Early Cinema, Modernity and Visual Culture

2021 ◽  
Author(s):  
Ana Grgic
Keyword(s):  
Visual Culture ◽  
Cultural Context ◽  
Urban Life ◽  
Early Cinema ◽  
Cultural Perspective ◽  
Visual Medium ◽  
The Balkans ◽  
Moving Images ◽  
Cultural Movements ◽  
Cultural Responses

The end of the nineteenth century saw the Balkans animated with cultural movements and socio-political turmoil. Alongside these developments, the proliferation of print media and the arrival of moving images was transforming urban life and played a significant role in the creation of national culture. Based on archival research and previously overlooked footage and early press materials, Imaginary of the Balkans: Visual Culture, Modernity and Early Cinema is the first study on early cinema in the region from a transnational and cross-cultural perspective. This work investigates how the unique geopolitical positioning of the Balkan space and the multi-cultural identity of its communities influenced and shaped visual culture and early cinema development. Moreover, it examines the relationship between the new medium and visual culture through the notion of the haptic, and explores the role early cinema and foreign productions played in the construction of Balkanist and semi-colonial discourses. Reframing hierarchical relations between ‘centres’ and ‘peripheries’, this book departs from approaches such as “new cinema history” and “vernacular modernity” to counter modernity discourses of “lacks and absences”, and instead, establishes new connections between moving image and print artefacts, early film practitioners and intellectuals, the socio-cultural context and cultural responses to the new visual medium.

An Italian Renaissance Gate for the Khan: Visual Culture in Early Modern Crimea

2017 ◽  
Vol 34 (1) ◽  
pp. 85-123
Author(s):  
Nicole Kançal-Ferrari
Keyword(s):  
Visual Culture ◽  
Early Modern ◽  
Cultural Context ◽  
Italian Renaissance ◽  
Black Sea Region ◽  
Visual Appearance ◽  
Early Modernity ◽  
The Balkans ◽  
Iron Gate ◽  
New Interpretation

This article introduces the Renaissance “Iron Gate” erected in 1503–4 in the Khan’s Palace in Bahçesaray, Crimea. It proposes a new interpretation of this famous portal in the residence of the Crimean khans, taking into consideration the broader cultural context of early modernity. The research focuses on the visual appearance of the Iron Gate and the content of its unique inscription. Comparison with other portals and a tomb from the Balkans, on one hand, and with titulature in inscriptions, coins, and diplomatic documents from the Turco-Mongol-Islamic environment, on the other, furnishes enough data to situate the portal within the historical-cultural context of the khanate in the northern Black Sea region. Through an analysis of ways in which envoys were received in the Crimean capital, and an assessment of the architectural environment of the palace, new dimensions are opened into understanding Khan Mengli Geray I’s self-representation as ruler during this historically significant period.


Exploring Visual Methods in Teaching Tourism

2020 ◽  
Vol 25 (2) ◽  
pp. 203-214
Author(s):  
Ana Isabel Rodrigues
Keyword(s):  
Visual Culture ◽  
Visual Stimuli ◽  
Visual Methods ◽  
Self Reflection ◽  
Moving Images ◽  
Educational Environments ◽  
Ways Of Thinking ◽  
And Behavior ◽  
Photography Method

Humankind is becoming increasingly image based. Visual culture is everywhere: it surrounds us all with still and moving images. Based on this pictorial change, working with the visual in education has the potential for engaging students in a process of self-reflection in an effort to change ways of thinking and behavior, aiming to consolidate concepts taught in classes. Nevertheless, there are key elements to consider as a set of methodologies and practices. The aim of this study is to explore multiple ways of working with the visual, within educational environments, specifically in classes taught in the second and third year of a degree in Tourism. Two examples of visual methodologies were considered for this study. An image-based exercise through the use of tourism cartoons as visual stimuli to evoke opinions and incite thoughts was fully implemented. Analysis was undertaken and the results are presented. A reflexive photography method is also proposed as another example for a visual-based exercise. The results from the cartoons exercise demonstrate that knowledge is continuously derived from the experience of the learner. The student's impressions and full comprehension of the concepts taught in a particular subject were achieved with this exercise.

