Performance, Moving Image, Installation: The Making of Body of War and Faith

2021 ◽  
pp. 176-184
Author(s):  
Isabel Rocamora
Keyword(s):  
Ethical Dilemmas ◽  
Sound Design ◽  
Art Practice ◽  
Ethnic Segregation ◽  
Moving Image ◽  
Moving Images ◽  
Military Violence ◽  
Core Elements ◽  
The Media ◽  
Film And Video

In this chapter, moving image artist Isabel Rocamora reflects on the thematic, aesthetic and philosophical concerns that drive her intermedial art practice. The essay traces the ways in which core elements of her performance work – gesture, place, temporality and presence – in turn inform and are transformed by her film and video installations. A discussion of the ethical dilemmas that motivate Body of War (2010) and Faith (2015) – namely, military violence and ethnic segregation – opens up problems of identity and alterity as well as questions of form, structure and register. To address these, Rocamora places the illuminating philosophies of Martin Heidegger and Emmanuel Levinas into dialogue with her own directorial approach to casting, location, performance, cinematography, sound design and exhibition architecture. The aim of her moving images, she explains, is to draw out the personal from the collective in mise en scènes that dislodge performative action to expose ontological presence. The creative means, the essay concludes, emerge from the productive strife between the media.

scholarly journals University Faculty Describe Their Use of Moving Images in Teaching and Learning and Their Perceptions of the Library’s Role in That Use

2014 ◽  
Vol 75 (2) ◽  
pp. 115-144 ◽  
Author(s):  
Jane Johnson Otto
Keyword(s):  
Information Retrieval ◽  
Significant Role ◽  
Teaching And Learning ◽  
University Faculty ◽  
Moving Image ◽  
Video Information ◽  
Moving Images ◽  
Crucial Component ◽  
Teaching Faculty ◽  
Film And Video

The moving image plays a significant role in teaching and learning; faculty in a variety of disciplines consider it a crucial component of their coursework. Yet little has been written about how faculty identify, obtain, and use these resources and what role the library plays. This study, which engaged teaching faculty in a dialogue with library faculty, revealed a gap between faculty’s film and video information retrieval needs and provision of access by the library. Ultimately, the findings of this study can inform and transform library practices to make more moving images available for use in coursework and research.

The British Artists’ Film and Video Study Collection: a resource for moving-image research

2009 ◽  
Vol 34 (3) ◽  
pp. 16-20
Author(s):  
David Curtis ◽  
Steven Ball
Keyword(s):  
Research Priorities ◽  
Video Study ◽  
Moving Image ◽  
Art And Design ◽  
Moving Images ◽  
Digital Storage ◽  
The Arts ◽  
History Of ◽  
The University ◽  
Film And Video

The British Artists’ Film and Video Study Collection is a small specialist collection dedicated to the history of artists’ moving images in Britain, which is based at Central Saint Martins College of Art and Design at the University of the Arts London. The Collection services the needs of both academics and curators in this specialist area. Its founders describe itsraison d’êtreand collecting policy, and outline some of the challenges of working in an environment susceptible to changing research priorities and uncertain digital storage standards.

Capturing moving images online

2005 ◽  
Vol 24 (3) ◽  
pp. 142-144
Author(s):  
Ann Cameron
Keyword(s):  
Decision Making ◽  
Moving Image ◽  
Moving Images ◽  
Decision Making Processes ◽  
Online Catalogue ◽  
Image Collection ◽  
Film And Video ◽  
Video Material ◽  
Reference Tool ◽  
The Web

‘Archive Live’, the online catalogue from Scottish Screen Archive, brings the film and video material in Scotland’s National Moving Image Collection to life on the web. Designed to service the general public and the commercial programme maker, the catalogue is an essential reference tool, offering detailed information about moving images from 1895 to the present day. This article describes the planning and decision-making processes involved in actually getting the catalogue online, and provides a look at cataloguing and indexing practice in a film archive.

scholarly journals Thrills in the dark: Young people’s moving image cultures and media education

Comunicar ◽  
2010 ◽  
Vol 18 (35) ◽  
pp. 33-42 ◽  
Author(s):  
Andrew Burn
Keyword(s):  
Social Identity ◽  
Young People ◽  
Media Education ◽  
Film Culture ◽  
Moving Image ◽  
Creative Processes ◽  
Moving Images ◽  
The Media ◽  
The Spectator ◽  
Medios De Comunicacion

