American as Apple Pie

2021 ◽  
Vol 36 (2) ◽  
pp. 145-149
Author(s):  
Erica Levin
Keyword(s):  
Gender Norms ◽  
Experimental Film ◽  
Performance Score ◽  
I Ching ◽  
American Artist ◽  
Performance Of Gender ◽  
Younger Generation ◽  
Artist's Book ◽  
Stan Brakhage ◽  
The Way

Abstract This brief tribute to Carolee Schneemann examines her self-conception as an American artist, considering how it intersects with the disruptive performance of gender norms in Americana I Ching Apple Pie (1972). The work was originally staged for the camera in Schneemann's London kitchen in 1972, during a period in which the artist was living in voluntary exile. She published a performance score for the piece in her artist's book Parts of a Body House (1972) and reprinted it in Cezanne She Was a Great Painter (1974–75). This essay reads Americana I Ching Apple Pie as an unruly reenactment of the highly gendered role that the filmmaker Stan Brakhage cast Schneemann to play in his short experimental film Cat's Cradle (1959). It considers the way she understood home and homeland as two interlocking fronts in the ongoing battle over how gender is encoded and enacted. It concludes by briefly considering the reception of Schneemann's work by a younger generation of artists, including Sondra Perry, who staged an homage to Americana I Ching Apple Pie in 2015.

The ethnic-cultural space of modern Karachay-Balkar poetry

2019 ◽  
pp. 247-259
Author(s):  
R. A. Kerimova
Keyword(s):  
Detailed Analysis ◽  
Cultural Perceptions ◽  
Cultural Space ◽  
Self Identity ◽  
Cultural Globalization ◽  
Younger Generation ◽  
Fundamental Values ◽  
The Way

The article is devoted to the problems of ethnic-cultural perceptions in contemporary Karachay-Balkar poetry. It defines criteria for shaping an ethnic and civic self-identity. The paper discusses how cultural globalization affects the ideology of the Karachay-Balkar people. In a detailed analysis of works by N. Bayramkulov and A. Bakkuev, two poets of a younger generation, the author argues that fundamental values and stereotypes take priority in the poetic mentality of younger artists. Closely examining the themes of the poets’ works – philosophy, religion, history, society and politics – the author specially describes the way each poet deals with the nation’s artistic memory. Another focus is on the analysis of poetics. It is suggested that the young poets’ creative method is found at convergence of realism and mythopoeia. Their poetry centers around the mythical images of stone, water, mountains, and ‘taulu’ (‘a man of the mountains’).

Sexist Humor in Facebook Profiles: Perceptions of Humor Targeting Women and Men

2015 ◽  
Vol 28 (1) ◽  
Author(s):  
Megan Strain ◽  
Donald Saucier ◽  
Amanda Martens
Keyword(s):  
Gender Norms ◽  
Men And Women ◽  
Women's Equality ◽  
Sexist Humor ◽  
The Individual ◽  
Society Research ◽  
The Way

AbstractDespite advances in women’s equality, and perhaps as a result of it, sexist humor is prevalent in society. Research on this topic has lacked realism in the way the humor is conveyed to participants, and has not examined perceptions of both men and women who use sexist humor. We embedded jokes in printed Facebook profiles to present sexist humor to participants. We manipulated the gender of the individual in the profile (man or woman), and the type of joke presented (anti-men, anti-women, neutral) in a 2×3 between-groups design. We found that both men and women rated anti-women jokes as more sexist than neutral humor, and women also rated anti-men jokes as sexist. We also found that men who displayed anti-women humor were perceived less positively than men displaying anti-men humor, or women displaying either type of humor. These findings suggest that there may be different gender norms in place for joke tellers regarding who is an acceptable target of sexist humor.

Introduction

2020 ◽  
pp. 1-21
Author(s):  
Sarah Sobieraj
Keyword(s):  
Sexual Behavior ◽  
Gender Inequality ◽  
Women Of Color ◽  
Gender Norms ◽  
Public Spaces ◽  
Social Hierarchies ◽  
Political Issues ◽  
Substantive Issue ◽  
Women's Voice ◽  
The Way

Women who participate in public discussions about social and political issues are often confronted with a barrage of vicious digital attacks. The abuse is a form of patterned resistance to women’s voice and visibility, as evinced by the way gender is weaponized as the central grounds for condemnation. Attacks are riddled with gendered epithets and stereotypes, and they perseverate on women’s physical appearance and presumed sexual behavior; also, the generic nature of the abuse features nearly interchangeable misogyny rather than taking substantive issue with any particular woman. Women who challenge social hierarchies face the most intense pushback, particularly those speaking in or about male-dominated fields, those perceived as feminist or otherwise noncompliant to gender norms, and those with multiple marginalized identities (e.g., women of color, LBTQ women, etc.). This often-unrecognized form of gender inequality constrains women’s use of digital public spaces, much in the way the pervasive threat of sexual intimidation and violence constrains women’s use of physical public spaces.

