scholarly journals Pautas y restricciones en el cine de no ficción contemporáneo

2020 ◽  
Author(s):  
Rubén Marín Ramos
Keyword(s):  
Theoretical Models ◽  
Video Art ◽  
Basic Element ◽  
The Real ◽  
Avant Garde ◽  
Non Fiction ◽  
Art Practices ◽  
Documentary Video ◽  
A Minor ◽  
Selection Of

The present research address contemporary non-fiction films based on rules, restrictions or very specific devices. Radical video pieces in the form and its approach to “the real” that challenge the conventions of documentary film and are linked to other contemporary art practices. Our research focuses on those non-fiction works made in the last twenty years, a minor cinema with a minimalist vocation, linked to the avant-garde documentary, video art and video amateur, based on very precise patterns, not as a anecdotal fact, but as a basic element that determines the construction of them. The selection of the films will be made analysing the qualities they have to allow us to establish typologies of study and to define the basis of theoretical models of analysis. According to the technique or mechanism used, the qualities of the films we analyse can be constructed based on the seriality of their elements, the restriction of space-time, the technical-mechanical device used or the use of techniques or self-imposed patterns that serve to organise and give sense to the images of these films far from the narrative resources of conventional documentary. However, our purpose is not so much to carry out a classification exercise as to analyse and understand these innovative formulas that open up new ways in the film of the real.

scholarly journals Quand la chair de l’interprète européenne hante la chaire des hérauts européanistes…

2011 ◽  
Vol 1 (3) ◽  
pp. 71
Author(s):  
Chris Reyns-Chikuma
Keyword(s):  
Real Life ◽  
The Other ◽  
Minor Role ◽  
European Policy ◽  
The Real ◽  
Avant Garde ◽  
Other Hand ◽  
National Boundaries ◽  
The One ◽  
A Minor

On the one hand, there is a great number of « national » fictions. To various degrees (patriotic, nationalistic) and consciously or not, these fictions participate in the construction of a nation. On the other hand, there are also a lot of fictions that we can characterize as cosmopolitan or postnational and which are situated outside any clear national boundaries. On the contrary, one can count very few fictions on the construction of a European supranationality. To my knowledge, Constellation by Alain Lacroix (2008) is the only one in French and that is the one I am going to write about in this essay. My goal here is threefold. It is first to show that although the interpreter seems to play a minor role (according to the number of pages) and although she is apparently considered an insignificant quantity by both male protagonists, as her regular and obsessive return in the text proves it she is actually important since she haunts the characters sexually and ideologically. I will also show that this haunting spreads through the whole novel through the issue of the interpretation of signs. The second goal is to show that the interpreter, who is explicitly presented as an impersonation of Europe, actually incarnates the ambivalence of any « europeanist » project. She is indeed a bridge not only between two languages & cultures but also between both faces of any European policy. The first one, concrete, tries to incorporate the real life of the Europeans, their daily concerns which themselves are often inscribed within their « national habitus», and the other one to exceed it within a transnational project which is often perceived as too abstract. Finally, I will conclude showing how Constellation “foreignizes” (Venuti, 2008, 6) its translation of the European realities, not by its choices but by the choice of avant-garde esthetic techniques.

scholarly journals The Romantic Fairy Tale and Surrealism: Marvelous Non-Sense and Dark Apprehensions

Romantik ◽  
2016 ◽  
Vol 3 (1) ◽  
pp. 33
Author(s):  
Karin Sanders
Keyword(s):  
Twentieth Century ◽  
Fairy Tales ◽  
Fairy Tale ◽  
Video Art ◽  
Visual Media ◽  
First Century ◽  
Avant Garde ◽  
Salvador Dali ◽  
Hans Christian Andersen ◽  
Selection Of

