The Circus: Geraldine Chaplin in the cinemas of Robert Altman and Alan Rudolph

2020 ◽  
pp. 115-155
Author(s):  
Steven Rybin
Keyword(s):  
Self Image ◽  
American Films ◽  
Buffalo Bill ◽  
Robert Altman ◽  
The 1960S

In many of her American films, Geraldine Chaplin is figured in self-reflexive stories about stardom and self-image, particularly in the films directed by Robert Altman and Alan Rudolph in the 1970s and 1980s: Altman’s Nashville (1975), Buffalo Bill and the Indians (1976), and A Wedding (1978); and Rudolph’s Welcome to L.A. (1976), Remember My Name (1978), and The Moderns (1988). In these films, as discussed in this chapter, Chaplin develops a distinctive presence, tapping into her already established persona from the 1960s but in now frequently ironic and self-reflexive ways. Perhaps the best example of this intriguing development in her persona is Chaplin’s role as Opal in Altman’s Nashville, its massive ensemble cast suggestive of a kind of performative circus. Opal, this chapter argues, is a thoroughly ironic variation of the kind of privileged character Chaplin played in some of her 1960s films.

: Buffalo Bill and the Indians . Robert Altman .

1976 ◽  
Vol 30 (1) ◽  
pp. 54-56
Author(s):  
Karen Stabiner
Keyword(s):  
Buffalo Bill ◽  
Robert Altman

scholarly journals At turde skabe momentum - kompetencebehov i et hybridt og internationalt bibliotekslandskab

2018 ◽  
Vol 7 (3) ◽  
pp. 104-119
Author(s):  
Hans Elbeshausen ◽  
Kristian Nagel Delica
Keyword(s):  
Strategic Alliances ◽  
Cultural Policy ◽  
Structural Changes ◽  
Change Processes ◽  
Project Organization ◽  
Organizational Fields ◽  
Policy Regimes ◽  
Self Image ◽  
The 1960S ◽  
Deliberate Strategy

Over the last 60 years, changes in librarianship have led to an increasing hybridization, and inspired a discussion on what a competence profile might look like for future library staff. Whether the structural changes were triggered by innovative processes, internationalization or by strengthening social and cultural capital, it resulted in altered self-image and fragmented forms of practice. We argue that shifting cultural policy regimes have intensified processes of hybridization and forced libraries to act as Gyro Gearlooses in a tirelessly search for new fields of activity, strategic alliances and more efficient working methods.Theoretically and methodically informed by neo-institutional theory and especially by historical institutionalism, we focus on the Janus-faced nature of change processes distinguishing 'preservation competences' from 'change competences' thus conceiving hybridization as a change with limitations or as constrained selection. After the analysis of cultural policy since the 1960s till the 1980s, we investigate hybridization based on a case study. Central to this are various models of international cooperation that reflect different experiences, competencies, and needs. The analysis shows that changes in the institutional framework are not necessarily the result of a deliberate strategy, but the random result of internal and external adaptations of libraries to their changing environments. In conclusion, we find that technical knowledge and the ability to maneuver in a project organization are not sufficient. This makes it even more important to develop an understanding of the permanently shifting power coalitions in organizational fields as a vehicle of institutional change processes.

Animal language and thought

2018 ◽  
Author(s):  
Dale Jamieson
Keyword(s):  
Comparative Psychology ◽  
Language And Thought ◽  
Human Exceptionalism ◽  
Self Image ◽  
In Captivity ◽  
In The Wild ◽  
Ancient Times ◽  
1960S And 1970S ◽  
The 1960S ◽  
Animal Language

The question of animal language and thought has been debated since ancient times. Some have held that humans are exceptional in these respects, others that humans and animals are continuous with respect to language and thought. The issue is important because our self-image as a species is at stake. Arguments for human exceptionalism can be classified as Cartesian, Wittgensteinian and behaviourist. What these arguments have in common is the view that language and thought are closely associated, and animals do not have language. The ape language experiments of the 1960s and 1970s were especially important against this background: if apes could learn language then even the advocates of human exceptionalism would have to admit that they have thoughts. It is now generally believed that whatever linguistic abilities apes have shown have been quite rudimentary. Yet many sceptics are willing to grant that in some cases apes did develop linguistic skills to some extent, and clearly evidenced thought. Studies of other animals in captivity and various animals in the wild have provided evidence of highly sophisticated communicative behaviour. Cognitive ethology and comparative psychology have emerged as the fields that study animal thought. While there are conceptual difficulties in grounding these fields, it appears plausible that many animals have thoughts and these can be scientifically investigated.

Review: Buffalo Bill and the Indians by Robert Altman

1976 ◽  
Vol 30 (1) ◽  
pp. 54-56 ◽  
Author(s):  
Karen Stabiner
Keyword(s):  
Buffalo Bill ◽  
Robert Altman

scholarly journals Universitas Kristen Satya Wacana students' understanding of public relations profession: A phenomenology

2020 ◽  
Vol 4 (3) ◽  
pp. 650
Author(s):  
Nadia Parastiwi ◽  
Rini Darmastuti
Keyword(s):  
Public Relations ◽  
Online Shopping ◽  
Phenomenological Approach ◽  
The Body ◽  
Public Relation ◽  
The Public ◽  
Body Of Knowledge ◽  
Self Image ◽  
The Media ◽  
The 1960S

There have been various definitions of the Public Relation profession related to its purposes since its birth in the 1960s. The current research investigated is the meaning of the Public Relations profession for Public Relations students at Universitas Kristen Satya Wacana who, in the future, would work as Public Relations. This research was conducted using qualitative methods and a phenomenological approach. Three findings were presented in this article. First, the construction of the Public Relation profession depends on the body of knowledge, the ability to communicate and build relationships with the community, be creative, and have an attractive appearance. Second, the meaning of the Public Relation profession is constructed based on four references, namely the media and the surrounding community, materials and classes in higher education, from practitioners and developments in information technology. Third, the construction of the identity of the Public Relations profession through online shopping to improve self-image, obtain information on fashion developments, and the ability to select products selectively.

