Photography as Archive

In this interview, Yousif M. Qasmiyeh enters into conversation with Saiful Huq Omi, an award-winning photographer and filmmaker and founder of Counter Foto-A Centre for Visual Arts in Dhaka, Bangladesh, on issues spanning from photography in the era of COVID and what it means, in this situation of stasis and containment worldwide, to continue photographing; to the intimate as revealed by the photograph; photographing (across) different geographies and national borders; on Rohingya refugees as both the photographed and the unphotographed; the archive and the afterlives of photography; and, finally, how to envision an equitable future between the photographer and the photographed.In the form of poetic fragments, “The Human that is Lacking” offers a response to Saiful Huq Omi’s photograph reproduced in these pages, in an attempt to “co-see” the image with the photographer. The image and its response sit alongside Yousif M. Qasmiyeh’s interview with the award-winning photographer and film-maker himself (also in this issue).

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Varieties of Adolescent Creativity and the High School Environment

Council review ◽

10.1177/001440297103800202 ◽

1971 ◽

Vol 38 (2) ◽

pp. 111-116 ◽

Cited By ~ 15

Author(s):

Herbert J. Walberg

Keyword(s):

High School ◽

Visual Arts ◽

School Environment ◽

Performing Arts ◽

Group Leadership ◽

Canonical Correlations ◽

School Activities ◽

Award Winning ◽

Random Samples ◽

High School Environment

To test the hypothesis that creativity is associated with social alienation, self reported creativity in the visual arts, science, performing arts, music, and writing (with the criterion of prize and award winning) and in group leadership was predicted from biographical questionnaire items and intelligence, using simple, multiple, and canonical correlations. The analyses, conducted on national random samples of 2,225 boys and 741 girls, directly contradicted the hypothesis by suggesting that adolescent creativity is associated, although weakly, with (a) involvement in school activities, (b) stimulating home environments, (c) perseverance in spite of difficulties, and (d) intellectual motivation but not intelligence.

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Genre and Narrative

Studying Talk to Her ◽

10.3828/liverpool/9781906733438.003.0010 ◽

2015 ◽

pp. 115-128

Author(s):

Emily Hughes

Keyword(s):

Film Maker ◽

Hollywood Films ◽

Award Winning ◽

The Spectator ◽

The Way

This chapter studies the genre and narrative of Pedro Almodóvar's Talk to Her (2002). The narrative of Talk to Her flits between a double- and single-stranded plot line, plays with time with sometimes careless abandon, and contains coincidences that verge of the ridiculous. But yet, far from alienating the spectator, the narrative of Talk to Her pleasingly draws one in and lures the spectator into a position where they are able to suspend their disbelief, enjoy and engage with the plot. The spectator familiar with Almodóvar's films somewhat expects an unconventional narrative and thus is likely to find it unobtrusive. Meanwhile, like most Almodóvar's films, Talk to Her is hard to classify in terms of genre. Unlike the Hollywood system that relies heavily on either star or genre marketing, the marketing for Almodóvar's films relies heavily on his own status as an award-winning auteur film-maker. Talk to Her is thus not bound by generic convention in the way that many Hollywood films are.

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Resisting Invisible Women of Solidarity: Gender in American and Polish Oral History, Life Writing, Visual Arts and Film. Part I

Miscellanea Posttotalitariana Wratislaviensia ◽

10.19195/2353-8546.1(5).9 ◽

2017 ◽

Vol 5 ◽

pp. 103-119

Author(s):

Elżbieta Klimek-Dominiak

Keyword(s):

Gender Differences ◽

Oral History ◽

Central Europe ◽

Visual Arts ◽

Gender Stereotypes ◽

Women Activists ◽

Postcolonial Studies ◽

Life Writing ◽

Award Winning ◽

Collapse Of Communism

Unlike American historians challenging the marginalization of women since the 1970s and theorizing usefulness of gender for history, the majority of Polish historians have been rather reluctant to address gender differences. The collapse of communism and transatlantic interest in retraditionalization stimulated interdisciplinary engendering of Solidarity. This article examines how significant, though strategically invisible, Solidarity women activists of the 1980s have been represented in oral history, art, and film as well as dialogical genres such as auto/biography and a relational memoir. Questioning of mythical visions of Solidarity, focused on men and class, has initially been resisted, but encouraged a debate about gender stereotypes in Poland. The early “archive fever” followed by a recent surge in transgenerational life writing on women oppositionists exploring gender along with ethnicity, class, and age has helped to construct multi-layered portraits of anti-communist resistance. The analysis of the award-winning documentary, several Solidarity women evaluate critically their complicity with the posttotalitarian system, may also complicate ultranationalist narratives and fill gaps in postcolonial studies of Central Europe.

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Art Cinema and The Arbor: Tape-recorded Testimony, Film Art and Feminism

Journal of British Cinema and Television ◽

10.3366/jbctv.2016.0313 ◽

2016 ◽

Vol 13 (2) ◽

pp. 278-291 ◽

Cited By ~ 1

Author(s):

Beth Johnson

Keyword(s):

Visual Arts ◽

Digital Imaging ◽

Feminist Art ◽

Art Cinema ◽

Site Specific ◽

Specific Location ◽

British Art ◽

Award Winning ◽

Lip Sync ◽

The Relationship

In this article I discuss the award-winning work of artist and film-maker Clio Barnard, specifically focusing on her 2010 docu-fiction film The Arbor. Analysing the verbatim techniques so central to the film (techniques that originated in theatre), this article suggests that Barnard's visual arts background inspired and informed her textual mixing of verbatim, lip-sync, re-enactment and digital imaging, the result of which is a radical and feminist art-film. Focusing on the site-specific location of The Arbor as well as the significance of emotional, textual and temporal layering, this article also suggests that while Barnard's work seeks, on the surface, to question the relationship between representation and the real in the genre of documentary, The Arbor also provokes and invites a radical reimagining of the hitherto male-dominated legacy of British art cinema by bringing the voices and visions of women, past and present, into the contemporary frame.

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