Kelly Reichardt as Auteur

2018 ◽  
Author(s):  
E. Dawn Hall
Keyword(s):  
Production Methods ◽  
Avant Garde ◽  
Andre Bazin ◽  
Independent Filmmaking ◽  
Definition Of

Referencing Laura Mulvey, Andre Bazin and Andrew Sarris, this chapter discusses auteur characteristics and explores how Kelly Reichardt is contributing to a definition of feminist avant-garde cinema through her production methods, content, and form. Reichardt offers a 21st century alternative to traditional mainstream cinematic ideologies and her filming style politicizes her cinematic form. While discussing differences between Hollywood and independent filmmaking practices, this chapter also posits alternatives to mainstream cinematic pleasure.

scholarly journals The notion and meaning of interdisciplinarity in the studies of art and media

2012 ◽  
Vol 4 (2) ◽  
pp. 196-211
Author(s):  
Nikola Dedić
Keyword(s):  
Social Sciences ◽  
Art History ◽  
Media Theory ◽  
Cultural Meaning ◽  
Avant Garde ◽  
Linguistic Turn ◽  
Elite Culture ◽  
Interdisciplinary Approaches ◽  
The Difference ◽  
Definition Of

This text attempts to mark the difference between traditional, modern, monodisciplinary and contemporary interdisciplinary approaches within the analysis of reception of media and artistic contents. Monodisciplinary approaches are connected with the classical basis of humanistic and social sciences which are related to the definition of culture based on opposition between mass and elite culture (art). Avant-garde and linguistic turn within social sciences in the 60s realized re-evaluation of the notion of culture-culture is not seen anymore as a sum of elite products of human spirit but rather as a production of cultural meaning, i.e. as a discourse. This turn enabled interdisciplinary turn within the sciences as aesthetics and art history and also enabled the emergence of contemporary interdisciplinary media theory.

scholarly journals Peculiarities of the accounting display of transactions with the give-and-take raw materials at restaurant institutions

2021 ◽  
Vol 68 (1) ◽  
pp. 87-95
Author(s):  
A. Tsiutsiak ◽  
I. Tsiutsiak
Keyword(s):  
Raw Materials ◽  
Balance Sheet ◽  
Economic Resources ◽  
Accounting System ◽  
Activity Type ◽  
Production Methods ◽  
Advantages And Disadvantages ◽  
Process Representation ◽  
Reliable Representation ◽  
Definition Of

The essence of the definition of «give-and-take raw materials» is investigated and the own vision of this category used by restaurant enterprises is formed. The scheme of conducting transactions with raw materials obtained on the give-and-take conditions at restaurants institutions is given. The peculiarities of the accounting process representation caused by the procurement of raw materials, production of semi-finished products and home-produced dishes are revealed, as well as the order of the realization accounting of such commodity stocks using production-trade and production methods is highlighted. The advantages and disadvantages of the representation in the system of bookkeeping accounts of the economic resources cycle in different ways of the production and trade activity organization of restaurant institutions are given. The emphasis is placed on the fact that in catering establishments the give-and-take raw materials, semi-finished products and home-produced dishes, produced as a result of give-and-take raw materials processings, are not the property of the catering establishment. Therefore, in order to maintain the proper accounting for transactions with the give-and-take raw materials, information about changes in the value of the investigated assets should be represented in the system of bookkeeping off-balance sheet accounts. The order of the display on the bookkeeping accounts of the transactions with the give-and-take raw materials obtained on the give-and-take conditions is highlighted. The peculiarities of calculation of dishes produced on the conditions of the give-and-take transactions are described. It is established that the formation of the value of produced semi-finished products or dishes is carried out for each order received separately, i.e. using the out-of-order cost accounting method. The peculiarities of calculation of home-produced dishes at restaurants institutions are outlined. For reliable representation of information on the availability and movement of the give-and-take raw materials, it is proposed for the enterprises of the investigated economic activity type to open the additional analytical accounts. Recommendations for improving the representation order in the accounting system, of restaurant institutions, give-and-take transactions, using offered analytical accounts, are formed.

scholarly journals Dadaism (Re)activated. Artzins and Dada

2017 ◽  
Vol 44 (6) ◽  
Author(s):  
Magdalena Lachman
Keyword(s):  
Artistic Expression ◽  
Avant Garde ◽  
Literary Journals ◽  
Definition Of

The article analyses in what way artzins (independent art and literary journals published in Poland in the 1980s and 1990s) drew inspiration from the Dada tradition, and how they made its philosophy live again. Artzins are seen here both as a medium of literature and art and as specific forms of artistic expression (press art). The article attempts to show why artzins and their authors were interested in reviving the avant-garde and Dada ideas. It also investigates how Dadaism functions today in the form of contemporary works and styles which are influenced by this avant-garde movement. What is more, the article tries to answer the question about the nature and definition of Dadaism shaped and reflected by today's artistic projects.

