The New and the Old in the Art of Cinema

2021 ◽  
Author(s):  
Patricia Emison
Keyword(s):  
Fairy Tales ◽  
Cultural Memory ◽  
Visual Art ◽  
Old World ◽  
Soviet Communism ◽  
And Gender

Alberti initiated the task of articulating goals for narrative visual art, thereby rebalancing the traditional Christian emphasis on word over image. When the choice wasn’t made for them by a patron, Renaissance artists faced dilemmas about whether to appeal to a broader public (the faithful) or a more narrow one (collectors, humanists, and emerging connoisseurs). Film faced similar challenges and struggled to define its cultural place: art versus business, America versus Old World, capitalism versus Soviet communism. Hollywood specialized in romantic themes, often treated like fairy tales, though at other times addressing tensions of class and gender. Films were also used to present a version of war suitable for cultural memory, variously heroic or pacifist.

Poetic Trespass

2014 ◽  
Author(s):  
Lital Levy
Keyword(s):  
Twentieth Century ◽  
Visual Art ◽  
Prose Poetry ◽  
Old World ◽  
History And Literature ◽  
Political Boundaries ◽  
Depth Study ◽  
Emile Habiby ◽  
The Relationship ◽  
The Way

A Palestinian-Israeli poet declares a new state whose language, “Homelandic,” is a combination of Arabic and Hebrew. A Jewish-Israeli author imagines a “language plague” that infects young Hebrew speakers with old world accents, and sends the narrator in search of his Arabic heritage. This book brings together such startling visions to offer the first in-depth study of the relationship between Hebrew and Arabic in the literature and culture of Israel/Palestine. More than that, the book presents a captivating portrait of the literary imagination's power to transgress political boundaries and transform ideas about language and belonging. Blending history and literature, the book traces the interwoven life of Arabic and Hebrew in Israel/Palestine from the turn of the twentieth century to the present, exposing the two languages' intimate entanglements in contemporary works of prose, poetry, film, and visual art by both Palestinian and Jewish citizens of Israel. In a context where intense political and social pressures work to identify Jews with Hebrew and Palestinians with Arabic, the book finds writers who have boldly crossed over this divide to create literature in the language of their “other,” as well as writers who bring the two languages into dialogue to rewrite them from within. Exploring such acts of poetic trespass, the book introduces new readings of canonical and lesser-known authors, including Emile Habiby, Hayyim Nahman Bialik, Anton Shammas, Saul Tchernichowsky, Samir Naqqash, Ronit Matalon, Salman Masalha, A. B. Yehoshua, and Almog Behar. By revealing uncommon visions of what it means to write in Arabic and Hebrew, the book will change the way we understand literature and culture in the shadow of the Israeli–Palestinian conflict.

Moving Pictures and Renaissance Art History

2021 ◽  
Author(s):  
Patricia Emison
Keyword(s):  
Twentieth Century ◽  
Mass Media ◽  
Art History ◽  
Visual Art ◽  
Renaissance Art ◽  
Word And Image ◽  
Visual Composition ◽  
Moving Pictures ◽  
And Gender

Film, like the printed imagery inaugurated during the Renaissance, spread ideas---not least the idea of the power of visual art---across not only geographical and political divides but also strata of class and gender. Moving Pictures and Renaissance Art History examines the early flourishing of film, 1920s-mid-60s, as partly reprising the introduction of mass media in the Renaissance, allowing for innovation that reflected an art free of the control of a patron though required to attract a broad public. Rivalry between word and image, narrative and visual composition shifted in both cases toward acknowledging the compelling nature of the visual. The twentieth century also saw the development of the discipline of art history; transfusions between cinematic practice and art historical postulates and preoccupations are part of the story told here.

scholarly journals “We are the People”: The Holodomor and North American-Ukrainian Diasporic Memory in Marsha Forchuk Skrypuch’s “Enough”

2018 ◽  
Vol 7 ◽  
pp. 49-71
Author(s):  
Anastasia Ulanowicz
Keyword(s):  
United States ◽  
Fairy Tales ◽  
North American ◽  
Cultural Memory ◽  
Fairy Tale ◽  
Picture Book ◽  
The United States ◽  
Historical Event ◽  
Young Readers ◽  
The People