Mapping the Hybrid European Road: French Connections, European Traditions and American Influence?

2016 ◽  
Author(s):  
Michael Gott
Keyword(s):  
West Germany ◽  
French Language ◽  
The Road ◽  
Wim Wenders ◽  
American Films ◽  
Road Movies ◽  
The 1960S

This chapter set the stage for an exploration of contemporary French-language European road movies by tracing the interwoven lines of the tradition in its American and European iterations back to the 1960s, the period during which the template for contemporary road cinema crystalized. It argues that the contours of the road movie tradition are not strictly the product of a direct lineage from seminal American films from the late 1960s, such as Easy Rider (Dennis Hopper, 1969, USA), but the result of complex transnational interactions within European cinemas and between European and American cultures. The films covered are Il Sorpasso (Dino Risi, 1962, Italy), Le corniaud/The Sucker (Gérard Oury, 1965, France/Italy) Les petits matins/Hitch-Hike (Jacqueline Audry, 1962, France), Im Lauf der Zeit/Kings of the Road (Wim Wenders, 1977, West Germany), Leningrad Cowboys Go America (Aki Kaurismäki,1989, Finland/Sweden) and Lisbon Story (Wim Wenders, 1994, Germany/Portugal).

Constructing Identity: The Post Keynesians and the Capital Controversies

2004 ◽  
Vol 26 (2) ◽  
pp. 241-259 ◽  
Author(s):  
Tiago Mata
Keyword(s):  
Keynesian Economics ◽  
Self Image ◽  
The 1960S

Economics in the 1960s was host to a number of dissenting movements challenging the profession's mainstream theories. As this mainstream changed in the 1970s, the dissenters also underwent a transformation of their own. By the late 1970s the dispersed dissenting voices had congregated to form groups of neo-Austrians, post-Keynesians, neo-Marxists and radical economists. Retrospectively, the 1970s appear as a period of intense negotiation among dissenters as they erected theoretical and methodological boundaries and institutions (associations, journals, seminars) that would come to define them. They were constructing not just conditions for carrying on their work but also a narrative perception of who they were, what they stood for and what was the nature of the profession they inhabited, which I hereafter call “identity” or “self-image.” The dispersed critiques were being redrawn into new sociological unities inside the profession. This paper aims to track one of the routes that brought dispersed critique into an organized and self-conscious grouping, self-identified as Post Keynesian economics. The broad question addressed is how did the Post Keynesians construct their identity?

Mujeres errantes: Cuerpo, género y política revolucionaria en el cine judío latinoamericano

2022 ◽  
Vol 1 (1) ◽  
pp. 35-48
Author(s):  
Stephanie Pridgeon
Keyword(s):  
Latin American ◽  
Women Filmmakers ◽  
Cultural Representations ◽  
Jewish Women ◽  
American Women ◽  
American Films ◽  
Revolutionary Politics ◽  
1960S And 1970S ◽  
The 1960S ◽  
Representations Of Women

Abstract This article focuses on the points of contact between Jewishness, gender, and revolutionary politics in Latin American films set in the 1960s and 1970s. The piece introduces the term “mujeres errantes” to explore how Latin American Jewish women filmmakers have crafted depictions of Jewish women who err from the norms with which they are expected to conform as they come into contact with pan-Latin American revolutionary political move­ments of the 1960s and 1970s. The study analyzes the specific representations of women- and Jewish-identified fictional protagonists in the films El amigo alemán and Novia que te vea. Through a discussion of how each film engages with the notion of “Mujeres errantes,” this article considers the place of revolutionary politics in film as cultural representations of Jewish Latin American women.

The Engaged Intellectual: Calvino's Public Self-image in the 1960s

2008 ◽  
Vol 26 (2) ◽  
pp. 163-179
Author(s):  
Joseph Francese
Keyword(s):  
Self Image ◽  
The 1960S

Der kanonisierte Ligeti

2016 ◽  
Vol 57 (1-2) ◽  
pp. 221-238
Author(s):  
Stefan Weiss
Keyword(s):  
Early Identification ◽  
Contemporary Music ◽  
West Germany ◽  
Musical Language ◽  
Self Image ◽  
German Speaking ◽  
English Speaking ◽  
The 1960S ◽  
Canonical Status

By the middle of the 1960s, only a couple of years after his defection from Hungary to Austria and West Germany, Ligeti had already achieved canonical status in Western circles of contemporary music, even if more in German speaking countries than in English speaking ones. As a by-product of this extremely quick process, Ligeti was identified with the new musical language of ‚Klangkomposition‘ (sound-mass music) and micropolyphonic texture, an identification that has stuck with him since — the works written from 1958 to 1967, and Atmosphères in particular, remain by far his best known and most frequently cited compositions. If canonization in itself must be regarded to a certain degree as desirable to any composer, in Ligeti’s case there were unwanted effects of this development. Although the composer himself contributed to it by his writings, his early identification as a composer of sound masses not only narrowed the reception of his oeuvre but affected his later self-image as a composer, too.

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