Baby, It’s in Your Nature

Hatred ◽  
2020 ◽  
pp. 199-238
Author(s):  
Berit Brogaard
Keyword(s):  
Gender Norms ◽  
American Psychological Association ◽  
Implicit Association ◽  
Contemporary Culture ◽  
American Psychological ◽  
Male Violence ◽  
Masculinity Ideology ◽  
The Feminine ◽  
New Guidelines ◽  
The Way

In its new guidelines to help psychologists address male violence, sexism, and misogyny, the American Psychological Association suggests that misogyny stems from the masculinity ideology our culture adheres to. While the masculinity dogma is part of what inspires men to hate women, two other ideologies are needed to explain the misogyny incarnate in contemporary culture: doctrines here called “the feminine ideal” and “the myth of female filth.” It’s imprinted into the minds of little girls that they need to live up to society’s standards of femininity. Women who deviate from traditional gender norms become the targets of misogynistic hatred. The flipside of the feminine ideal is that women’s implicit association with bodily “stuff,” manipulation, and irrationality makes all women prone to misogynistic contempt. Along the way, this chapter shows how sexism differs from hateful and contemptuous misogyny, and why women who belong to multiple marginalized or stigmatized groups are particularly prone to misogynistic attacks.

scholarly journals (Re)framing Movement in Stan Brakhage’s Visions in Meditation N°1

2013 ◽  
Vol 6 (1) ◽  
pp. 35-48
Author(s):  
Emőke Simon
Keyword(s):  
Visual Experience ◽  
Avant Garde ◽  
Short Films ◽  
The World ◽  
Way Of Thinking ◽  
The Spectator ◽  
Stan Brakhage ◽  
The Way

Abstract Considered as one of the main figures of the avant-garde lyrical cinema, Stan Brakhage questions perception. His language of inquiry constantly confronts the spectator with the limits of visual experience of the world and the multiple possibilities of their transgression. Critically addressing one of his short films, Visions in Meditation n°l (1989),1 this analysis aims to discuss the way movement may become a principle of perception, that is to say, according to Gilles Deleuze’s definition - a mode of transgressing the frame of representation. Reappropriating the cinematographic grammar and submitting it to a vibrating movement, Brakhage invents a rhythm which paves the way for a transcendental experience, meanwhile proposing a reflection on the meditative possibilities of the film in terms of the image in meditation. Gilles Deleuze’s way of thinking of cinema in Cinema 1: Movement-image, as well as Slavoj Žižek’s writings on cinema, allows one to consider movement in its cinematographic and philosophical meaning, a project which in Brakhage’s case seems to be primordial

The Music and Sound of Experimental Film

2017 ◽  
Keyword(s):  
United States ◽  
Digital Technology ◽  
The United States ◽  
Critical Discourse ◽  
Experimental Film ◽  
Found Footage ◽  
Sound Image ◽  
Experimental Cinema ◽  
Stan Brakhage

This book explores music- and sound-image relationships in non-mainstream screen repertoire from the earliest examples of experimental audiovisuality to the most recent forms of expanded and digital technology. It challenges presumptions of visual primacy in experimental cinema and rethinks screen music discourse in light of the aesthetics of non-commercial imperatives. Several themes run through the book, connecting with and significantly enlarging upon current critical discourse surrounding realism and audibility in the fiction film, the role of music in mainstream cinema, and the audiovisual strategies of experimental film. The contributors investigate repertoires and artists from Europe and the United States through the critical lenses of synchronicity and animated sound, interrelations of experimentation in image and sound, audiovisual synchresis and dissonance, experimental soundscape traditions, found-footage film, remediation of pre-existent music and sound, popular and queer sound cultures, and a diversity of radical technological and aesthetic tropes in film media traversing the work of early pioneers such as Walter Ruttmann and Len Lye, through the mid-century innovations of Norman McLaren, Stan Brakhage, Lis Rhodes, Kenneth Anger, Andy Warhol, and studio collectives in Poland, to latter-day experimentalists John Smith and Bill Morrison, as well as the contemporary practices of VJing.