“We are the People”: The Holodomor and North American-Ukrainian Diasporic Memory in Marsha Forchuk Skrypuch’s Enough. Although the Holodomor — the Ukrainian famine of 1932–1933 — has played a major role in the cultural memory of Ukrainian diasporic communities in the United States and Canada, relatively few North American children’s books directly represent this traumatic historical event. One exception, however, is Marsha Forchuk Skrypuch’s and Michael Martchenko’s picture book, Enough 2000, which adapts a traditional Ukrainian folktale in order to introduce young readers to the historical and polit­ical circumstances in which this artificial famine occurred. By drawing on what scholar Jack Zipes has identified as the “subversive potential” of fairy tales, Skrypuch and Martchenko critique the ironies and injustices that undergirded Soviet forced collectivization and Stalinist famine policy. Additionally, they explicitly set a portion of their fairy tale adaptation in Canada in order to gesture to the role played by the Holodomor in structuring diasporic memory and identity, especially in relation to post-Independ­ence era Ukraine.«Мы — народ»: Голодомор и североамериканско-украинская диаспорная память в книге Enough Марши Форчук Скрыпух. Несмотря на то, что Голодомор — голод в Украине 1932–1933 гoдов — сыграл важную роль в культурной памяти украинских диаспорных общин в Соеди­ненных Штатах и Канаде, относительно мало североамериканских детских книг описывает это травматическое событие. Важное место в этом контексте является книга Марши Форчук Скры­пух и Майкла Мартченко «Достаточно» 2000, которая адаптирует традиционную украинскую сказку для того, чтобы познакомить молодых читателей с историческими и политическими обстоятельствами этого искусственного голода. Опираясь на то, что ученый Джек Зайпс назвал «подрывным потенциалом» сказок, Скрыпух и Мартченко критикуют иронию и несправедли­вость советской принудительной коллективизации и политики сталинского голода. Кроме того, они установили часть своей сказочной адаптации в Канаде, чтобы показать роль Голодомора в структурировании диаспорной памяти и самобытности, и связи последних с независимой Украиной.

scholarly journals The Political Economy of Cultural Memory in the Videogames Industry

2019 ◽  
Vol 5 (1) ◽  
pp. 61-84
Author(s):  
Emil Lundedal Hammar
Keyword(s):  
Political Economy ◽  
Cultural Production ◽  
Cultural Memory ◽  
Qualitative Interviews ◽  
Game Studies ◽  
Production Networks ◽  
Cultural Aspects ◽  
Videogame Industry ◽  
And Gender ◽  
Game Developers

Abstract Following the materialist approaches to contemporary digital memory- making, this article explores how unequal access to memory production in videogames is determined along economic and cultural lines. Based on semi-structured qualitative interviews with different European, Asian and North American historical game developers, I make the case for how materialist and cultural aspects of videogame development reinforce existing mnemonic hegemony and in turn how this mnemonic hegemony determines access to the production of memory- making potentials that players of videogames activate and negotiate. My interview findings illustrate how individual workers do not necessarily intend to reproduce received systems of power and hegemony, and instead how certain cultural and material relations tacitly motivate and/or marginalise workers in the videogame industries to reproduce hegemonic power relations in cultural memory across race, class and gender. Finally, I develop the argument that access to cultural production networks such as the games industry constitutes important factors that need to be taken seriously in research on cultural memory and game studies. Thus, my article investigates global power relationships, political economy, colonial legacies and cultural hegemony within the videogame industry, and how these are instantiated in individual instances of game developers.

Precarious Resistance: Weaving Opposition in the Poetry of Cecilia Vicuña

PMLA ◽  
2005 ◽  
Vol 120 (5) ◽  
pp. 1588-1607 ◽  
Author(s):  
Juliet Lynd
Keyword(s):  
Cultural Memory ◽  
Visual Art ◽  
Aesthetics And Politics ◽  
Neoliberal Globalization ◽  
Complex Relation ◽  
History Of ◽  
The Aesthetic

Woven through the threads of the poetry, performance, and visual art of Cecilia Vicuña are the image and metaphor of weaving itself, a visual and cultural reminder of an other—indigenous and feminine—form of forging cultural memory. Ever committed to using the aesthetic both to remember the violent exclusions of history and to explore the perpetuation and transformation of the marginalizing structures of power in the present, Vicuña's multigenre work spans over thirty years of Chile's turbulent history of struggle with dictatorship and toward democracy. This essay analyzes the interlacing of textile and text in quipoem, a collection of the poetry and visual art of this author-artist that re-presents a constantly evolving theorization of the complex relation between aesthetics and politics, writing and difference, and memory and power in the postcolonial, postdictatorship context of the Americas in the age of neoliberal globalization.

scholarly journals “Neither here nor there”: traces of the feminine in the photoperformances of Ana Mendieta

2017 ◽  
Vol 32 ◽  
pp. 319-330
Author(s):  
Olga da Costa Lima Wanderley
Keyword(s):  
Performance Art ◽  
Cultural Memory ◽  
Political Dimension ◽  
Cuban American ◽  
Transmission Of Knowledge ◽  
American Artist ◽  
The Feminine ◽  
Ana Mendieta ◽  
And Gender ◽  
Constitutive Factor

This article addresses the questions triggered by the work of the Cuban-American artist Ana Mendieta, who has a large part of her work composed exclusively of camera performances and what she termed earth-body-works. Through her strategies of representation based on the disappearance of the female body, Mendieta draws our attention to the legitimized violence and erasures through the establishment of fixed identities – ethnic and gender – within the hegemonic discourses of power. The notions of performance as an instrument for transmission of knowledge and cultural memory, of performativity as a constitutive factor of the categories of identity, as well as of archive, repertory and live event will be explored in the effort to problematize as the themes of exile and feminine, regular in the art of Mendieta, reach a deeply political dimension based on their artistic propositions that integrate photography with performance art.

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