Introduction

2019 ◽  
pp. 1-16
Author(s):  
Thomas Nail
Keyword(s):  
Methodological Framework ◽  
Moving Image ◽  
Moving Images ◽  
Historical Importance ◽  
History Of ◽  
Ontological Position

This chapter introduces the historical importance of the image, provides a methodological framework for studying moving images, lays out the two major problems the book aims to overcome, describes the limitations of the book, and offers its plan of organization. As such, it redefines the image as fundamentally mobile and thus proposes to investigate all images as mobile images. It argues for a new materialist aesthetics distinct from representational and constructivist theories. That is, the image is not a copy nor a movement relative to an object or subject; it is not even a copy of a copy without an original. All these structures have to be accounted for, starting from the historical mobility of the image, and not from any metaphysical or ontological position. Therefore, the book is an attempt to develop a theory and a history of the logic and structure of the moving image.

Advertising as Commercial Speech: Truth and Trademarks in Testimonial Advertising

2021 ◽  
Author(s):  
Patrick Vonderau
Keyword(s):  
Case Law ◽  
Moving Image ◽  
Feature Film ◽  
Commercial Speech ◽  
Moving Images ◽  
History Of ◽  
American Case

This chapter explores the long history of moving images’ promotional relation to trademarks by focussing on us American case law and a controversy that surrounded a brief moment in the feature film The Hangover II (2011). In the second part, the chapter develops and outlines a typology of moving image testimonials.

The British Artists’ Film and Video Study Collection: a resource for moving-image research

2009 ◽  
Vol 34 (3) ◽  
pp. 16-20
Author(s):  
David Curtis ◽  
Steven Ball
Keyword(s):  
Research Priorities ◽  
Video Study ◽  
Moving Image ◽  
Art And Design ◽  
Moving Images ◽  
Digital Storage ◽  
The Arts ◽  
History Of ◽  
The University ◽  
Film And Video

The British Artists’ Film and Video Study Collection is a small specialist collection dedicated to the history of artists’ moving images in Britain, which is based at Central Saint Martins College of Art and Design at the University of the Arts London. The Collection services the needs of both academics and curators in this specialist area. Its founders describe itsraison d’êtreand collecting policy, and outline some of the challenges of working in an environment susceptible to changing research priorities and uncertain digital storage standards.

Sobre Educação, Arte e Vídeoarte: rupturas, resiliência e práticas de ensino/aprendizagem na sala de aula

2020 ◽  
Author(s):  
Nélia Lúcia Fonseca
Keyword(s):  
High School ◽  
High School Students ◽  
Video Art ◽  
Theory And Practice ◽  
First Year ◽  
School Students ◽  
Forest School ◽  
Moving Images ◽  
History Of ◽  
Teaching Learning

This study first approaches the history of the observer’s gaze, that is, as observers, we are forming or constructing our way of visualizing moving images. Secondly, it reaffirms the importance and need of resistance of the teaching / learning of Art as a compulsory curricular component for high school. Finally, the third part reports an experience with video art production in a class of first year high school students, establishing an interrelationship between theory and practice, that is, we study video art content to reach the production of videos, aiming as a final result, the art videos created by the students of the Reference Center in Environmental Education Forest School Prof. Eidorfe Moreira High School. The first and second stages of this research share a theoretical part of the Master ‘s thesis, Making films on the Island: audiovisual production as an escape line in Cotijuba, periphery of Belem, completed in 2013.

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.

Egg-Forms and Measure-Bodies: Different Mathematical Practices in the Early History of the Modern Theory of Convexity

2009 ◽  
Vol 22 (1) ◽  
pp. 85-113 ◽  
Author(s):  
Tinne Hoff Kjeldsen
Keyword(s):  
Convex Bodies ◽  
Mathematical Work ◽  
Late Nineteenth Century ◽  
Modern Theory ◽  
Methodological Framework ◽  
Mathematical Research ◽  
Mathematical Practices ◽  
History Of ◽  
Research Questions ◽  
Epistemic Objects

