scholarly journals Experiencing the Filmpoem

Screenworks ◽  
2020 ◽  
Vol 10 (1) ◽  
Keyword(s):  
Reciprocal Relationship ◽  
Experimental Techniques ◽  
Embodied Experience ◽  
Phenomenological Inquiry ◽  
Exhibition Strategies ◽  
Experimental Films

Susannah Ramsay’s Experiencing the Filmpoem: A Film-Phenomenological Inquiry presents five short experimental films which evoke multi-sensorial experiences for the viewer through visceral combinations of lens manipulation, camera movement and rhythmic editing. For Ramsay, filmpoems are a synthesis of these experimental techniques with poetic narration and soundscapes which constitute a deeply personal, expressive form of filmmaking. Her written statement contextualises this practice with historical insights and outlines her exhibition strategies for the work which aim to produce a reciprocal relationship between the artwork, the screening space and the viewer to provide an embodied experience.

Daily Fluctuations in Work Engagement

2014 ◽  
Vol 19 (4) ◽  
pp. 227-236 ◽  
Author(s):  
Arnold B. Bakker
Keyword(s):  
Job Performance ◽  
Work Engagement ◽  
Research Evidence ◽  
Organizational Outcomes ◽  
Reciprocal Relationship ◽  
Proactive Behavior ◽  
Negative Events ◽  
Daily Work ◽  
Work Pressure ◽  
Diary Research

This article presents an overview of the literature on daily fluctuations in work engagement. Daily work engagement is a state of vigor, dedication, and absorption that is predictive of important organizational outcomes, including job performance. After briefly discussing enduring work engagement, the advantages of diary research are discussed, as well as the concept and measurement of daily work engagement. The research evidence shows that fluctuations in work engagement are a function of the changes in daily job and personal resources. Particularly on the days that employees have access to many resources, they are able to cope well with their daily job demands (e.g., work pressure, negative events), and likely interpret these demands as challenges. Furthermore, the literature review shows that on the days employees have sufficient levels of job control, they proactively try to optimize their work environment in order to stay engaged. This proactive behavior is called job crafting and predicts momentary and daily work engagement. An important additional finding is that daily engagement has a reciprocal relationship with daily recovery. On the days employees recover well, they feel more engaged; and engagement during the day is predictive of subsequent recovery. Finding the daily balance between engagement while at work and detachment while at home seems the key to enduring work engagement.

Touching Blind Bodies: A Critical Inquiry into Pedagogical and Cultural Constructions of Visual Disability in the Nineteenth Century

2018 ◽  
Author(s):  
Heather Tilley ◽  
Jan Eric Olsén
Keyword(s):  
Nineteenth Century ◽  
Visually Impaired ◽  
Blind People ◽  
Embodied Experience ◽  
Visual Disability ◽  
Visually Impaired People ◽  
Educational Challenges ◽  
Impaired People ◽  
The Senses ◽  
Cultural Constructions

Changing ideas on the nature of and relationship between the senses in nineteenth-century Europe constructed blindness as a disability in often complex ways. The loss or absence of sight was disabling in this period, given vision’s celebrated status, and visually impaired people faced particular social and educational challenges as well as cultural stereotyping as poor, pitiable and intellectually impaired. However, the experience of blind people also came to challenge received ideas that the visual was the privileged mode of accessing information about the world, and contributed to an increasingly complex understanding of the tactile sense. In this chapter, we consider how changing theories of the senses helped shape competing narratives of identity for visually impaired people in the nineteenth century, opening up new possibilities for the embodied experience of blind people by impressing their sensory ability, rather than lack thereof. We focus on a theme that held particular social and cultural interest in nineteenth-century accounts of blindness: travel and geography.

‘I saw a knock-out’: Fatness, (In)visibility, and Desire in Shallow Hal

Somatechnics ◽  
2012 ◽  
Vol 2 (1) ◽  
pp. 60-79 ◽  
Author(s):  
Jackie Wykes
Keyword(s):  
Female Body ◽  
Fat Body ◽  
Western Culture ◽  
Embodied Experience ◽  
Knock Out ◽  
Dominant Meaning ◽  
Starting Point ◽  
Female Bodies ◽  
Fat Bodies ◽  
Sexual Body

When the Farrelly brothers' movie Shallow Hal (2001) was released, one reviewer suggested that the film ‘might have been more honest if [it] had simply made Hal have a thing about fat women’ ( Kerr 2002 : 44). In this paper, I argue that Kerr hits the mark but misses the point. While the film's treatment of fat is undoubtedly problematic, I propose a ‘queer’ reading of the film, borrowing the idea of ‘double coding’ to show a text about desire for fat (female) bodies. I am not, however, seeking to position Shallow Hal as a fat-positive text; rather, I use it as a starting point to explore the legibility of the fat female body as a sexual body. In contemporary mainstream Western culture, fat is regarded as the antithesis of desire. This meaning is so deeply ingrained that representations of fat women as sexual are typically framed as a joke because desire for fat bodies is unimaginable; this is the logic by which Shallow Hal operates. The dominant meaning of fatness precludes recognition of the fat body as a sexual body. What is at issue is therefore not simply the lack of certain images, but a question of intelligibility: if the meaning of fat is antithetical to desire, how can the desire for – and of – fat bodies be intelligible as desire? This question goes beyond the realm of representation and into the embodied experience of fat sexuality.

Being a Christian in the Catholic Way

2005 ◽  
Vol 1 (2-3) ◽  
pp. 352-374 ◽  
Author(s):  
Esther Peperkamp
Keyword(s):  
Embodied Experience ◽  
Electronic Technology ◽  
Acoustic Environment ◽  
Common Practices ◽  
Point Of Departure ◽  
The Universe

This article addresses the distinctive spiritual qualities of aerial movement. Taking as a point of departure the feature lm Maria, Mãe do Filho de Deus (2003) played by famous Brazilian Padre Marcelo Rossi, it argues for an engagement with cinematic images in terms of aerial dynamic imagination. It will be shown that the “inspired breath” of Padre Marcelo organizes the universe and affects the constitution of subjects and space in the lm according to the Scriptures. The same aerial dynamic applies to his other contexts of performance such as Byzantine praying techniques and their relation to space. Subsequently, the article explores underlying analogies between electronic technology, acoustic environment, and pneumatic spirituality within common practices of embodied experience.

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