The Avant-Garde and the Popular in Modern China: Tian Han and the Intersection of Performance and Politics by Liang Luo, and: Pop Goes the Avant-Garde: Experimental Theater in Contemporary China by Rossella Ferrari

2015 ◽  
Vol 67 (3) ◽  
pp. 584-586
Author(s):  
Emily E. Wilcox
Keyword(s):  
Modern China ◽  
Experimental Theater ◽  
Contemporary China ◽  
Avant Garde ◽  
Tian Han

scholarly journals Fragments Over Experimental Film: Liminal Zones of Cinema, Art and Theory

2018 ◽  
Author(s):  
Miško Šuvaković
Keyword(s):  
Experimental Music ◽  
Experimental Film ◽  
Experimental Theater ◽  
Avant Garde ◽  
Experimental Art ◽  
Institutional Power ◽  
Starting Point ◽  
Singular Event ◽  
Unknown Control ◽  
Second World

In what follows, I will point to theorization of concept of the experimental film. My main thesis is that experimental art is based on the project, research practice, innovation and open transgressive or subversive artworks. Art focused on subversion of institutional power features as a singular event performed within a particular social relationship, as a critical actionist, engaged, or activist practice. Transgression – literally – refers to: infraction, violation of a law or an order, while in geological terms it implies penetration and expansion of the sea over the mainland. The notion of transgression relates to excess, overrunning or, more precisely, departing the familiar for the unknown, control for freedom. Experimental art was created in different disciplines such as experimental music, experimental film, experimental theater, etc. John Cage’s concept of ‘experimental music’ has been the starting point for new experimental art and artistic practices since 1950. Experimental film (experimental, new, avant-garde or neo-avant-garde cinema) has featured since the Second World War. The concept and term describe a range of filmmaking styles which are generally quite different from, and often opposed to, the practices of mainstream commercial and documentary filmmaking and entertainment-oriented cinematography. In the second and third part of the essay, I will present an analysis of the experimental films of the artists the OHO group and Neša Paripović. Article received: December 2, 2017; Article accepted: December 18, 2017; Published online: April 15, 2018; Original scholarly paper How to cite this article: Šuvaković, Miško. "Fragments Over Experimental Film: Liminal Zones of Cinema, Art and Theory." AM Journal of Art and Media Studies no 15 (2018): . doi: 10.25038/am.v0i15.225

scholarly journals The Role of Family in Modern China

2021 ◽  
Vol 13 (2021/1) ◽  
Author(s):  
Zsombor Rajkai
Keyword(s):  
Filial Piety ◽  
State Intervention ◽  
Modern China ◽  
Intergenerational Relationship ◽  
Contemporary China ◽  
Social Unit ◽  
Chinese Families ◽  
Workplace Relations ◽  
The Family ◽  
Political Economic

Following the Maoist period (1949–1976), which stressed workplace relations over family ties and the post-Mao era, which restored the family as an important social unit, the family in contemporary China suggests a blended picture of both pre-modern, modern and post-modern characteristics. For instance, the increasing intergenerational relationship accompanied by strong filial piety shows a quasi-return to pre-modern conditions, whereas the freedom of mateselection rather reveals a modern characteristic of Chinese families today. In contrast, China’s current low total fertility rate shows a post-modern feature of the family, albeit as a result of direct state intervention in the private sphere. This blended and compressed characteristic can also be seen in the ambiguous transformation of the private (family) and ‘public’ (defined here as ‘non-private’, such as political, economic and civil society) spheres. However, it can be argued that contemporary China, which offers new perspectives to social sciences for a better understanding of the different paths of modernisation in general, is being characterised by a sort of new modern familism where the family continues to play an essential role in social responsibility and sustainability.

Asian American Experimental Theater and Solo Performance

2019 ◽  
Author(s):  
Dan Bacalzo
Keyword(s):  
United States ◽  
Asian American ◽  
The United States ◽  
Experimental Theater ◽  
Avant Garde ◽  
Wide Range ◽  
Racial Perceptions ◽  
And Performance ◽  
The 1960S ◽  
A Minor

Beginning in the 1960s and continuing into the present day, a wide range of performers and playwrights have contributed to Asian American experimental theater and performance. These works tend toward plot structures that break away from realist narratives or otherwise experiment with form and content. This includes avant-garde innovations, community-based initiatives that draw on the personal experiences of workshop participants, politicized performance art pieces, spoken word solos, multimedia works, and more. Many of these artistic categories overlap, even as the works produced may look extremely different from one another. There is likewise great ethnic and experiential diversity among the performing artists: some were born in the United States while others are immigrants, permanent residents, or Asian nationals who have produced substantial amounts of works in the United States. Several of these artists raise issues of race as a principal element in the creation of their performances, while for others it is a minor consideration, or perhaps not a consideration at all. Nevertheless, since all these artists are of Asian descent, racial perceptions still inform the production, reception, and interpretation of their work.

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