ArgumentTwo simultaneous episodes in late nineteenth-century mathematical research, one by Karl Hermann Brunn (1862–1939) and another by Hermann Minkowski (1864–1909), have been described as the origin of the theory of convex bodies. This article aims to understand and explain (1) how and why the concept of such bodies emerged in these two trajectories of mathematical research; and (2) why Minkowski's – and not Brunn's – strand of thought led to the development of a theory of convexity. Concrete pieces of Brunn's and Minkowski's mathematical work in the two episodes will, from the perspective of the above questions, be presented and analyzed with the use of the methodological framework of epistemic objects, techniques, and configurations as adapted from Hans-Jörg Rheinberger's work on empirical sciences to the historiography of mathematics by Moritz Epple. Based on detailed descriptions and a comparison of the objects and techniques that Brunn and Minkowski studied and used in these pieces it will be concluded that Brunn and Minkowski worked in different epistemic configurations, and it will be argued that this had a significant influence on the mathematics they developed for those bodies, which can provide answers to the two research questions listed above.

scholarly journals CAN WE SPEAK ENGLISH? REFLECTIONS ON THE UNSPOKEN EFL IN BRAZIL

2017 ◽  
Vol 56 (1) ◽  
pp. 213-233
Author(s):  
Simone Tiemi Hashiguti
Keyword(s):  
Foreign Language ◽  
Theoretical Framework ◽  
Methodological Framework ◽  
Discussion Forums ◽  
Language Policies ◽  
Oral Production ◽  
History Of ◽  
Conditions Of Possibility ◽  
Brazilian Students

ABSTRACT This essay explores the issue of oral production in English as a foreign language in Brazil. It reports the difficulty some students find to speak the language to matters of authority and legitimacy constituted in a particular history of language policies. Interest in the theme emerged because many Brazilian students who know English state they cannot speak the language and avoid pronouncing it and engaging in conversations. A discursive methodological framework forms the basis for the analysis of postings collected from discussion forums on different websites. First, I can´t speak English works as the reference statement that makes it possible to verify a discursive regularity in operation in Brazil. Second, a postcolonial theoretical framework supports the discussion on the conditions of possibility to speak English as a foreign language in a former Portuguese colony. The author argues that the ghost of the native, idealized speaker prevents students from recognizing the English they know as legitimate, and to speak it, and points out that dignity is a possible discourse to help deconstruct the colonial, silenced positioning that exists regarding the oral production in this foreign language.

Vertical video: rupturing the aesthetic paradigm

2017 ◽  
Vol 17 (2) ◽  
pp. 245-261 ◽  
Author(s):  
Kathleen M Ryan
Keyword(s):  
Popular Culture ◽  
Technological Innovations ◽  
Film And Television ◽  
Moving Images ◽  
Orientation Model ◽  
Video Shot ◽  
History Of ◽  
The Aesthetic

Popular culture has critiqued ‘vertical video syndrome’, or video shot on smartphones in the portrait rather than landscape orientation, as something aesthetically unpleasing which should be avoided. But the design of smartphones seems to encourage shooting vertical video. This article examines the aesthetic desirability of vertical videos through applied media aesthetics. It traces the history of horizontal film and television orientations, as well as the image-centric orientation model found in still photography. It argues that vertical video, rather than a syndrome to be avoided, instead takes advantage of the technological innovations and embodied pleasures offered by the smartphone to rupture the visual paradigms and create a new visual aesthetic for phone-based moving images.

Medical Men and Peeping Toms

2016 ◽  
Author(s):  
Jessica Lake
Keyword(s):  
Personal Privacy ◽  
Right To Privacy ◽  
Women's Bodies ◽  
The Right To Privacy ◽  
Moving Images ◽  
Reproductive Body ◽  
History Of ◽  
The Law ◽  
The Right

This chapter examines cases in which a right to privacy was invoked by women to protest against violations of their bodies or the bodies of their newborn babies. This chapter offers a history of the right to privacy that charts the ways in which the law traditionally “protected” women’s bodies by treating them as male property and confining them to the home. The advent of the camera, its ability to penetrate physical and temporal boundaries, and its creation of movable as well as moving images, brought into question the efficacy of laws such as trespass and nuisance (grounded in physical structures) to protect personal privacy. To highlight the new invasions inflicted by the camera, I compare the cases of DeMay v Roberts and Feeney v Young, which involved the optic violation of a woman’s reproductive body by a stranger’s eyes and a camera respectively. Using a series of medical cases, I argue that many women invoked a right to privacy to protest against the transformation of their bodies (and the bodies of their dead deformed infants) into voyeuristic spectacles of “monstrosity”.