Performance Practices and Music In Early Cinema outside Hollywood

2013 ◽  
pp. 610-619
Author(s):  
Kathryn Kalinak
Keyword(s):  
Film Music ◽  
Silent Film ◽  
Early Cinema ◽  
Performance Practices ◽  
Moving Images ◽  
Cultural Interface ◽  
Silent Era

This chapterexamines the diversity of international practices in film music outside Hollywood during the silent film era. It describes performance practices around the globe and offers a broader context in which to consider American practices during this period. It suggests that music functioned as a cultural interface throughout the silent era in a way quite different from the sound era and that music in the silent era had an impressive power to interact with moving images in ways not controlled by films or their producers.

Early Cinema and the Variety of Moving Images

American Art ◽  
2008 ◽  
Vol 22 (2) ◽  
pp. 9-11 ◽  
Author(s):  
Tom Gunning
Keyword(s):  
Early Cinema ◽  
Moving Images

scholarly journals Graffiti as a sign: the semiotic approach to the study of the phenomenon

2019 ◽  
Vol 9 (18) ◽  
pp. 92-98
Author(s):  
Maria Chikarkova ◽  
Keyword(s):  
Cultural Context ◽  
Single Point ◽  
Point Of View ◽  
Urban Life ◽  
Street Art ◽  
The Media ◽  
Cultural Code ◽  
The One ◽  
Different Characteristics

Although graffiti is a well-known phenomenon of street art, there is still no single point of view on this phenomenon (even if it is considered art at all). Both the essence and the manifestations of graffiti remain a matter of debate - there are dozens of different classifications, that they are based on different characteristics. However, the phenomenon has rarely attracted attention from the point of view of semiotics, though it is the semiotic reading of graffiti that makes it possible to understand its nature more deeply. Due to semiotics we could create an integrative classification, which would combine stylistics and subject matter into one system. The article made exactly such an attempt –providing of the semiotic classification of graffiti, based on Ch. Peirce’s classification of semiotic signs. Graffiti is a sign, because it has a material shell of the latter, a marked object and rules of interpretation. It functions within the subculture and signifies the individual's desire to escape from the deterministic nature of urban life (J. Baudrillard). It is a culture of the semiosphere, which continuously gives rise to new connotations and, accordingly, generates new receptions. An important component of graffiti interpretation is the cultural code; it is not read outside the field of conventionality, cultural context. Decoding of graffiti can occur in three ways. From our point of view, it is appropriate to use S. Hall’sclassification. He suggested a scheme for "decrypting" messages in the media, however, in our opinion, his scheme works for any communicative act (including graffiti). He distinguished dominant ("dominant-hegemonic"), oppositional ("oppositional") and negotiated ("negotiated") decoding. In the graffiti situation, oppositional decoding prevails among ordinary recipients (passers-by). U. Eco called this type aberrant, because it provides "decryption" of text with a different code than the one it was created for. Authors of graffiti themselves are often not fully aware of what they createalso. Modern writers use techniques of op-art, Dadaism, surrealism, etc., without being very oriented in all these directions. When graffiti combines different types of art (for example, the combination of painting with literature), it takes into account the features of inter-semiotic translation, which makes the decoding situation even more complicated. We offercreating a semioticclassificationofgraffiti, that might be based on Ch. Peirce’s classification of semiotic signs, whichdistinguishthesigns-copies, signs-indexes, signs-symbols. It could help the essence of graffiti and decode them.

scholarly journals Public Perception on Cultural Perspective

2018 ◽  
Vol 3 (10) ◽  
pp. 113-123
Author(s):  
Sabrina Idilfitri ◽  
Nur Izzati Mohd Rodzi ◽  
Nik Hanita Nik Mohamad ◽  
Suria Sulaiman
Keyword(s):  
Public Perception ◽  
Landscape Planning ◽  
Publishing House ◽  
Urban Life ◽  
Cultural Perspective ◽  
Environmental Setting ◽  
Quality Of Urban Life ◽  
International Publishing ◽  
Open Access Article

