Back to Television?

2017 ◽  
Author(s):  
John Caps
Keyword(s):  
College Student ◽  
Film Music ◽  
Experimental Film ◽  
Film Scoring ◽  
Short Films ◽  
The Future ◽  
The 1960S

This chapter details Mancini's return to television. Mancini was offered his own TV series, to be called The Mancini Generation, on which he would discuss and demonstrate film music to a syndicated audience. Undertaking the series was a colossal commitment. The music materials were drawn from his whole backlog of arrangements alongside some new charts, but in addition to the musical rehearsals there were camera rehearsals and host-segment preparations all of which were shot together during one four-week period and then sliced up for insertion into the shows. Unique to each show was a sequence during which Mancini invited one college student enrolled in a film course at some university across the country to take a past Mancini recording and conceive, shoot, and edit an experimental film based on the music. The short films, then, were shown on the program, and Mancini used the opportunity to push support for film and film-scoring study courses in schools of the future. The Mancini Generation was eventually seen on 150 stations nationwide and also led to an RCA album sporting the series title, his first jazz-pop album since the 1960s.

Short Films from a Small Nation

2018 ◽  
Author(s):  
C. Claire Thomson
Keyword(s):  
Public Information ◽  
Industrial Process ◽  
Actor Network Theory ◽  
Documentary Films ◽  
Wide Range ◽  
Short Films ◽  
Post War ◽  
The 1960S ◽  
Art And Architecture

The first book-length study in English of a national corpus of state-sponsored informational film, this book traces how Danish shorts on topics including social welfare, industry, art and architecture were commissioned, funded, produced and reviewed from the inter-war period to the 1960s. For three decades, state-sponsored short filmmaking educated Danish citizens, promoted Denmark to the world, and shaped the careers of renowned directors like Carl Th. Dreyer. Examining the life cycle of a representative selection of films, and discussing their preservation and mediation in the digital age, this book presents a detailed case study of how informational cinema is shaped by, and indeed shapes, its cultural, political and technological contexts.The book combines close textual analysis of a broad range of films with detailed accounts of their commissioning, production, distribution and reception in Denmark and abroad, drawing on Actor-Network Theory to emphasise the role of a wide range of entities in these processes. It considers a broad range of genres and sub-genres, including industrial process films, public information films, art films, the city symphony, the essay film, and many more. It also maps international networks of informational and documentary films in the post-war period, and explores the role of informational film in Danish cultural and political history.

Introduction

2018 ◽  
Author(s):  
Jenny Andersson
Keyword(s):  
Cold War ◽  
Critical Systems Thinking ◽  
Critical Systems ◽  
Political Ideologies ◽  
The Future ◽  
History Of ◽  
Post War ◽  
The 1960S ◽  
The Cold War ◽  
Future Visions

The book proposes that the Cold War period saw a key debate about the future as singular or plural. Forms of Cold War science depicted the future as a closed sphere defined by delimited probabilities, but were challenged by alternative notions of the future as a potentially open realm with limits set only by human creativity. The Cold War was a struggle for temporality between the two different future visions of the two blocs, each armed with its set of predictive technologies, but these were rivaled, from the 1960s on, by future visions emerging from decolonization and the emergence of a set of alternative world futures. Futures research has reflected and enacted this debate. In so doing, it offers a window to the post-war history of the social sciences and of contemporary political ideologies of liberalism and neoliberalism, Marxism and revisionist Marxism, critical-systems thinking, ecologism, and postcolonialism.

UNDERSTANDING THE FEVZI ÇAKMAK NEIGHBORHOOD: THROUGH ITS PAST, PRESENT AND PLANNED TOMORROW

2021 ◽  
Vol 6 (11) ◽  
pp. 365-384
Author(s):  
Filiz SÖNMEZ ◽  
Hatice DOĞAN ◽  
Okan KARAKAŞ
Keyword(s):  
Urban Planning ◽  
Field Studies ◽  
Grocery Store ◽  
Urban Transformation ◽  
Organizational Relationships ◽  
Republican Period ◽  
Historical Continuity ◽  
The Future ◽  
The Republic ◽  
The 1960S

