Concluding Remarks: Spaces of Exhibition and Spaces of Human Practice

2021 ◽  
Author(s):  
Elena Pollacchi
Keyword(s):  
Meaning Making ◽  
Documentary Films ◽  
Film Festivals ◽  
Art Exhibition ◽  
Art Galleries ◽  
Human Practice ◽  
Essential Function

This chapter approaches Wang’s work from the perspective of exhibition spaces. It looks at how his career has evolved and partly transformed certain festival exhibition practices. It also discusses the virtuous circuit of Wang’s regular presence across film festivals and art exhibition spaces. Film festivals have served the essential function of providing a prestigious platform from which his work could first travel at a time in which their domestic visibility is not possible and theatrical release of art-house films or documentary films is limited in Europe like elsewhere. This concluding chapter also introduces the different modes of meaning-making of works exhibited at film festivals and art galleries.

scholarly journals Temporary events and spaces in the Swedish primary art market

2014 ◽  
Vol 58 (1) ◽  
Author(s):  
Johan Jansson
Keyword(s):  
New York ◽  
Economic Geography ◽  
Art Market ◽  
Economic Activities ◽  
Art Exhibition ◽  
Art Galleries ◽  
Economic Values ◽  
Theoretical Perspectives ◽  
Temporal Dimensions

AbstractTraditionally, the art market is associated with specific cities or art districts; typically there are internationally renowned locations like Paris, New York and Berlin. However, taking a closer look at the art markets, it is rather the temporal dimensions that are striking. Art market actors (e. g. artists, critics, gallerists, buyers, collectors, curators) are gathering in temporary locations and at temporary events such as art exhibition openings, art fairs, auctions, performances and vernissages. Within economic geography literature, the role of temporary spaces and events has been increasingly discussed in relation to economic activities and their performance, efficiency and creativity. An important insight gained in this literature is how temporary events, despite their short-lived existence, create microcosms of an industry or sector. Some temporary events even gather enough resources, skills and power to become field-configuring. In this paper, the primary art market will be discussed from the theoretical perspectives of value-making processes, temporary spaces and events, and field-configuring events. More specifically, the study focuses on temporary spaces important to galleries involved in selling and promoting primary art and artists. It focuses on how temporary spaces constitute both a characteristic feature of the art market and important spaces for creating both cultural and economic values. Empirically, this paper is based on a study of the Swedish primary art galleries and in particular it deals with primary art galleries located in Stockholm, and studies how they use temporary spaces and events in creating both cultural and economic values to themselves, the artists and their artworks. Three empirical examples characteristic to primary art galleries are examined; the opening, the art fair and the mobile art district.

Justice on Screen – A Study of Four Documentary Films on the International Criminal Court

2016 ◽  
Vol 29 (4) ◽  
pp. 1043-1060 ◽  
Author(s):  
WOUTER G. WERNER
Keyword(s):  
Criminal Justice ◽  
International Criminal Court ◽  
International Criminal ◽  
Criminal Court ◽  
International Criminal Justice ◽  
Documentary Films ◽  
Film Festivals ◽  
Humanitarian Organizations ◽  
Modes Of Representation ◽  
Artistic Interventions

AbstractIn the past ten years or so, several documentaries on international criminal justice have been produced, shown at film festivals, and used for advocacy and educational purposes. On some occasions, artists, humanitarian organizations, and the Office of the Prosecutor of the International Criminal Court (ICC) have worked closely together in the production of documentary films. Documentaries have thus become important tools for education and the spread of imageries of international criminal justice. So far, however, international legal scholars have largely shied away from researching cinematic representations of their field. In this article, I seek to remedy this by focusing on a family of four recent influential documentaries related to the ICC: The Reckoning, The Court, Prosecutor, and Watchers of the Sky. All four use similar modes of representation, narration and promotion and basically communicate the same message about the Court. My article critically analyzes how such artistic interventions have helped create specific images, stories, and sentiments.