scholarly journals Robert Raushenberg: from «combine painting» to installation

2018 ◽  
Author(s):  
Ольга Александровна Ярцева
Keyword(s):  
Experimental Approach ◽  
New Technologies ◽  
American Artist ◽  
Large Project ◽  
The Way ◽  
Changing World

На протяжении своей карьеры Раушенберг занимался живописью, скульптурой, сценографией, представлял собой тип художника не ХХ, но XXI века. Его интересовали новые технологии, стремительно менявшийся мир вокруг: политически, социально, ментально. В период становления своего стиля Раушенберг находился в поисках ответа на вопрос о природе искусства, ему был близок экспериментальный подход, вдохновленный опытами европейского искусства начала прошлого столетия. Раушенберг использовал его при создании большого проекта, который получил название «комбинированная живопись» или «комбайны» (1953–1964). Именно он открыл дорогу американскому художнику к мировой известности и признанию. Throughout his career, Rauschenberg was engaged in painting, sculpture, scenography, he was a type of artist, not XX, but the XXI century. He was interested in new technologies, the rapidly changing world around: politically, socially, mentally. In the period when his style was formed Rauschenberg searched of an answer to the question about the nature of art, he was close to the experimental approach inspired by the experiences of European art of the beginning of the last century. Rauschenberg used it to create a large project, which was called "combined painting" or "combines" (1953 – 1964). It opened the way for an American artist to world fame and recognition.

scholarly journals Teaching experimental film: On the practical and analytic treatment of avant-garde cinema

2018 ◽  
Vol 1 (2) ◽  
Author(s):  
Volker Pantenburg ◽  
Stefanie Schlüter
Keyword(s):  
Perceptual Experience ◽  
Practical Experience ◽  
Experimental Film ◽  
Film Material ◽  
Moving Image ◽  
Analytic Treatment ◽  
Avant Garde ◽  
Image Movement ◽  
Stan Brakhage

This article highlights the potential of experimental and avant-garde cinema in film educational contexts. In the first part, Stefanie Schlüter evaluates her practical experience in working with 10- to 11-year-old schoolchildren. Based on reflections by Peter Kubelka, Stan Brakhage and others, she emphasizes the act of engaging with film material (scratching, painting) as a genuine haptic and perceptual experience. In the second part, Volker Pantenburg reframes classical avant-garde films by Gary Beidler, Peter Tscherkassky and Morgan Fisher as valuable, implicitly didactic 'lessons of cinema'. In a playful and elaborate way, these films perform and display basic qualities of the moving image: movement and stillness, materiality and narration, format and affect.

scholarly journals Georgy Ivanov on the “Vial of Poison” by Konstantin Leontiev

2021 ◽  
Vol 45 (1) ◽  
pp. 16-22
Author(s):  
Natalia Solntseva ◽  
Keyword(s):  
Point Of View ◽  
The Political ◽  
Political Arena ◽  
Russian People ◽  
Way Of Thinking ◽  
Younger Generation ◽  
New Generation ◽  
The Church ◽  
The Way

The article is devoted to the analysis of G. Ivanov’s judgments about K. Leontiev. The sharpness of Ivanov’s statements is explained by the similarity of Leontiev’s views with the ideology of a new generation of emigrants, including members of the fairly mass party of “mladorosses” (young Russians). From the point of view of Ivanov, Leontiev’s political convictions in many ways contain a danger for the formation of the worldview of contemporaries. Leontiev’s idea that liberal-egalitarian progress would lead to the collapse of the Empire was combined with his belief in the possibility of protective socialism in Russia and a socialist monarch, blessed by the Church. The “mladorosses” were social monarchists who believed that with the older generation of Bolsheviks leaving the political arena, Bolshevism would come to an end; they saw the Soviets without the Bolsheviks as a promising form of self-government. In the political activization of the younger generation of emigrants, their way of thinking, Ivanov was not satisfied with the opposition to the ideals of the old emigration. He considered the ideas of the “new Russian people” contradictory and illusory, and expressed his beliefs in a number of articles. The deceptive hope of emigrants for the Soviets without the Bolsheviks is the motif of the famous poem “The way is Free under Thermopylae...” Ivanov created a complex, contradictory portrait of Leontiev; he is partly close to the opinion of N. Berdyaev, S. Bulgakov, V. Rozanov in his assessments of Leontiev’s human qualities and judgments.

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