Cinematic Intermediality

2021 ◽  
Keyword(s):  
Theory And Practice ◽  
The Other ◽  
Moving Image ◽  
Avant Garde ◽  
Digital Era ◽  
Art Form ◽  
Starting Point ◽  
World Cinema ◽  
New Directions ◽  
Probing Questions

As a fundamentally hybrid medium, cinema has always been defined by its interactions with other art forms such as painting, sculpture, photography, performance and dance. Taking the in-between nature of the cinematic medium as its starting point, this collection of essays maps out new directions for understanding the richly diverse ways in which artists and filmmakers draw on and reconfigure the other arts in their creative practice. From pre-cinema to the digital era, from avant-garde to world cinema, and from the projection room to the gallery space, the contributors critically explore what happens when ideas, forms and feelings migrate from one art form to another. Giving voice to both theorists and moving image practitioners, Cinematic Intermediality: Theory and Practice stimulates fresh thinking about how intermediality, as both a creative method and an interpretative paradigm, can be explored alongside probing questions of what cinema is, has been and can be.

scholarly journals Promoting the poetic cause in Ben Okri’s stokus from Tales of freedom (2009)

Literator ◽  
2016 ◽  
Vol 37 (1) ◽  
Author(s):  
Rosemary A. Gray
Keyword(s):  
Short Story ◽  
The Other ◽  
Anglo Saxon ◽  
Flash Fiction ◽  
The Core ◽  
Art Form ◽  
Japanese Art ◽  
New Directions ◽  
Ben Okri ◽  
The One

This article illustrates the theme of the poetic in Ben Okri’s stokus from his Tales of freedom. It does this principally through an exploration of this new literary mode and its use of serendipity. As a sudden insight, serendipity becomes, in this Nigerian writer’s hands, a poetic device equivalent to illumination or an epiphanic moment. The introduction is an attempt to show the interrelationship between poetry and thought, on the one hand, and poetic experience, creative consciousness and serendipity, on the other. This is followed by a brief digression to outline the paucity of critical reception of this prose anthology, followed by a focused discussion of the storytelling form, in general, and the stoku, in particular. This elliptical form to which Ben Okri gives the name stoku is, as he states in Tales of freedom, ‘an amalgam of short story and haiku’. A comparison between the conventions inherent in the ancient Japanese art of tanka or haiku (short poems), also known as waku and displaying the poet’s imaginative wit (derived from the Anglo-Saxon witan [to know]), and those of Okri’s newer art form, the stoku, follows. The core of the article focuses on a brief analysis of a select number of Okri’s 13 rhapsodies in prose, showing how each stoku serves to illustrate a poetically rendered moment of insight, a vision or a paradox. In Okri’s Tales of freedom, the mythic conjunction between short story and haiku reveals hitherto hidden aspects of life. Through this innovative medium, akin to flash fiction, the subconscious can illuminate unknown worlds. This is akin to experiencing serendipity, linked to interiority, to inner vision. The argument concludes by pointing to the serendipities captured obliquely yet poetically in the stokus selected for discussion.Die pleidooi vir die digterlike in Ben Okri se stokus uit Tales of freedom (2009). Hierdie artikel illustreer die tema van die poëtiese in Ben Okri se stokus uit sy Tales of freedom. Dit ondersoek hierdie nuwe literêre vorm en die gelukkige (maar onbedoelde) saamval van denke en poësie (serendipiteit) daarin. As ‘n skielike insig, word serendipiteit in die Nigeriese skrywer se hande ‘n digterlike kunsgreep vergelykbaar met illuminasie of epifanie. Die inleiding is ‘n poging om die onderlinge verwantskap aan te dui tussen poësie en denke, enersyds, en digterlike ervaring, kreatiewe bewussyn en serendipiteit, andersyds. Daarna volg ‘n kort uitweiding oor die gebrek aan kritiese reaksie op hierdie prosaversameling, gevolg deur ‘n gefokusde bespreking van die vertelling in die algemeen, en die stoku, in die besonder. Hierdie elliptiese vorm, wat Ben Okri die stoku noem, is, soos hy sê in Tales of freedom sê, ‘n ‘amalgaam van kortverhaal en haikoe’. Daarop volg ‘n vergelyking tussen die konvensies van die antieke Japannese kunsvorm van die tanka of haikoe (kort gedigte), ook bekend as waku, waarin die digter sy kreatiewe geestigheid (Engels wit, afgelei van die Angel-Saksiese witan, ‘weet’) ten toon stel, en Okri se nuwer kunsvorm, die stoku. Die kern van die artikel is ‘n kort analise van ‘n aantal van Okri se 13 rapsodieë in prosa, wat aantoon dat elke stoku ‘n oomblik van insig, visie of ‘n paradoks digterlik vasvang. In Okri se Tales of freedom onthul die mitiese samevloeiing van kortverhaal en haikoe tot nog toe verborge aspekte van die lewe. Deur hierdie innoverende medium, verwant aan blitsstories, kan die onbewuste onbekende wêrelde belig. Dit is soortgelyk aan die ervaring van serendipiteit, verwant aan innerlikheid en innerlike visie. Ten slotte word die digterlike (maar indirekte) serendipiteit in die gekose stoku aangedui.Keyword: Ben Okri; haiku; literary humanities; new directions in the humanities; stoku; storytelling; Tales of Freedom