THE ISSUE OF CONTEMPORANEITY AS CULTURAL AND HISTORICAL TOTALITY IN THE WORKS OF BORIS GROYS

2021 ◽  
pp. 5-18
Author(s):  
Elena Y. Baboshko ◽  
◽  
Dmitriy V. Galkin ◽  
Keyword(s):  
Contemporary Art ◽  
Social Dynamics ◽  
Will To Power ◽  
Avant Garde ◽  
Historical Processes ◽  
The Social ◽  
Political Forces ◽  
Definition Of ◽  
Modernist Discourse ◽  
Selection Of

The authors refer the issue of definition of contemporaneity as cultural and historical totality basing on the research results of a well-known theorist Boris Groys. Analyzing the progress of his ideas, the authors conclude, that the philosopher’s considerable contribution to the science is composed of the next phase of the development of the thesis about the art language as the base of contemporaneity construction and of the “natural selection” of contemporary art structures. The latter is not simply reduced to the postmodern “polylogue” variant, but implies a kind of contemporaneity patterns niche and “stabilization”. The patterns naturally tend to become complementary due to simple juxtaposition/ overlay in general time context. According to the authors, this circumstance does not prevent them from being turned by different political forces into locally dominating contemporaneity patterns (as in the case of Gesamkunstwerk Stalin). Contemporary art provides simple experience, that helps to retain the illusion of single and seemingly total contemporaneity. B. Groys leads us to the thought that art provides conditions for generating a significant reflective distance in relation to different social and historical situations. The distance gives an artist the opportunity to consider the reality comprehensively, given the autonomy, through the art language. However, we believe, that the most important philosopher’s achievement is not only drawing parallels between cultural and social and historical processes, based on the concept of art strategies influencing the social dynamics. He also managed to approach one of the most significant issues in culture theory and history – the opportunity to define contemporaneity as cultural and historical totality. According to his modernity theory, the origin of contemporaneity is hidden in the avant-garde art manifestation. He interprets the utopic by its nature modernist discourse, applied in art practice, through Nietzscheian will to power as redefining the new age philosophy. This article aims to analyze the progress of the issue of contemporaneity in the works of B. Groys and to explicate the complexity of considering contemporaneity as cultural and historical totality. The authors believe that the thorough study of the phenomenon of total artwork (Gesamtkunstwerk) as a soviet Stalin project and critics’ opinion analysis helps to create arguments limiting the opportunity of considering contemporaneity as totality.

The Iconoclasts of Queer Aztlán

2019 ◽  
pp. 31-54
Author(s):  
Robb Hernández
Keyword(s):  
Los Angeles ◽  
Ethnic Enclaves ◽  
Institutional Discourse ◽  
Avant Garde ◽  
Queer Of Color ◽  
Classic Essay ◽  
Definition Of

This chapter draws on Cherríe Moraga’s classic essay “Queer Aztlán: The Re-Formation of Chicano Tribe” to distinguish how iconoclasm, the literal breaking of images, has been deployed as a unifying language for queer Chicanx avant-garde formed in the ethnic enclaves of Los Angeles. In institutional discourse, the East LA art collective known as Asco (Spanish for “nausea”) has tended to overshadow queer of color amorphous collectives, artistic circles,and collaborations. With attention to groups like Escandalosa Circle, Butch Gardens School of Art, Pursuits of the Penis, and Le Club for Boys, this chapter elucidates how a bold language faced indifference and sometimes violence in traditional museum settings. With a particular eye on the disciplining of Robert “Cyclona” Legorreta’s unruly archival body, another method and definition of Chicano queer avant-gardisms is demanded and found in the archival body/archival space methodology undergirding the case study chapters.

A Plan with the Force of a Battleship

2019 ◽  
pp. 208-217
Author(s):  
Alexander Kluge
Keyword(s):  
Karl Marx ◽  
Retrospective Evaluation ◽  
Objective Reality ◽  
Avant Garde ◽  
Ancient Site ◽  
Definition Of

This chapter explores Alexander Kluge's retrospective evaluation of Soviet avant-garde cinema practices. Kluge recounts Sergei Eisenstein's plan in 1927 to film Capital, “based on the scenario by Karl Marx.” During the following two years, Eisenstein pursues his plan, which no one is willing to finance. Kluge sees Eisenstein's grand plan to film Capital as a kind of imaginary quarry. One can find fragments there, but one may also discover that there is nothing to be found. Dealing in a respectful way with the plans of a great master like Eisenstein is similar to excavating an ancient site; one discovers more about oneself than actual shards and treasures. Kluge suggests that “today we experience the proliferation of existent conditions. Objective reality has outstripped us, but we also have reason to fear the mass of subjectivity that eludes our consciousness.” In 2008, it is dangerous to confront this reality with the method and the expectations of Marx: one becomes discouraged. Kluge then provides a definition of images.