scholarly journals Conduct in Dementia: Video Analysis of Arts Interventions

2019 ◽  
Vol 24 (4) ◽  
pp. 514-540
Author(s):  
Christian Morgner ◽  
Spencer Hazel ◽  
Justine Schneider ◽  
Victoria Tischler
Keyword(s):  
Cultural Values ◽  
Facial Expressions ◽  
Video Analysis ◽  
Cultural Context ◽  
Visual Art ◽  
Meaning Making ◽  
Well Being ◽  
Art Exhibition ◽  
People With Dementia

This study applies video analysis to an investigation of interactions among people with dementia in a cultural context, specifically a visual art exhibition in a gallery. The study adopts a sociologically informed approach to explore the role of artworks and how these may be beneficial to dementia care, by focusing on meaning-making conversational practices among people living with dementia. The interactions of different individuals with various forms of dementia were recorded during three gallery visits, including their engagement with gallery attendants and artworks. The findings reveal the socially empowering impact of interactions related to artwork, with complex patterns in bodily behaviour and facial expressions meaning that orientation to dementia became negligible. The article makes a contribution to the growing field of sociology of ageing and well-being from an interaction analytic perspective, indicating that cultural values can play a greater role in the care of people living with dementia.

Examining Markets, Marketing, Consumers, and Society through Documentary Films

2011 ◽  
Vol 31 (4) ◽  
pp. 403-409 ◽  
Author(s):  
Russell Belk
Keyword(s):  
Documentary Film ◽  
Video Recording ◽  
Public Perceptions ◽  
Literacy Skills ◽  
Documentary Films ◽  
Film Festivals ◽  
Great Opportunity ◽  
Historical Film ◽  
The World ◽  
Online Access

Documentary film is over 100 years old and includes subgenres such as ethnography, historical film, docu-drama, propaganda, and advocacy videos. With numerous film archives, film festivals, special DVD issues of journals, inexpensive video recording and editing equipment, Internet distribution, and the phenomenal growth of archival Internet sites such as YouTube and Vimeo, there are now hundreds of millions of documentary films and videos available to the interested researcher. The author argues that the macromarketing field has greatly underutilized this vast resource and suggests examples of sources and uses for such material. The author also suggests some aids for acquiring critical visual literacy skills to inform such analyses. Just as we rely on our libraries and online access for books and print journals, we can readily do the same with documentary films. Such analytical projects can be presented as either video documentaries themselves, as text-based articles and books, or as multimedia combinations. Film, video, Internet, and television images arguably do more to influence public perceptions of marketing, consumption, and life than any other medium. There is thus a great opportunity to understand society through this window on the world.

CREATIVITY OF THE KRASNOYARSK DOCUMENTARY FILMMAKER I. ZAITSEVA AS A PHENOMENON OF REGIONAL AND NATIONAL CULTURE

2021 ◽  
Vol 5 (2) ◽  
pp. 103-112
Author(s):  
N.V. Kostrykina ◽  
Keyword(s):  
National Culture ◽  
Film Studies ◽  
Video Camera ◽  
Documentary Films ◽  
Film Festivals ◽  
Soviet Government ◽  
Wide Range ◽  
History Of ◽  
Film Productions ◽  
Film Language

The article describes the work of Irina Borisovna Zaitseva, a world-famous Krasnoyarsk documentary film director, a member of the Board of the Union of Cinematographers and the Association of Documentary Films of the Russian Federation, whose film productions have not yet been the subject of film studies. Her films have won numerous prizes at prestigious All-Russian and international film festivals ("Russia", "Golden Knight", "Living Water", "Flahertiana", "Stalker", "Saratov Suffering", "Mediawave", "Documenta Madrid", "Docupolis", etc.). A number of documentary films reflect the history of not only the Krasnoyarsk Territory, but also Russia. Some films have a parable discourse and carry a moral and philosophical context. The director repeatedly addresses the topic of "fathers and children". I. Zaitseva makes high demands on the profession of a film director, relying in her work on the director's code of honor, so as not to harm the heroes of her documentaries. As a result of the analysis of the film "Martyrs and Confessors" and a brief review of other films directed by I. Zaitseva, a wide range of artistic techniques was identified: subjective video camera, vertical and parallel editing, historical reconstruction, "story within a story", changing focalizations and temporality, allegory, and others. All the author's means of the film language work for a strong drama, which distinguishes the films of the documentarian. In her work, there is a hybrid-a combination of factuality and artistry, which does not mean devaluing the principle of documentality. The Krasnoyarsk documentary filmmaker was one of the first in Russia to make a film about the tragic fate of the clergy who died at the hands of representatives of the Soviet government in the period 1918–1938. I. Zaitseva's filmography is a phenomenon of regional and national culture.