scholarly journals What can bodies do? Reading Spinoza for an affective ethics of organizational life

Organization ◽  
2014 ◽  
Vol 22 (2) ◽  
pp. 235-250 ◽  
Author(s):  
Torkild Thanem ◽  
Louise Wallenberg
Keyword(s):  
Theory And Practice ◽  
The Other ◽  
Moral Rule ◽  
Organizational Life ◽  
Organization Studies ◽  
Starting Point ◽  
Key Concepts ◽  
Rule System ◽  
Ethics Of Recognition

Recent attempts to develop an embodied understanding of ethics in organizations have tended to mobilize a Levinasian and ‘im/possible’ ethics of recognition, which separates ethics and embodiment from politics and organization. We argue that this separation is unrealistic, unsustainable, and an unhelpful starting point for an embodied ethics of organizations. Instead of rescuing and modifying the ethics of recognition, we propose an embodied ethics of organizational life through Spinoza’s affective ethics. Neither a moral rule system nor an infinite duty to recognize the other, Spinoza offers a theory of the good, powerful and joyful life by asking what bodies can do. Rather than an unrestrained, irresponsible and individualistic quest for power and freedom, this suggests that we enhance our capacities to affect and be affected by relating to a variety of different bodies. We first scrutinize recent attempts to develop an ethics of recognition and embodiment in organization studies. We then explore key concepts and central arguments of Spinozian ethics. Finally, we discuss what a Spinozian ethics means for the theory and practice of embodied ethics in organizational life.

scholarly journals Business model maturity in management theory and practice – defining from an expert perspective

Management ◽  
2020 ◽  
Vol 24 (1) ◽  
pp. 81-103
Author(s):  
Przemysław Niewiadomski
Keyword(s):  
Detailed Analysis ◽  
Business Model ◽  
Theory And Practice ◽  
The Other ◽  
Management Theory ◽  
Agricultural Machinery ◽  
Other Hand ◽  
Starting Point ◽  
The One

SummarySince many researchers and managers think about the essence, creation mechanisms and limits of the manufacturing model maturity, at this point, the author raises the question related to this issue: what dimensions (descriptions and desiderata) should be considered when conceptualizing this idea? The formulated question became a starting point and a point of conducting a creative synthesis, based, on the one hand, on a detailed analysis of the problem theory, and on the other hand – on the author’s own research. The above question and belief related to the existence of economic demand for results of application nature were the main inspiration to undertake research whose main purpose is to recognize: how the maturity of the business model is understood by selected experts operating in the Polish agricultural machinery sector?

High Modernism in Theory and Practice: Karel Teige and Tomáš Bat'a

Slavic Review ◽  
2017 ◽  
Vol 76 (2) ◽  
pp. 428-454 ◽  
Author(s):  
Jessica E. Merrill
Keyword(s):  
Cultural History ◽  
Architectural Design ◽  
City Planning ◽  
Theory And Practice ◽  
Architectural Theory ◽  
Avant Garde ◽  
High Modernism ◽  
Starting Point ◽  
Political Differences ◽  
Definition Of

This article compares Tomáš Bata's development of Zlín as a company town with the architectural theory of Karel Teige. Despite political differences— Bat’a was a champion of “American” capitalism, Teige a leader of the leftist avant-garde—they had unexpectedly similar ideas about architectural design and city planning. The article uses James C. Scott's definition of high modernism as a starting point to explain these commonalities, historically contextualizing the two men's thinking as a specific iteration of this ideology. Both, for instance, paradoxically sought to incorporate liberal, democratic values (typical of the rhetoric of state building in interwar Czechoslovakia) into their authoritarian plans. This analysis helps explain subsequent, socialist architectural developments, in which Teige's theory and Bat’a's practices were combined. In this, the article contributes to an understanding of Czechoslovakia's post-1948 cultural history not in terms of impositions from Moscow, but as building on native institutions.

scholarly journals Cinematizing agenda – visualizing change.