scholarly journals EVOLUÇÃO CONCEPTUAL DA EDUCAÇÃO ESPECIAL: UM OLHAR CENTRADO NO QUADRO NORMATIVO EM PORTUGAL

2018 ◽  
Vol 11 (3) ◽  
pp. 416
Author(s):  
Elsa Maria Gabriel Morgado ◽  
Levi Leonido Fernandes da Silva ◽  
Maria Beatriz Licursi Conceição ◽  
Mário Aníbal Gonçalves Rego Cardoso ◽  
João Bartolomeu Rodrigues
Keyword(s):  
Special Education ◽  
Conceptual Knowledge ◽  
History Of Education ◽  
Legal Framework ◽  
Methodological Framework ◽  
Review Of The Literature ◽  
Historical Knowledge ◽  
Collective Voice ◽  
History Of ◽  
Conceptual Evolution

This article focuses mainly on the Portuguese legal framework, which somehow also results from the significant changes and recommendations of the various (international) guidelines on Special Education and the Inclusion. It also intends to carry out a review of the literature on the historical and conceptual evolution of the Special Education and all the corresponding concepts and themes. The combination of these two approaches clearly contribute, in our view, for a consolidation and coordination between the historical knowledge and the conceptual knowledge, together with the legal framework inherent in the practice and intervention in different contexts in which Special Education is of particular focus and interest. The present research is a qualitative research using the method of documentary research based on the conceptual and methodological framework of Gil (2010) and Bardin (1979) which aims to present some facts that we consider relevant to the history of Education Special, sensitizing the readers to the inescapable need of their social and civic participation, in order to ground a collective voice that wants to be strong and mobilizing in a central theme for the life of all. As a result of the present investigation, the latent need to carry out a significant reformulation and normative updating is evident in the light of the civilizational and conceptual advances that come from the specific needs and particularities of inclusion and special education in particular.

scholarly journals Interweaving Realities: Spoken Language and Moving Images in the Sonne halt!, Experimental Film by Ferry Radax

2018 ◽  
Author(s):  
Luka Bešlagić
Keyword(s):  
Cultural Context ◽  
Narrative Structure ◽  
Spoken Language ◽  
Experimental Film ◽  
The Novel ◽  
Moving Image ◽  
Avant Garde ◽  
Moving Images ◽  
Narrative Cinema ◽  
Movie Script

This paper analyses the experimental film Sonne halt! by Ferry Radax, an Austrian filmmaker renowned for his unconventional approach to cinematic practice. Filmed and edited between the end of the 1950s and early 1960s, the film at first may appear to be a belated homage to the previous European experiments in avant-garde cinema, already carried out a few decades earlier. However, since there have been no great ‘historical avant-garde’ movements in Vienna in the period between the two world wars – according to the novel argument made by Klaus Kastberger – it was already the middle of the 20th century when the ‘original’ avant-garde strategies were finally acknowledged in Austria, and simultaneously appropriated by the ‘neo-avant-garde’. In this peculiar historico-cultural context Sonne halt!, in its fragmentary non-narrative structure which resembles Dadaist or Surrealist playfulness and openness, innovatively and radically interweaved two disparate film registers: moving image and spoken language. Various sentences arbitrarily enounced throughout the film – which have their origin in Konrad Bayer’s unfinished experimental, pseudo-autobiographical, montage novel der sechste sinn – do not constitute dialogues or narration of a traditional movie script but rather a random collection of fictional and philosophical statements. At certain moments there is a lack of rapport between moving image and speech – an experimental attempt by Ferry Radax to challenge one of the most common principles of sound and narrative cinema. By deconstructing Sonne halt! to its linguistic and cinematic aspects, this article particularly focuses on the role of verbal commentaries within the film. Article received: December 28, 2017; Article accepted: January 10, 2018; Published online: April 15, 2018; Original scholarly paper How to cite this article: Bešlagić, Luka. "Interweaving Realities: Spoken Language and Moving Images in the Sonne halt!, Experimental Film by Ferry Radax." AM Journal of Art and Media Studies 15 (2018): . doi: 10.25038/am.v0i15.228

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