scholarly journals Más allá de los espacios alternativos situados más allá del cubo blanco / Beyond the Alternative Spaces Situated beyond the White Cube

2019 ◽  
Vol 6 (1) ◽  
pp. 1-13
Author(s):  
Isabel Garnelo-Díez ◽  
Ana Sedeño Valdellós
Keyword(s):  
Digital Art ◽  
The Internet ◽  
Art Exhibition ◽  
Art Galleries ◽  
Art Production ◽  
Alternative Spaces

ABSTRACTThe present work is an approach to the study of the production and exhibition of net.art and digital art on the Internet, to make a comparison between the exposure budgets proposed by these new modes of art production in relation to those propoused by traditional exhibition spaces such as museums and art galleries. As an example of digital art exhibition, we will focus on the spanish context, and more specifically on the International Biennial of Digital Art that is known as The Wrong. RESUMENEl presente trabajo es una aproximación al estudio de la producción y la exposición de net.art y arte digital en Internet, para hacer una comparación entre los presupuestos de exposición que proponen estos modos de hacer en relación con los propuestos por los espacios tradicionales de exhibición como museos y galerías de arte. Como ejemplo de exposición de arte digital nos centraremos en el contexto español, y más concretamente en la Bienal Internacional de Arte Digital conocida por el nombre de The Wrong.

scholarly journals Laymen’s Narratives in Amouddou’s Eco-documentary: An Ecolinguistic Analysis

2021 ◽  
Vol 8 (2) ◽  
pp. 131
Author(s):  
Mohamed Mliless ◽  
Lamiae Azzouzi ◽  
Saida Hdii ◽  
Handoko Handoko
Keyword(s):  
Meaning Making ◽  
Environmental Issues ◽  
Natural World ◽  
Future Research ◽  
Documentary Films ◽  
Linguistic Features ◽  
Perceived Severity ◽  
Medium Length ◽  
Threat Appeals ◽  
Susceptibility Model

Documentary films, generally of short or medium-length, have informative and educational purposes. They present authentic reports on areas of life, human activities, and the natural world. Particularly, eco-documentaries aim to raise environmental awareness towards the degradation of natural elements; they present alternatives for environmental issues such as pollution, global warming, and deforestation. To reinforce the argumentative process of environmental documentaries, laymen discourse contributes a lot to the meaning-making of productions. Within the framework of discourse analysis and ecolinguistics, this work examines fear and threat expressions used by ordinary witnesses to reinforce argumentation in Lahoucine Faouzi’s eco-documentary entitled “Whining of the Blue Lagoon. In this vein, the ‘perceived severity and perceived susceptibility’ model was used to investigate the implication of fear and threat appeals in laymen’s testimonies. The results show that these expressions are common among laymen’s narratives. This study has many implications for eco-documentary makers, governmental and non-governmental organs, and future research to explore other linguistic features in eco-documentaries on man’s perpetrated damages to the environmental resources.

scholarly journals (In-)Between spaces: Challenges in defining the experience space in mixed reality-driven art exhibitions.