Loy’s Dialogue with Lacerba and Italian Feminism

2019 ◽  
pp. 17-66
Author(s):  
Laura Scuriatti
Keyword(s):  
Gender Identity ◽  
Sexual Morality ◽  
Avant Garde ◽  
Definition Of ◽  
Fundamental Categories

This chapter contextualizes Loy's readings of Futurist ideas and aesthetics within the specificity of the Florentine avant-garde; it analyzes Loy’s responses to the writings and ideas on sexuality, sexual morality, feminism, motherhood, genius, autobiographism and avant-garde art, published in the magazines Lacerba (1913–1915) and La Voce (1908–1916), which have so far been neglected by scholarship. The chapter shows that the reception of Otto Weininger's and Karl Kraus’s works in Lacerba at the hand of Giovanni Papini infiltrated Loy's early texts, together with the debates on similar questions in the expatriate community. It analyzes the echoes between Loy's poems and the writings of Ada Negri, Sibilla Aleramo and Enif Robert. The author here argues that Loy’s aesthetics began to crystallize as a form of critique of the fundamental categories pertaining to the definition of art, artwork and author, as well as of gender identity, on the basis of the Florentine sources and debates that she incorporated into her writing. The chapter thus contributes to a necessary decentering and regionalizing of modernism, complicating the picture of modernist internationalism.

Towards a Historical Definition of the Haskalah

2001 ◽  
pp. 184-220
Author(s):  
Shmuel Feiner
Keyword(s):  
The Self ◽  
Revolutionary Movement ◽  
Avant Garde ◽  
Jewish Society ◽  
Alive Today ◽  
History Of ◽  
Definition Of

This chapter studies the long historiographic tradition in search of a definition of the Haskalah. It suggests reducing the historical parameters of the Jewish Enlightenment so that it can be recognized as a trend in which modernizing intellectuals aspired to transform Jewish society. Despite the obvious diversity and dispersion of the Haskalah, and the difficulty in defining it precisely, the chapter enumerates a number of essential criteria, elaborating on the self-consciousness of the maskilim and paying special attention to their militant rhetoric and awareness of belonging to an avant-garde, redemptive, and revolutionary movement. It also sketches a portrait of the typical maskil, surveys the history of the movement and its various centres, and elucidates the dualistic nature of its ideology, explaining its links to the processes of Jewish modernization and secularization. Ultimately, the Haskalah was the intellectual option for modernization that triggered the Jewish Kulturkampf which, still alive today — especially in Israel — separates modernists and anti-modernists, Orthodox and secular Jews.

Vertov, Dziga (b. January 2, 1896, Bialystok, Poland; d. February 12, 1954, Moscow, Russia)

2018 ◽  
Author(s):  
Ivan Eubanks
Keyword(s):  
Production Methods ◽  
Avant Garde ◽  
Cognitive Limitations ◽  
Dziga Vertov

Derived from the sound of a working film-reel and the word "vertet´sia" (to spin), Dziga Vertov is the pseudonym of David (aka Denis) Kaufman, a Soviet documentarian and prominent avant-garde director. Like his Futurist and Constructivist associates, Vertov believed machines would liberate people from their physical and cognitive limitations. Viewing cinema as a hybrid human-mechanical mode of perception, he asserted that it could transcend subjectivity and unveil aspects of reality not otherwise accessible, because the camera’s ability to show us "life caught unawares" (Kino-Eye, 41) helped the edited film product to "show and elucidate life as it is" (Kino-Eye, 47). Vertov’s neo-empiricist methodology originated with his early journalistic experience making a newsreel series called Kino-nedelia (Cinema-Week; 1918–1919). In 1919, he formed a group named "Kino Glaz" (Cinema Eye), along with his editor, Elizaveta Svilova (whom he married in 1923) and his brother Mikhail Kaufman. The members called themselves "kinoki" (cine-eyes). Vertov outlined their principles in "We: Variant of a Manifesto" (1922). Decrying theatrical cinema, he insisted that film’s potential to reveal truth could only be realized when filmmakers overcame their addiction to scripts, actors, costumes, and sets. From his perspective, the production methods of theatrical cinema obligated filmmakers to peddle illusions and thereby perpetuated bourgeois values.

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