Experiments in the Anthropocene : Toward a Transformative Eco-Aesthetic in the Work of Four Contemporary Chinese Visual Artists

Celluloid Bohemia? Ken Russell's Biopics of Visual Artists

Journal of British Cinema and Television ◽

10.3366/jbctv.2015.0281 ◽

2015 ◽

Vol 12 (4) ◽

pp. 479-495 ◽

Cited By ~ 1

Author(s):

Vito Adriaensens ◽

Steven Jacobs

Keyword(s):

Visual Artists ◽

Artistic Creation ◽

Dante Gabriel Rossetti ◽

Critical Commentary ◽

Artistic Genius ◽

Genre Conventions

Few directors are so closely associated with the genre of the artist biopic as Ken Russell who made several films dedicated to composers, dancers and writers. Only three of these, however, have visual artists as their protagonists: Always on Sunday (1965), Dante's Inferno (1967) and Savage Messiah (1972), dealing with Henri ‘Le Douanier’ Rousseau, Dante Gabriel Rossetti and Henri Gaudier-Brzeska respectively. There has also been relatively little critical commentary on these films compared with the discussion devoted to Russell's films dealing with the lives of composers. This article attempts to remedy this situation by considering the ways in which Russell tackles some of the thematic and formal challenges inherent to the genre of the artist biopic, such as the representation of the artist's personality, the visualisation of the process of artistic creation, and the relation between the style of the film and that of the artist portrayed. We will argue that, to a large extent, Russell's protagonists in these films conform to the romantic stereotype of the tormented and alienated artist. However, and perhaps contrary to what one would associate with the director, we will demonstrate that Russell's biopics also demystify this cult of artistic genius by focusing on the mundane or laborious activities involved in the process of artistic creation, which is at odds with genre conventions that normally glorify this process.

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Continuity and Change in the Contemporary Chinese Family

Asian Survey ◽

10.1525/as.1975.15.10.01p0118i ◽

1975 ◽

Vol 15 (10) ◽

pp. 882-891 ◽

Cited By ~ 3

Author(s):

J. Bruce Jacobs

Keyword(s):

Chinese Family ◽

Continuity And Change ◽

Contemporary Chinese

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Study on Special Features of Boundaries of ‘很能VP’ Construction and Formation Mechanism in Contemporary Chinese

The Journal of Chinese Language and Literature ◽

10.25021/jcll.2016.10.100.171 ◽

2016 ◽

Vol 100 ◽

pp. 171

Author(s):

Hong-Mei Jin

Keyword(s):

Formation Mechanism ◽

Contemporary Chinese

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Visual Artists’ Use of Digital Self-Marketing Strategies – A Quantitative Survey on the Present Situation in Germany

Cultural Management Science and Education ◽

10.30819/cmse.3-2.03 ◽

2019 ◽

Vol 3 (2) ◽

pp. 53-72

Author(s):

Jessica Hodgkiss ◽

Sarah Fassio ◽

Adrianna Rosa

Keyword(s):

Quantitative Research ◽

Present Situation ◽

Marketing Strategies ◽

Visual Artists ◽

Further Training ◽

Quantitative Survey ◽

Research Survey

Faced with increased competition on the market, visual artists today opt for digital self-marketing strategies to promote their work. In order to determine applicable measures for best results, the au-thors of this paper carried out a quantitative research survey among 158 artists working in Germany. Findings show that a large number of participants act as digital entrepreneurs, and over 50 per cent indicate a need for further training.

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On Sinofuturism

Screen Bodies ◽

10.3167/screen.2020.050205 ◽

2020 ◽

Vol 5 (2) ◽

pp. 46-62

Author(s):

Yunying Huang

Keyword(s):

Artificial Intelligence ◽

Pop Culture ◽

Chinese People ◽

Modern Chinese ◽

The Future ◽

Dominant Design ◽

Urban Rural ◽

Cultural Expressions ◽

Contemporary Chinese

Dominant design narratives about “the future” contain many contemporary manifestations of “orientalism” and Anti-Chineseness. In US discourse, Chinese people are often characterized as a single communist mass and the primary market for which this future is designed. By investigating the construction of modern Chinese pop culture in Chinese internet and artificial intelligence, and discussing different cultural expressions across urban, rural, and queer Chinese settings, I challenge external Eurocentric and orientalist perceptions of techno-culture in China, positing instead a view of Sinofuturism centered within contemporary Chinese contexts.

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