A better quality of urban life can be achieved with one of the best planning method; public perception. The local communities and the tourists are the groups that are identified as the most influence and affected individual in an area and give the tremendous boost to any development. The research aim is to obtain the level of awareness and appreciation of these groups toward the cultural attraction. It is envisaged that the analysis will further contribute to the knowledge and idea of professional disciplinary. The findings are hoped to contribute towards establishing the preservation of cultural attractions including architecture, religion attraction, and natural environmental setting. Keywords: Public perception; cultural attraction; landscape planning eISSN 2514-7528 © 2018. The Authors. Published for AMER ABRA cE-Bs by e-International Publishing House, Ltd., UK. This is an open-access article under the CC BY-NC-ND license (http://creativecommons.org/licenses/by-nc-nd/4.0/). Peer–review under responsibility of AMER (Association of Malaysian Environment-Behaviour Researchers), ABRA (Association of Behavioural Researchers on Asians) and cE-Bs (Centre for Environment-Behaviour Studies), Faculty of Architecture, Planning & Surveying, Universiti Teknologi MARA, Malaysia. DOI:https://doi.org/10.21834/jabs.v3i10.310

scholarly journals Javanese Ethical Values in Tafsir Al-Huda

2013 ◽  
Vol 20 (2) ◽  
pp. 207
Author(s):  
Novita Siswayanti
Keyword(s):  
Content Analysis ◽  
Culture Condition ◽  
Cultural Context ◽  
Moral Values ◽  
Ethical Values ◽  
Analysis Method ◽  
Cultural Perspective ◽  
Social Culture ◽  
Content Analysis Method ◽  
Culture Heritage

<p>Tafsir Al-Huda<em>, interpreting Quran in Javanese language, is one of Indonesia interpretation in which the context projecting the process of mingle between Quran and Javanese culture heritage owned by the author with social culture condition surrounded. </em>Tafsir Al-Huda <em>is a guidebook for experiencing sacred messages of Quran which is filled with moral values of Javanese culture. This research tried to study Javanese ethical values written in </em>Tafsir Al-Huda<em>. Content analysis method with hermeunetic approach is used in this study by interpreting symbols in form of text in order to find its meaning. This research conclude that </em>Tafsir Al-Huda <em>has Javanese cultural perspective, use cultural context, and has acomodating and integrating interconection.  Tafsir Al-Huda embody the Javanese philosophy and view of life to make society remember the God and be aware to any behavior and saying (</em>eling lan waspada<em>)</em><em>, tolerate and respect others (</em>tepa selira<em>)</em><em>, and live in harmony with the concept that harmony can create unity, dispute can create separation </em>(rukun agawe santosa lan crah agawe bubrah)<em>.</em></p>

scholarly journals Issue of Integrity of Art Education in the Context of Changes in Art and Visual Culture

Pedagogika ◽  
2014 ◽  
Vol 114 (2) ◽  
pp. 167-179
Author(s):  
Edita Musneckienė
Keyword(s):  
Visual Culture ◽  
Art Education ◽  
Contemporary Art ◽  
Cultural Context ◽  
Arts Education ◽  
New Technologies ◽  
Thinking Skills ◽  
Education Programs ◽  
Creative People ◽  
Wide Range

This article examines a paradigmatic change of contemporary art education in the context of visual culture and focus to the integrity of arts in formal and informal art education. The article is based on an international research “Contemporary art and visual culture in education” which reveals the problematic aspects of contemporary arts and visual culture in education in general. The research method was the discourse analysis of the participants and researchers, who presented the insights in reflective groups and during the interview with teachers and educators.This paper explores how contemporary cultural context and the spread of visual culture provide preconditions for changes in art education. The aim of the article is to analyze theproblems and perspectives of integral arts education in formal and non-formal education: what the educational challenges and opportunities appear in the context of contemporary art and visual culture? How the integral arts could be realized in art education practice in different arts disciplines and areas of education?Contemporary art and visual culture is increasingly multidimensional, the wide range of visual art forms integral with per formative arts, new technologies and media merge the limits between the arts disciplines. That becomes relevant pedagogical problem with the fact that arts education is traditionally allocated to the separate arts subjects such as music, art, theatre, dance, which also can also be divided into separate areas. This subject segregation of the school curriculum and strong subject orientation limits multimodal contemporary arts education. Secondary Education programs provide opportunities for several options of arts education disciplines (photography, cinema art, graphic design, contemporary music technologies), but it needs special resources for the schools and professional teachers. Many schools follow on traditional model of teaching art and still focusing on simple interpretation of modern artworks, different media and technical skills.Contemporary model of teaching integrated arts and visual culture in education is challenging, because it is based on visual literacy and critical thinking skills, it emphasizes inquiry-based education, a critical understanding of contemporary art practices, problem solving and creating new valuable ideas. Knowledge and experiences came from various sources: formal, non-formal, accidental, individual.Great potential for contemporary art education has non-formal art education programs and projects. Successful project-based initiatives in art education have been excellent examples of arts integration.Artists and other creative people involved into a process of education, their collaboration with schools and communities could initiate some interdisciplinary and collaborative practices. Non-formal arts education environment creates more space for creativity, freedom and diversity. Additional arts education programs, museum and gallery education, artistic competitions and international projects allows for the wider development of arts education. Art education in the new age requires changing attitudes towards learning and teaching, changing roles of the educator and new learning environments.