2020 ◽  
Author(s):  
Marta Fiolić
Keyword(s):  
Social Media ◽  
Social Change ◽  
Documentary Film ◽  
Functional Form ◽  
The Other ◽  
Art Form ◽  
Starting Point ◽  
Hybrid Art ◽  
The Web ◽  
The Way

Thinking about the activism nowadays it is impossible to exclude the power of the visual, of film, cinema, of video, of multimedia platforms and social media extensions that offer a possibility of conveying a message probably stronger than any other tool at our disposal. An emerging form nowadays is the web-documentary or interactive documentary, among the other names it got, which changes the way we see the cinematic narrative and offers another perspective on the engaged audiences. Is there a viable connection between the web-documentary production and social change? Is there a functional form in which the two correspond - an activist project which attained its goal through or with the help of an online documentary film? Can this hybrid art form be used as a tool for social change and how?In this paper I will address these questions, as well as combine different interpretations and suggestions using as a starting point the crossing of documentary cinema and activism practices.

scholarly journals YY. Kryptonimy Jerzego Jankowskiego

2020 ◽  
Author(s):  
Marta Baron-Milian
Keyword(s):  
Literary History ◽  
Social Function ◽  
Point Of View ◽  
The Other ◽  
Modern City ◽  
Avant Garde ◽  
Starting Point ◽  
The Social ◽  
Key Word ◽  
The One

The article is an attempt to interpret the only book published by Jerzy Jankowski, a forerunner of Polish futurism who is often overlooked in literary history related to the beginnings of the avant-garde movement. Tram wpopszek ulicy (Tram crossways on the street), published in 1920, is presented in terms of innovative phenomena in Polish and European poetry. Such a point of view reveals its precursory character, despite its passeism repeatedly diagnosed by critics. The key word and the starting point of the analysis is the first word of the title – tram, whose ambiguity makes it not only a sign of a modern city but also a metaphor of the construction of the entire book and its historical location. Further analysis leads to conclusions that, on the one hand, reveal the complicated meaning of the vitalistic futurist concept of life and, on the other, indicate aporias and tensions between symbolism and avant-garde, originality and repetition, materiality and spirituality, as well as aesthetics and the social function of art. These seem to be a hidden dimension of Jankowski’s work.

scholarly journals DECONSTRUCTION OF CINEMA IN THE NEO-DADA PROJECT: THE FLUXFILM ANTHOLOGY IN THE ANTI-AESTHETICS CONTEXT

2020 ◽  
pp. 79-92
Author(s):  
Leonid A. Menshikov ◽  
◽  
Keyword(s):  
Motion Pictures ◽  
Special Technique ◽  
Moving Image ◽  
Fourth Group ◽  
Avant Garde ◽  
The Third ◽  
Art Form ◽  
Nam June Paik ◽  
Experimental Films ◽  
Original Concept