Romanticism and surrealism shared a fascination with the fairy tale. Yet each was beholden to specific historical moments and particular aesthetic demands. What they wanted were not the same. This article considers  how the romantic fairy tale nevertheless functions as a ‘seed’ for surrealists. Contagions, commonalities, and contrasts between the two movements are briefly outlined. A selection of fairy tales by Hans Christian Andersen is used to demonstrate how a host of visual reinterpretations including lithographs, photo-collages, and video art by twentieth-century surrealists like Salvador Dalí and Max Ernst, and twenty-first-century avant-garde artists like Åsa Sjöström, have reinterpreted the latent possibilities of non-sense in the fairy tale: the marvelous, the absurd, and the dream-like. The article demonstrates that by evoking the dark-romantic sides of Andersen’s works these avant-garde reconceptualizations in visual media predominantly point to shock, violence, war, and ecological disasters.

Cinema Expanded

2020 ◽  
Author(s):  
Jonathan Walley
Keyword(s):  
New Media ◽  
Film History ◽  
Video Art ◽  
Experimental Film ◽  
Art World ◽  
Film Culture ◽  
Moving Image ◽  
Avant Garde ◽  
Expanded Cinema ◽  
History Of

Cinema Expanded: Avant-Garde Film in the Age of Intermedia is a comprehensive historical survey of expanded cinema from the mid-1960s to the present. It offers an historical and theoretical revision of the concept of expanded cinema, placing it in the context of avant-garde/experimental film history rather than the history of new media, intermedia, or multimedia. The book argues that while expanded cinema has taken an incredible variety of forms (including moving image installation, multi-screen films, live cinematic performance, light shows, shadow plays, computer-generated images, video art, sculptural objects, and texts), it is nonetheless best understood as an ongoing meditation by filmmakers on the nature of cinema, specifically, and on its relationship to the other arts. Cinema Expanded also extends its historical and theoretical scope to avant-garde film culture more generally, placing expanded cinema in that context while also considering what it has to tell us about the moving image in the art world and new media environment.

Maximus

2018 ◽  
Author(s):  
Mark Byers
Keyword(s):  
United States ◽  
Political Action ◽  
American Art ◽  
The United States ◽  
The Self ◽  
Postwar Period ◽  
Avant Garde ◽  
The Enlightenment ◽  
Art Practices ◽  
The One

This concluding chapter charts the continuing significance of the early postwar moment in Olson’s later work, particularly The Maximus Poems. The philosophical and political concerns of the American avant-garde between 1946 and 1951 play out across The Maximus Poems just as they inform later American art practices. The search of the early postwar American independent left for a source of political action rooted in the embodied individual is seen, on the one hand, to have been personified in the figure of Maximus. At the same time, Maximus’s radical ‘practice of the self’ charts a sophisticated alternative to the Enlightenment humanist subject widely critiqued in the United States in the immediate postwar period.

scholarly journals QTL Mapping for Gummy Stem Blight Resistance in Watermelon (Citrullus spp.)

Plants ◽  
2021 ◽  
Vol 10 (3) ◽  
pp. 500
Author(s):  
Eun Su Lee ◽  
Do-Sun Kim ◽  
Sang Gyu Kim ◽  
Yun-Chan Huh ◽  
Chang-Gi Back ◽  
...  
Keyword(s):  
Chromosome 8 ◽  
Chromosome 6 ◽  
Potential Candidate ◽  
Stem Blight ◽  
Gummy Stem Blight ◽  
F2 Population ◽  
Leaf Lesion ◽  
Phenotypic Variations ◽  
A Minor ◽  
Selection Of