scholarly journals Interweaving Realities: Spoken Language and Moving Images in the Sonne halt!, Experimental Film by Ferry Radax

2018 ◽  
Author(s):  
Luka Bešlagić
Keyword(s):  
Cultural Context ◽  
Narrative Structure ◽  
Spoken Language ◽  
Experimental Film ◽  
The Novel ◽  
Moving Image ◽  
Avant Garde ◽  
Moving Images ◽  
Narrative Cinema ◽  
Movie Script

This paper analyses the experimental film Sonne halt! by Ferry Radax, an Austrian filmmaker renowned for his unconventional approach to cinematic practice. Filmed and edited between the end of the 1950s and early 1960s, the film at first may appear to be a belated homage to the previous European experiments in avant-garde cinema, already carried out a few decades earlier. However, since there have been no great ‘historical avant-garde’ movements in Vienna in the period between the two world wars – according to the novel argument made by Klaus Kastberger – it was already the middle of the 20th century when the ‘original’ avant-garde strategies were finally acknowledged in Austria, and simultaneously appropriated by the ‘neo-avant-garde’. In this peculiar historico-cultural context Sonne halt!, in its fragmentary non-narrative structure which resembles Dadaist or Surrealist playfulness and openness, innovatively and radically interweaved two disparate film registers: moving image and spoken language. Various sentences arbitrarily enounced throughout the film – which have their origin in Konrad Bayer’s unfinished experimental, pseudo-autobiographical, montage novel der sechste sinn – do not constitute dialogues or narration of a traditional movie script but rather a random collection of fictional and philosophical statements. At certain moments there is a lack of rapport between moving image and speech – an experimental attempt by Ferry Radax to challenge one of the most common principles of sound and narrative cinema. By deconstructing Sonne halt! to its linguistic and cinematic aspects, this article particularly focuses on the role of verbal commentaries within the film. Article received: December 28, 2017; Article accepted: January 10, 2018; Published online: April 15, 2018; Original scholarly paper How to cite this article: Bešlagić, Luka. "Interweaving Realities: Spoken Language and Moving Images in the Sonne halt!, Experimental Film by Ferry Radax." AM Journal of Art and Media Studies 15 (2018): . doi: 10.25038/am.v0i15.228

scholarly journals The Nanking Atrocity: Still and Moving Images 1937–1944

2014 ◽  
Vol 1 (1) ◽  
pp. 51-67
Author(s):  
Gary Evans
Keyword(s):  
World War Ii ◽  
Public Opinion ◽  
Visual Culture ◽  
Historical Context ◽  
Visual Media ◽  
World War ◽  
Moving Images ◽  
Mass Public ◽  
Racial Context ◽  
Film Clips

This manuscript investigates the facts of publication of the images of the Nanking Atrocity (December 1937–January 1938) in <em>LIFE </em>and <em>LOOK</em> magazines, two widely read United States publications, as well as the Nanking atrocity film clips that circulated to millions more in American and Canadian newsreels some years later. The publishers of these images were continuing the art of manipulation of public opinion through multimodal visual media, aiming them especially at the less educated mass public. The text attempts to describe these brutal images in their historical context. Viewing and understanding the underlying racial context and emotive impact of these images may be useful adjuncts to future students of World War II. If it is difficult to assert how much these severe images changed public opinion, one can appreciate how the emerging visual culture was transforming the way that modern societies communicate with and direct their citizens' thoughts.

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