This author deals with the attraction of that feeling of terror generated in the media, especially in cinema, and from the perspective of the controlled emotion behind that fear, pleasure and pain. What is the nature of the fear and pleasure the spectator feels? Why is it important for educators to take account of this connection between the viewer and the film? This subject is treated from film culture as experiecned by young Britons, with an analysis of the influence of cinema on the cultural lives of young people and the lessons that can be drawn. The author takes two young girls as an example, identifying their social identity and later outlining the state of education in cinema and the media. He presents two projects developed by young Britons on Psychosis and the creation of videogames. The author concludes that the fascinating world of moving images is open to us via films and videogames, by examining ludic structures and narratives and teaching students how these are interrelated and exploring their creative processes of production. El autor de este trabajo examina la atracción hacia el sentimiento de terror en los medios de comunicación, y especialmente en el cine, desde la perspectiva de la emoción contenida que genera el terror, lo angustioso y agradable… ¿Cuál es la naturaleza del miedo y el «placer» que se experimenta? ¿Por qué es importante que los educadores tengan en cuenta esta conexión que relaciona a los espectadores con la película? En este sentido, abordar el tema desde la perspectiva de la cultura cinematográfica de los jóvenes de Reino Unido, analizando la influencia del cine en la vida cultural de los jóvenes y cuál es la lección que deben obtener los educadores. Partiendo de una ejemplificación con dos chicas, en las que analiza sus identidades sociales, más tarde pasa a bosquejar la situación general de la educación en el cine y en los medios de comunicación, presentando brevemente dos investigaciones desarrolladas con jóvenes británicos sobre «Psicosis» y sobre creación de videojuegos. Concluye este autor que podemos introducirnos en el fascinante mundo de la imagen en movimiento a través de las películas y videojuegos, examinando las estructuras lúdicas y narrativas que existen, enseñando a los alumnos de qué forma se interrelacionan y explorando sus procesos creativos de producción.

Die Macht der Bilder und Bilder der Macht: die sprachliche Konstruktion von Nationalismus und Konservatismus in der strategischen politischen Kommunikation von Vox España

2020 ◽  
Vol 136 (2) ◽  
pp. 538-566
Author(s):  
Sandra Issel-Dombert
Keyword(s):  
Language Use ◽  
Point Of View ◽  
Right Wing ◽  
Multimodal Discourse ◽  
The Social ◽  
Core Elements ◽  
The Media ◽  
Right Wing Populism ◽  
The One ◽  
The Relationship

AbstractFrom a theoretical and empirical linguistic point of view, this paper emphasizes the importance of the relationship between populism and the media. The aim of this article is to explore the language use of the Spanish right wing populism party Vox on the basis of its multimodal postings on the social network Instagram. For the analysis of their Instagram account, a suitable multimodal discourse analysis (MDA) provides a variety of methods and allows a theoretical integration into constructivism. A hashtag-analysis reveals that Vox’s ideology consists of a nativist and ethnocentric nationalism on the one hand and conservatism on the other. With a topos analysis, the linguistic realisations of these core elements are illustrated with two case studies.

Media-Bodies: Choreography as Intermedial Thinking Through in the Work of William Forsythe

2010 ◽  
Vol 42 (1) ◽  
pp. 61-72 ◽  
Author(s):  
Sabine Huschka
Keyword(s):  
Installation Art ◽  
Art Practice ◽  
Public Performance ◽  
Open Spaces ◽  
Movement Perception ◽  
Movement Performance ◽  
Interactive Relationship ◽  
The Media ◽  
The Spectator

Since Ballet Frankfurt was reconstituted as the Forsythe Company in 2004, William Forsythe has increasingly explored formats of installation art practice. Works such as Human Writes (in collaboration with Kendall Thomas, 2005) and You made me a monster (2005) develop within an interactive and intermedial space and experiment with new ways to experience the production and perception of movement. “Performance installation” is the new term for this intertwined process of movement production and movement perception. The choreographic composition itself grows out of procedures of performative sensing by the dancers, which spreads to onlookers. This multiplex awareness of movement for which the dancer's body is the medium constitutes what I shall call the “media-body” as an essential moment of performance installation as choreographic event. Compared to earlier Forsythe installations—which he called “choreographic objects”—like White Bouncy Castle (1997), City of Abstracts (2000), or Scattered Crowd (2002), with their accessible spaces of movement (in White Bouncy Castle the spectator was a visitor moving about freely inside a white inflatable castle, and City of Abstracts featured choreographic projections of movement on large screens in open spaces) performance installations take place squarely in the theatrical context: in theater lobbies, exhibit halls, or accessible public performance spaces where dancers and the audience come together in a mutually shared yet operationally divided space that leads them into an interactive relationship.

scholarly journals Audiobook, audio podcast, audio series – modern formats of the media space