2021 ◽  
Author(s):  
Izabela Derda ◽  
Tom Feustel ◽  
Zoi Popoli
Keyword(s):  
New Technologies ◽  
Mixed Reality ◽  
Meaning Making ◽  
Experience Design ◽  
Art Exhibitions ◽  
Art Galleries ◽  
The Creation ◽  
And Behaviors ◽  
Making Art

Technology-driven design can support the creation of storytelling experiences that offer innovative ways of transmitting knowledge and information. New technologies also have emerged as tools for making art relevant again and making museums and art galleries hybrid places in which the virtual and digital aspects of stories are combined with corresponding physical artefacts. Observing people’s reactions and behaviors in those hybrid environments requires the examination of ways in which they engage with space in the process of meaning-making by changing and adapting the space to suit their means. Even though differentiation of the concepts of space is broadly explored in the literature, in the context of mixed reality experience design has become hazy again. In our work, we explore practitioner’s view on the ontological issues with defining experience space and discuss its in-betweenness, inseparability and unrealness.

Your Communism Is Not Ours Communism’: the Contexts of Post-Totalitarian Bulgarian Cinema and Mina Mileva, Vesela Kazakova’s Disobedient Films

2019 ◽  
Vol 28 (3) ◽  
pp. 227-249
Author(s):  
Andronika Martonova
Keyword(s):  
Critical Reflection ◽  
Recent Decade ◽  
Identity Crisis ◽  
Transition To Democracy ◽  
Documentary Films ◽  
Cultural Environment ◽  
Film Festivals ◽  
Secret Service ◽  
The Subject ◽  
Globalising World

The study sketches out the contexts where Bulgarian film has been developing in the three decades of transition to democracy. The problems associated with the identity crisis, insufficient communication with the national audiences, Bulgarian films’ belonging to the European audiovisual and cultural continuum and critical reflection are partly broached. The cinematic environment has changed in Bulgaria after 2010 with the coming of emerging authors, who gave this country’s filmmaking a new physiognomy. Their works are much more adequate to the globalising world, providing genre diversity and dealing with subjects easier for the audiences to identity themselves with. The plots revolving around the present day and the ramifications of the socialist era prevail. In general, Bulgarian films of the recent decade are in visible demand at international film festivals, attracting the attention of foreign film critics. Awards, however, are not necessarily passports for good reception in the homeland`s milieu. Such is the case with Mina Mileva, Vesela Kazakova’s directorial duo (Actvist 38) and their two controversially documentary films Uncle Tony, Three Fools and the Secret Service (2013) and The Beast Is Still Alive (2016). An analysis of their works shows that reverting to the subject of totalitarianism and the attempt at reaching a consensus-based memory onscreen are still risky in Bulgaria’s cultural environment. Their new full-length future film – the emigrant social comedy-drama Cat in the Wall (2019, warmly accepted and awarded abroad) - surprisingly received the national Golden Rose Debut Award 2019, but the Bulgarian critics` stays still undeservedly reserved.

scholarly journals You can’t eat art! But can arts-based research challenge neighbourhood stigma?

2020 ◽  
pp. 146879412092768
Author(s):  
Deborah Warr ◽  
Gretel Taylor ◽  
Keith Jacobs
Keyword(s):  
Meaning Making ◽  
Participatory Methods ◽  
Art Galleries ◽  
Arts Based Research ◽  
Socially Engaged Art ◽  
Art Practices ◽  
Research Findings ◽  
Research Challenge

We present research findings from an arts-based research (ABR) project that aimed to redress the symbolic effects of negative recognition associated with place-based stigma. Focusing on two prominently stigmatised neighbourhoods in Melbourne and Hobart (Australia), we explain the rationale for the study and how arts-based tactics were used for phenomenological explorations of familiar environments and to generate alternate, faithful and compelling portrayals of neighbourhoods that stemmed from residents’ actual experiences. Our approach to ABR blended sociological concerns with socially engaged practices that emphasised creative and dialogic tactics, provocations and immersive experiences. We explain how art-based tactics were incorporated into artist residency projects that comprised four parts: local induction; excursions to art galleries; a six-week workshop programme; and exhibition events. Following this, interviews were conducted with artist-residents at the conclusion of the projects. Both the artistic outcomes and participants’ reflections provide evidence that blending socially engaged art practices and participatory methods can help residents and researchers navigate the internalised effects of stigma in processes of meaning-making.

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