Fluxus, a neodadaist group of artists, poets, and musicians is known by its multiples namely cardboard boxes containing surprising objects, editions, scores and other similar works of art. One of such works was the Fluxfilm Anthology through which the Fluxus artists were able to express their ideas. Principles of game, irony and art deconstruction were realized in that project as the main aes-thetic principles of Fluxus art. The Fluxfilm Anthology as a project involved a lot of Fluxus artists who in turn created more than 70 films. A common search for stylistic forms of avant-garde cinema was expressed in the Fluxfilms when the filmmakers refused of to shoot and to edit the film for the sake of ready-mades and assemblages. The Fluxus works in cinema are very diverse. They can be subdivided into many purpose types. The first type of films makes a deconstruction of cinema as an art form of because its authors abandon principal expressive means of cinema. The second one is represented by the films with a broken narra-tive but recreated sign structures. The third group of films includes an anthropological discourse made of a series of similar items and actions. The fourth group consists of assemblages and ready-made films which are focused on elements of human environments. More precisely, the film-assemblage is a special technique of filming any performed materials and objects. The ready-made is a mode of film-ing or showing previously used film loops. The most famous and important Fluxus films can be assigned to the first of the above types. Zen for Film by Nam June Paik is among them. The peculiarity of the film is the way of its creating at the time of the show, coinciding with the passage (and simultaneous deformation by scratching) of the film loop through the film projector. It is an example of ‘undetermined’ film as well as Paik’s thinking about the nature of the motion pictures. Another example of image experiment is Blink directed by J. Cavanaugh. It consists of white and black alternating frames whose flicker postulates the moving image as the basic principle of cinema. G. Brecht’s Entrance to exit is conceptually identical to the film mentioned before. A smooth linear transition from white, through greys to black is used for making image in it. Maciunas’s experimental films were made without camera. He upgraded the shooting process when replaced the work with the camera to work in the laboratory. It can also be said that he has turned a film into design with a film. W. Vostell’s films are illustrations to his original concept of De-collage according to which an image captured by TV should be disassembled into component parts by camera. Another representative of the Fluxus, namely J. Cale, practiced shooting flickering lights, unusually spectacular when viewed. P. Kennedy’s and M. Parr’s films are indicative for Fluxus for technical experiments with the format of a rectangular frame and its transparency. In such ways, in accordance with aesthetic views of Fluxus artists, a consistent destruction of the ‘language’ of cinema-tography carries out in the The first type of Fluxfilms.

Macaronics as What Eludes Translation

Paragraph ◽  
2015 ◽  
Vol 38 (2) ◽  
pp. 214-230
Author(s):  
Haun Saussy
Keyword(s):  
Print Culture ◽  
The Other ◽  
Digital Code ◽  
Avant Garde ◽  
The Moment

‘Translation’ is one of our all-purpose metaphors for almost any kind of mediation or connection: we ask of a principle how it ‘translates’ into practice, we announce initiatives to ‘translate’ the genome into predictions, and so forth. But the metaphor of translation — of the discovery of equivalents and their mutual substitution — so attracts our attention that we forget the other kinds of inter-linguistic contact, such as transcription, mimicry, borrowing or calque. In a curious echo of the macaronic writings of the era of the dawn of print, the twentieth century's avant-garde, already foreseeing the end of print culture, experimented with hybrid languages. Their untranslatability under the usual definitions of ‘translation’ suggests a revival of this avant-garde practice, as the mainstream aesthetic of the moment invests in ‘convergence’ and the subsumption of all media into digital code.

Ważyk metafizyczny? / Ważyk – A Metaphysician?

2013 ◽  
Vol 54 (1) ◽  
pp. 35-47
Author(s):  
Jerzy Święch
Keyword(s):  
Twentieth Century ◽  
Human Life ◽  
Late Phase ◽  
Human Condition ◽  
Theory And Practice ◽  
Strict Sense ◽  
Ontological Security ◽  
Life And Death ◽  
Avant Garde ◽  
Self Sufficiency

Summary Adam Ważyk’s last volume of poems Zdarzenia (Events) (1977) can be read as a resume of the an avant-garde artist’s life that culminated in the discovery of a new truth about the human condition. The poems reveal his longing for a belief that human life, the mystery of life and death, makes sense, ie. that one’s existence is subject to the rule of some overarching necessity, opened onto the last things, rather than a plaything of chance. That entails a rejection of the idea of man’s self-sufficiency as an illusion, even though that kind of individual sovereignty was the cornerstone of modernist art. The art of late modernity, it may be noted, was already increasingly aware of the dangers of putting man’s ‘ontological security’ at risk. Ważyk’s last volume exemplifies this tendency although its poems appear to remain within the confines of a Cubist poetics which he himself helped to establish. In fact, however, as our readings of the key poems from Events make clear, he employs his accustomed techniques for a new purpose. The shift of perspective can be described as ‘metaphysical’, not in any strict sense of the word, but rather as a shorthand indicator of the general mood of these poems, filled with events which seem to trap the characters into a supernatural order of things. The author sees that much, even though he does not look with the eye of a man of faith. It may be just a game - and Ważyk was always fond of playing games - but in this one the stakes are higher than ever. Ultimately, this game is about salvation. Ważyk is drawn into it by a longing for the wholeness of things and a dissatisfaction with all forms of mediation, including the Cubist games of deformation and fragmentation of the object. It seems that the key to Ważyk’s late phase is to be found in his disillusionment with the twentieth-century avant-gardes. Especially the poems of Events contain enough clues to suggest that the promise of Cubism and surrealism - which he sought to fuse in his poetic theory and practice - was short-lived and hollow.

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