Watermelon (Citrulluslanatus) is an economically important fruit crop worldwide. Gummy stem blight (GSB) is one of the most damaging diseases encountered during watermelon cultivation. In the present study, we identified quantitative trait loci (QTLs) associated with GSB resistance in an F2 population derived from a cross between maternal-susceptible line ‘920533’ (C. lanatus) and the paternal-resistant line ‘PI 189225’ (C. amarus). The resistance of 178 F2 plants was assessed by two different evaluation methods, including leaf lesion (LL) and stem blight (SB). To analyze the QTLs associated with GSB resistance, a linkage map was constructed covering a total genetic distance of 1070.2 cM. QTL analysis detected three QTLs associated with GSB resistance on chromosome 8 and 6. Among them, two QTLs, qLL8.1 and qSB8.1 on chromosome 8 identified as major QTLs, explaining 10.5 and 10.0% of the phenotypic variations localizing at same area and sharing the same top markers for both LL and SB traits, respectively. A minor QTL, qSB6.1, explains 9.7% of phenotypic variations detected on chromosome 6 only for the SB trait. High-throughput markers were developed and validated for the selection of resistant QTLs using watermelon accessions, and commercial cultivars. Four potential candidate genes were predicted associated with GSB resistance based on the physical location of flanking markers on chromosome 8. These findings will be helpful for the development of watermelon cultivars resistant to GSB.

Gabriela Mistral

1946 ◽  
Vol 3 (02) ◽  
pp. 168-189
Author(s):  
Margaret J. Bates
Keyword(s):  
Nobel Prize ◽  
Gabriela Mistral ◽  
The Real ◽  
Spanish Speaking ◽  
Fundamental Reason ◽  
Selection Of

When, on November sixteenth last, the newspapers announced the awarding of the Nobel Prize for literature to a Chilean poetess, Gabriela Mistral, the news came as a surprise to many Americans, who, although they considered themselves well read, had never heard her name. The fundamental reason we know so little of this remarkable woman who enjoys such a great popularity in the Spanish-speaking world, not only for her words but for her deeds, is because the limited number of her poems which have been translated into English, by heavy hands, for the most part, allow hardly a glimmer of the real Mistral to shine through them. Of course, all translation of poetry is difficult but that of Gabriela extremely so because of her unique selection of words. She has created a plant that does not grow on English soil.

scholarly journals SPLIT ENDS? LITERATURE AND POLITICS AT THEFIN DE SIECLE

2007 ◽  
Vol 35 (2) ◽  
pp. 697-709
Author(s):  
Jock Macleod
Keyword(s):  
Victorian Literature ◽  
Cultural Landscape ◽  
Modern Literature ◽  
The Political ◽  
Literature And Politics ◽  
The Real ◽  
Avant Garde ◽  
Split Ends ◽  
Bourgeois Culture ◽  
Long Course

AS AN UNDERGRADUATE IN THE1970s, my introduction to the 1890s was perfunctory. Squeezed into a couple of weeks in the middle of a year-long course on “Victorian and Modern Literature,” the literature of the decade was reduced to aestheticism and decadence and presented as something of a preliminary to the real business of modernism. Such a focus reflected the scholarship of the time, in which thefin de sièclewas constructed as a moment of transition, one in which the political and socio-ethical dimensions so central to high Victorian literature were evacuated, as arguments for the autonomy of art came to dominate the literary cultural landscape. The organising principle was one of bifurcation: the separating out ofavant gardefrom bourgeois culture, the high from the low and, of particular relevance to this essay, literature from politics.

Le fonti, i metodi e le narrazioni della storia della videoarte in Italia negli anni Settanta

2017 ◽  
Vol 2 (1) ◽  
Author(s):  
Lisa Parola
Keyword(s):  
Comparative Study ◽  
Contemporary Art ◽  
Narrative Structure ◽  
Video Art ◽  
Wide Range ◽  
History Of ◽  
Selection For ◽  
The Many ◽  
Art And Architecture ◽  
Selection Of