Bibliosphere ◽  
2020 ◽  
pp. 56-63
Author(s):  
V. Yu. Bal
Keyword(s):  
The Novel ◽  
Sound Design ◽  
Media Environment ◽  
Cognitive Aspect ◽  
Modern Media ◽  
Research Material ◽  
Technical Base ◽  
Media Space ◽  
The Media ◽  
Qualitative Changes

The article discusses modern audioformats – audiobook, audio series and audio podcast. Now these formats have gained great popularity and demand, considerable market weight with their own segment, the growth of which experts note. The research material is audio products of the modern market, which reflect the trends in the development of audio literature in the current media environment. The scientific novelty of the work consists in the consideration of an audiobook, an audio series and an audio podcast in the context of a new stage in the development of audio culture. The problem of popularity of the studied audio products is considered in direct dependence on audio reading. It is understood as a modern modification of auditory reading, as a reader’s practice due to the qualitative changes in the material and technical base for creating audio records, for their copying and use. The analysis of audio formats in the informational, sociocultural and cognitive aspect of the modern media consumption allows the determination new editorial approaches to the work with audio texts. Conclusions are as follows: one can observe the tendency to transit from voicing printed texts to creating texts specially for voicing; there is a reduction in the novel form, stories become popular; the editing of audio books and audio series requires support from sound design principles; the editorial and director’s task on preparing podcasts is associated with the compositional alignment of several voices of storytellers, forming a single ideological and thematic field.

scholarly journals Interweaving Realities: Spoken Language and Moving Images in the Sonne halt!, Experimental Film by Ferry Radax

2018 ◽  
Author(s):  
Luka Bešlagić
Keyword(s):  
Cultural Context ◽  
Narrative Structure ◽  
Spoken Language ◽  
Experimental Film ◽  
The Novel ◽  
Moving Image ◽  
Avant Garde ◽  
Moving Images ◽  
Narrative Cinema ◽  
Movie Script

This paper analyses the experimental film Sonne halt! by Ferry Radax, an Austrian filmmaker renowned for his unconventional approach to cinematic practice. Filmed and edited between the end of the 1950s and early 1960s, the film at first may appear to be a belated homage to the previous European experiments in avant-garde cinema, already carried out a few decades earlier. However, since there have been no great ‘historical avant-garde’ movements in Vienna in the period between the two world wars – according to the novel argument made by Klaus Kastberger – it was already the middle of the 20th century when the ‘original’ avant-garde strategies were finally acknowledged in Austria, and simultaneously appropriated by the ‘neo-avant-garde’. In this peculiar historico-cultural context Sonne halt!, in its fragmentary non-narrative structure which resembles Dadaist or Surrealist playfulness and openness, innovatively and radically interweaved two disparate film registers: moving image and spoken language. Various sentences arbitrarily enounced throughout the film – which have their origin in Konrad Bayer’s unfinished experimental, pseudo-autobiographical, montage novel der sechste sinn – do not constitute dialogues or narration of a traditional movie script but rather a random collection of fictional and philosophical statements. At certain moments there is a lack of rapport between moving image and speech – an experimental attempt by Ferry Radax to challenge one of the most common principles of sound and narrative cinema. By deconstructing Sonne halt! to its linguistic and cinematic aspects, this article particularly focuses on the role of verbal commentaries within the film. Article received: December 28, 2017; Article accepted: January 10, 2018; Published online: April 15, 2018; Original scholarly paper How to cite this article: Bešlagić, Luka. "Interweaving Realities: Spoken Language and Moving Images in the Sonne halt!, Experimental Film by Ferry Radax." AM Journal of Art and Media Studies 15 (2018): . doi: 10.25038/am.v0i15.228

Introduction

2020 ◽  
pp. 1-12
Author(s):  
Bruce Isaacs
Keyword(s):  
Twentieth Century ◽  
Sound Design ◽  
Rear Window ◽  
Philosophical Approach ◽  
Moving Image ◽  
New Hollywood ◽  
Mise En Scene ◽  
Film Style ◽  
The Relationship ◽  
Lengthy Discussion

Hitchcock’s clearest articulation of a pure cinema method appears in a lengthy discussion with François Truffaut in 1962. Discussing landmark works such as Rear Window and Vertigo, Hitchcock frames pure cinema as a philosophical approach to film style. It is both medium-specific and part of a larger narrative describing the evolution of moving image art forms in the twentieth century. The introduction situates the relationship between Hitchcock and his “imitators,” filmmakers who reflexively evolved the pure cinema method. Brian De Palma emerges in the 1970s as the Hitchcockian imitator par excellence, the New Hollywood director who strove to take Hitchcock’s pure cinematic method further in terms of mise en scène, montage, and sound design.

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