Mahalle is a place name derived from the Arabic roots halel and hulul, meaning “to land, to settle down” (Turkish Dictionary, 1998). In addition to the residential structures within a neighborhood, it has a mosque, primary school, fountain, baths, a grocery store, bakery, parks, etc. It is the smallest settlement in a city. On the other hand, socially a neighborhood refers to a community that is placed somewhere and has organizational relationships. The neighborhood phenomenon is one of the most important legacies that continue from the Ottoman Empire to the Republic. During the Republican period, many new neighborhoods have also been established, often formed by adhering to a plan. In this study, the formation of Fevzi Çakmak neighborhood, one of the neighborhoods designed according to the Kayseri ARU-Oelsner (1945) zoning plan, and the change that the neighborhood has undergone from the past to the present will be examined. According to the data obtained, the aim of the Kayseri ARU-Oelsner zoning plan is to contribute to the Urban Transformation Project of Fevzi Çakmak neighborhood, which will be planned by the local government in the future. Literature and field studies, document analysis and oral history studies will be used as methods in the study. In this context, maps belonging to the neighborhood, zoning plans, Kayseri Metropolitan Municipality and Kocasinan Municipality archive records and old photographs will be provided. The Fevzi Çakmak neighborhood, which was built in the 1960s, has a grid plan type and is one of the modern neighborhoods that have contributed to the development of the city in an east direction. A city analysis will be carried out in historical continuity from the establishment of Fevzi Çakmak neighborhood to the present day. It is believed that detecting interventions in significant areas of change/transformation of the neighborhood will make significant contributions to the future urban transformation project. Accordingly, it is proposed that the analysis to be conducted in the neighborhood be evaluated within a theoretical framework which is known in Urban Planning as “we-zoning and Hoyt classification”. Accordingly, the areas identified in the neighborhood in the present study will be evaluated within the scope of “protection”, “correction” (improvement) and “renewal” strategies. It is expected that this work, carried out in the Kayseri Fevzi Çakmak neighborhood, will contribute to urban planning and transformation projects and architectural discussions throughout the country.

scholarly journals The fate of African mask in the works of French-speaking writers in West and Central Africa

2021 ◽  
Vol 27 (3) ◽  
pp. 202-209
Author(s):  
Nina D. Lyakhovskaya
Keyword(s):  
Central Africa ◽  
Francophone Literature ◽  
Early 21St Century ◽  
Ancestor Cult ◽  
The Future ◽  
French Speaking ◽  
History Of ◽  
West And Central Africa ◽  
African Writers ◽  
The 1960S

The article examines the attitude of contemporary African writers to the traditional zoomorphic and anthropomorphic masks. In the 1960s–70s, for the supporters of the theory of negritude, the sacred mask embodied the spirit of ancestors and an inextricable connection with tradition. In a transitional era (the 1990s – the early 21st century), the process of desacralisation of the mask has been observed and such works appear in which the idea of the death of tradition is carried out. The article consistently examines the history of the emergence and strengthening of interest in the image of the African mask as the most striking symbol of African traditions on the part of cultural, art and scientific workers and the reflection of this symbol in the works of representatives of Francophone literature in West and Central Africa in different periods of time. The article concludes about the transformation of the views of the studied writers on the future of African traditions from an enthusiastic and romantic (as, for example, in the lyrics of Léopold Sédar Senghor or Samuel-Martin Eno Belinga) attitude to the images of the African past and tradition – masks, ancestor cult – to despair and bitterness from the awareness of the desacralisation of traditional objects and images and the profanation of tradition under the pressure of the realities of the present day (drama by Koffi Kwahulé). The attitude of African writers to the image of the mask, which is directly related to the themes of preserving traditions and the search of their identity by African literary heroes, is gradually changing, demonstrating the pessimistic view of Francophone African writers on the future of African traditions.

Kuntanshi yamikalile (The Future): speculative nonconformity in the works of Zambian visual artists

2021 ◽  
Author(s):  
◽  
Andrew Mukuka Mulenga
Keyword(s):  
Art History ◽  
Visual Artists ◽  
African Art ◽  
The Past ◽  
The Us ◽  
The Future ◽  
The 1960S ◽  
Scholarly Discourse ◽  
Contemporary African Art ◽  
Freeze Time

In recent years, select African visual artists practising on the continent as well as in its diaspora have increasingly been attracted to themes that explore, portray or grapple with Africa’s future. Along with this increasing popularity of the ‘future’ or indeed ‘African futuristic’ themes by visual artists, such themes have also attracted academic consideration among various scholars, resulting primarily in topics described as ‘African Futurism’ or Afrofuturism. These are topics that may be used to disrupt what some scholars – across disciplines and in various contexts – have highlighted as the persistent presumptive notions that portray Africa as a hinterland (Hassan 1999; Sefa Dei, Hall and Goldin Rosenberg 2000; Simbao 2007; Soyinka-Airewele and Edozie 2010; Moyo 2013; Keita, L. 2014; Green 2014; Serpell 2016). This study makes an effort to critique certain aspects of ‘African Art History’ with regard to the representation of Africa, and raises the following question: How can an analysis of artistic portrayals of ‘the future’ portrayed in the works of select contemporary Zambian artists be used to critique the positioning of Africa as ‘backward’, an occurrence at the intersection of a dualistic framing of tradition versus modern. Furthermore, how can this be used to break down this dichotomy in order to challenge lingering perceptions of African belatedness? The study analyses ways in which this belatedness is challenged by the juxtaposition of traditional, contemporary and futuristic elements by discussing a series of topics and debates associated to African cultures and technology that may be deemed disconnected from the contemporary lived experiences of Africans based on the continent. The study acknowledges that there is no singular ‘African Art History’ that one can talk of and there have been various shifts in how it has been perceived. I argue that while currently the African art history that is written in the West does not simplistically position Africa as backward as it may have done in the past, there appear to be moments of a hangover of this perception (Lamp 1999:4). What started out as a largely Western scholarly discourse of African art history occurred in about the 1950s and the journal African Arts started in the 1960s. Even before contemporary African art became a big thing in the 1990s for the largely US- and Europe-based discourses there were many discussions in the US about how the ‘old’ art history tended to freeze time and that this was not appropriate (Drewal 1991 et al). In order to advance the discourse on contemporary African visual arts I present critical analyses of the select works of Zambian artists to develop interpretations of the broader uses of the aforementioned themes. The evidence that supports the core argument of this research is embedded in the images discussed throughout this dissertation. The artists featured in the study span several decades including artists who were active from the 1960s to the 1980s, such as Henry Tayali and Akwila Simpasa, as well as artists who have been practising since the 1980s, such as Chishimba Chansa and William Miko and those that are more current and have been producing work from the early 1990s and 2000s, such as Zenzele Chulu, Milumbe Haimbe, Stary Mwaba, Isaac Kalambata and Roy Jethro Phiri.

