Stepping into the creative space

The realm of horror provides a creative space in which the breakdown of social order can either expose power relations or further cement them by having them persist after the collapse. Carol Clover proposed that the 1970s slasher film genre—known for its sex and gore fanfare—provided feminist identification through its “final girl” indie invention. Over three decades later, with the genre now commercialized, this research exposes the reality of sexual and horrific imagery within the Hollywood mainstay. Using a mixed-methods approach, I develop four categories of depiction across cisgender representation in these films: violent, sexual, sexually violent, and postmortem. I explore the ways in which a white, heterosexist imagination has appropriated this once productive genre through the violent treatment of bodies. This exposes the means by which hegemonic, oppressive structures assimilate and sanitize counter-media. This article provides an important discussion on how counterculture is transformed in capital systems and then used to uphold the very structures it seeks to confront. The result of such assimilation is the violent treatment and stereotyping of marginalized identities in which creative efforts now pursue new means of brutalization and dehumanization.

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Highgate Cemetery Heterotopia: A Creative Counterpublic Space

Space and Culture ◽

10.1177/1206331217724976 ◽

2017 ◽

Vol 20 (4) ◽

pp. 470-484 ◽

Cited By ~ 2

Author(s):

Paul Clements

Keyword(s):

Cultural Capital ◽

Public Space ◽

Political Imagination ◽

External Space ◽

Memorial Representation ◽

The Social ◽

Creative Space ◽

The Individual

Highgate Cemetery is nominally presented as a heterotopia, constructed, and theorized through the articulation of three “spaces.” First, it is configured as a public space which organizes the individual and the social, where the management of death creates a relationship between external space and its internal conceptualization. This reveals, enables, and disturbs the sociocultural and political imagination which helps order and disrupt thinking. Second, it is conceived as a creative space where cemetery texts emplace and materialize memory that mirrors the cultural capital of those interred, part of an urban aesthetic which articulates the distinction of the metropolitan elite. Last, it is a celebritized counterpublic space that expresses dissent, testimony to those who have actively imagined a better world, which is epitomized by the Marx Memorial. Representation of the cemetery is ambiguous as it is recuperated and framed by the living with the three different “spaces” offering heterotopic alliances.

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The Role of Experimenting with the Human Voice in Film Music in the Representation of the Human/Alien Divide: the Case of Arrival (2016)

Acta Universitatis Sapientiae Film and Media Studies ◽

10.2478/ausfm-2021-0011 ◽

2021 ◽

Vol 20 (1) ◽

pp. 1-19

Author(s):

Nicolás Medina ◽

Miklós Kiss

Keyword(s):

Science Fiction ◽

Possible Worlds ◽

Film Music ◽

Human Voice ◽

Emotional Dimension ◽

Creative Space

Abstract This article focuses on the musical dimension of experimentation in the creative space of science fiction film, concerning its uncanny, new and fantastic places, and otherworldly encounters within fictional, but possible worlds. The aim is to consider the function and potential of the audible – to examine how sound is used in the filmic exploration of the boundaries between the human and the alien (the unknown). More particularly, we are interested in the role that human voice-like and human vocal sounds can play in this divide, as we believe manipulations with such audible qualities contribute greatly to the emotional dimension of cinematic stories of otherworldly encounters. For that purpose, we concentrate on Denis Villeneuve’s Arrival (2016) and its soundtrack composed by Jóhann Jóhannsson, who resorts to different singing practices and vocal techniques to accompany a story charting the territories between the human and the alien.

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Why literature students should practise life writing

Arts and Humanities in Higher Education ◽

10.1177/1474022216635825 ◽

2016 ◽

Vol 17 (2) ◽

pp. 204-221 ◽

Cited By ~ 6

Author(s):

Kylie Cardell ◽

Kate Douglas

Keyword(s):

Creative Writing ◽

Lived Experience ◽

Ethical Issues ◽

Life Writing ◽

Literary Texts ◽

Literary Studies ◽

Creative Space ◽

Writing Practice

This article considers our experiences teaching a hybrid literature/creative writing subject called “Life Writing.” We consider the value of literature students engaging in creative writing practice—in this instance, the nonfiction subgenre of life writing—as part of their critical literary studies. We argue that in practicing life writing, our literature students are exposed to and gain wider perspective on the practical, critical, creative, and ethical issues that arise from working with literary texts. Such an approach is not with risk. As we discuss in this article, life writing texts can often narrate difficult or traumatic material. However, we want to show how life writing, with its particular focus on actual lives and lived experience, creates a particularly conducive ethical, intellectual, and creative space for learning about and practicing writing.

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THE CONCEPT OF ENEMY: REPRESENTATION IN THE UKRAINIAN MILITARY DOCUMENTARIES

10.30970/vjo.2021.49.11063 ◽

2021 ◽

Author(s):

Alina Chervinchuk

Keyword(s):

Content Analysis ◽

Emotional State ◽

Descriptive Analysis ◽

Practical Importance ◽

Military Conflict ◽

Scientific Methods ◽

General Scientific ◽

Creative Space ◽

The Military ◽

First Time

Research methodology. The following methods were used in this research: general scientific methods (descriptive, analysis, synthesis, comparison) and special (structural, hermeneutic, narrative, method of content analysis). We identified words related to the concept of the enemy and determined the context in which they are used by the authors of the collections Results. The formats of reflection of military reality in collections of military documentaries are investigated. It is emphasized that the authors-observers of events as professional communicators form a vision of events based on categories understandable to the audience – «own» and «others». Instead, the authors-participants go events have more creative space and pay more attention to their own emotional state and reflections. It is defined how the enemy is depicted and what place he occupies in the military reality represented by the authors. It is emphasized that the authors reflect the enemy in different ways. In particular, the authors-observers of the events tried to form a comprehensive vision of the events, and therefore paid much attention to the opposite side of the military conflict. Authors-participants of the events tend to show the enemy as a mass to be opposed. In such collections, the enemy is specified only in the presence of evidence confirming the presence of Russians or militants. Novelty. The research for the first time investigates the methods of representation of military activity in the collections of Ukrainian military documentaries. The article is devoted to the analysis of how the authors represent the enemy. Practical importance. The analysis of collections of military documentaries will allow to study the phenomenon of war and to trace the peculiarities of the authors’ representation of military reality.

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