This essay derives from the primary need to make order between direct and indirect sources available for the reconstruction of the history of video art in Italy in the seventies. In fact, during the researches for the Ph.D. thesis it became clear that in most cases it is difficult to define, in terms of facts, which of the different historiographies should be taken into consideration to deepen the study of video art in Italy. Beyond legitimate differences of perspectives and methods, historiographical narratives all share similar issues and narrative structure. The first intention of the essay is, therefore, to compare the different historiographic narratives on Italian video art of the seventies, verifying their genealogy, the sources used and the accuracy of the narrated facts. For the selection of the corpus, it was decided to analyze in particular monographic volumes dealing with the history of the origins of video art in Italy. The aim was, in fact, to get a wide range of types of "narrations", as in the case of contemporary art and architecture magazines, which are examined in the second part of the essay. After the selection, for an analytical and comparative study of the various historiography, the essay focuses only on the Terza Biennale Internazionale della Giovane Pittura. Gennaio ’70. Comportamenti, oggetti e mediazioni (Third International Biennial of Young Painting. January '70. Behaviors, Objects and Mediations, 1970, Bologna), the exhibition which - after Lucio Fontana's pioneering experiments - is said to be the first sign of the arrival of videotape in Italy (called at the time videorecording), curated by Renato Barilli, Tommaso Trini, Andrea Emiliani and Maurizio Calvesi. The narration given so far of this exhibition appeared more mythological than historical and could be compared structurally to that of the many numerous beginnings that historiographyies on international video art identify as ‘first’ and ‘generative’. In the first part of the essay the 'facts' related to Gennaio ’70, as narrated by historiography on video art, are compared. In the second part the survey is carried out through some of the direct sources identified during the research, with the aim of answering to questions raised by the comparison between historiographies. Concluding, it is important to underline that the tapes containing the videos transmitted have not been found and seem to have disappeared since the ending of the exhibition. Nevertheless, the deepening of the works and documentation transmitted during the exhibition is possible thanks to other types of sources which give us many valuable information regarding video techniques and practices at the beginning of 1970 in Italy.

A Medieval Open Work

POETICA ◽  
2021 ◽  
Vol 52 (3-4) ◽  
pp. 228-265
Author(s):  
Rafael Simian
Keyword(s):  
The Other ◽  
Specific Function ◽  
Umberto Eco ◽  
New Approach ◽  
Avant Garde ◽  
Other Hand ◽  
Open Work ◽  
New Perspective ◽  
A Minor

Abstract Guigo II is commonly known and praised among specialists of Western mysticism for his Scala claustralium, a work that presents a spiritual program for cloistered monks. His Meditations, on the other hand, have usually been relegated to the margin of attention. The First Meditation, in particular, is generally regarded as a minor piece. The paper argues, however, that a new approach can make better sense of the First Meditation, while also enabling us to recognize its specific function and value. Seen from this new perspective, Guigo’s purpose with the text is to train and exercise his readers’ minds according to the spiritual program laid out in the Scala. The paper shows that the First Meditation realizes that goal, surprisingly, by having the same essential features that Umberto Eco found in the ‘open works’ of the Western avant-garde.

Typographical and Editorial Solutions as a Source of Hybridization in Polish Non-Fiction Literature

Tekstualia ◽  
2021 ◽  
Vol 3 (66) ◽  
pp. 57-72
Author(s):  
Katarzyna Frukacz
Keyword(s):  
Spatial Layout ◽  
Non Fiction ◽  
Experimental Works ◽  
Printing Paper ◽  
Cover Design ◽  
Physical Components ◽  
Selection Of

The article focuses on the selected examples of the blurring of a book’s genre status by means of specifi c editorial solutions, such as the use of a spatial layout of the text, the differentiation of fonts, the selection of printing paper, the cover design etc. This mechanism is discussed on the example of six experimental works of contemporary Polish non-fi ction literature. Books by Filip Springer and Jarosław Mikołajewski, bordering upon literary reportage, show how the use of typography enhances the formal hybridity or even amorphousness of the text. In turn, Mariusz Szczygieł and Wojciech Tochman, their documentary narratives, emphasize the mutual synergy between the physical components of the book, which undermines the standard genre classifi cation.

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