand or active workstations, either assigned to individual workers or made available in “unassigned” office areas are also making inroads into the workplace with the goal of reducing sedentary work, varying (alternating) work postures, improving productivity, or accommodating workers with musculoskeletal symptoms. This diverse panel will present recent research and practice findings and invite audience participation in a discussion of this trending topic. Studies examining the effects of sit-stand or active workstations on physiological and cardiovascular outcomes will be reported. The effects on movement patterns, performance and productivity will also be examined. Real workplace interventions and examples of practices will be presented. The goal is to provide a forum to share our understanding about the benefits and limitations of various office workstation designs and discuss research needs.

scholarly journals Cinematic “Pas de Deux”: The Dialogue between Maya Deren's Experimental Filmmaking and Talley Beatty's Black Ballet Dancer in A Study in Choreography for Camera (1945)

2013 ◽  
Vol 47 (2) ◽  
pp. 385-403
Author(s):  
HANNAH DURKIN
Keyword(s):  
Film History ◽  
Cross Cultural ◽  
Experimental Film ◽  
Ballet Dancer ◽  
Emotional Experiences ◽  
Avant Garde ◽  
The Us ◽  
Artistic Vision ◽  
The Individual ◽  
Ballet Dancing

A Study in Choreography for Camera (1945) is a collaborative enterprise between avant-garde filmmaker Maya Deren and African American ballet dancer Talley Beatty. Study is significant in experimental film history – it was one of three films by Deren that shaped the emergence of the postwar avant-garde cinema movement in the US. The film represents a pioneering cross-cultural and cross-disciplinary dialogue between Beatty's ballet dancing and Deren's experimental cinematic technique. The film explores complex emotional experiences through a cinematic re-creation of Deren's understanding of ritual (which she borrowed from Katherine Dunham's Haitian experiences after spending many years documenting vodou) while allowing a leading black male dancer to display his artistry on-screen. I show that cultures and artistic forms widely dismissed as incompatible are rendered equivocal. Study adopts a stylized and rhythmic technique borrowed from dance in its attempt to establish cinema as “art,” and I foreground Beatty's contribution to the film, arguing that his technically complex movements situate him as joint author of its artistic vision. The essay also explores tensions between the artistic intentions of Deren, who sought to deprivilege the individual performer in favour of the filmic “ritual,” and Beatty, who sought to display his individual skills as a technically accomplished dancer.

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