Audiovisual Advertising

2021 ◽  
pp. 774-793
Author(s):  
Madelijn Strick
Keyword(s):  
Film Music ◽  
Essential Elements ◽  
Vital Role ◽  
Future Studies ◽  
Mediating Role ◽  
Moderating Factors ◽  
Short Films ◽  
Cognitive Involvement ◽  
Plot Structure

Narrative advertisements (i.e. ads that resemble short films that include characters, drama, and plot structure) are increasingly popular on TV and on the Internet. As in almost any film, music can play a vital role in the experience and impact of narrative ads. This chapter identifies psychological transportation as an important mediator between music and persuasion by narrative ads. Transportation refers to a strong emotional and cognitive involvement in the ad, a sense of being “lost” in the narrative. Previous studies show that transportation plays a mediating role in various aspects of persuasion, such as changing viewers’ beliefs, attitudes, and even behavior. This chapter begins with an overview of the literature on psychological transportation, focusing on its essential elements, moderating factors, and consequences for persuasion. The author then discusses the intriguing possibility that music plays an important role in promoting psychological transportation into narrative ads and reviews initial experimental evidence supporting this idea. Special attention will be paid to the role of “moving” (i.e. intensely emotional and chills-evoking) music, as it appears to be particularly effective in eliciting psychological transportation. Finally, the chapter closes with some enduring questions to be addressed in future studies.

Godard’s suburban years

2018 ◽  
Author(s):  
Térésa Faucon
Keyword(s):  
Science Fiction ◽  
Surprising Effect ◽  
The Future ◽  
Spatio Temporal ◽  
The 1960S ◽  
Late Modern ◽  
Rupture Characteristic

Far from a simple backdrop, the lived environment was for Jean-Luc Godard capable of eliciting specific modes of cinematographic thought; choice of locations could impact the shape and feel of a film more than its screenplay. Prevalent in his works of the 1960s are suburban landscapes and locales, from the villas, cafés and roadways frequented by the characters of Bande à part (1964) to the high-rises of La Courneuve shown in the essay in phenomenology 2 ou 3 choses que je sais d’elle (1967). Without positing an equivalence between suburban heterogeneity and Godard’s jarring late-modern aesthetic, the author argues for the generative, transgressive capacity of a capitalist space in the throes of transformation and shot through with fragments of history. Shooting near Joinville-le-Pont and Vincennes in Bande à part, Godard pays homage to those pioneers who came before him, like Mack Sennett or Louis Feuillade. In other contexts, like the science-fiction sendup Alphaville (1965), he finds signs of the future in the present, showing Lemmy Caution moving through sleek, well-lit neighbourhoods of high-rises. The spatio-temporal rupture characteristic of Godard’s approach to suburban space resurfaces to surprising effect in Holy Motors (Leos Carax, 2012).

Activism and College Student Mental Health

2021 ◽  
pp. 628-643
Author(s):  
Abby L. Bjornsen-Ramig ◽  
Daniel B. Kissinger
Keyword(s):  
Mental Health ◽  
Higher Education ◽  
College Student ◽  
Mental Health Professionals ◽  
Partner Violence ◽  
Student Activism ◽  
Media Campaigns ◽  
Student Activists ◽  
College Student Activism ◽  
The 1960S

Activism on college campuses in the United States is a long-standing phenomenon rooted in the counterculture movements of the 1960s. Today, local, regional, and national issues and sociopolitical influences remain closely aligned with activism in higher education, with contemporary issues shaping student activism efforts on campus. College student activism ranges from organized marches and protests to more widespread social media campaigns, targeting issues ranging from inclusion and diversity to sexual assault and intimate partner violence. Involvement in activism can influence the mental health and overall wellness of college students who engage in these activities. This chapter focuses on contemporary activism in higher education, specifically as related to the potential impact of activism on the mental health and wellness of college student activists. Also discussed are implications for student affairs professionals, university-based mental health professionals, and higher education administrators.

Consumerism: Its Goals, Organizations and Future

1970 ◽  
Vol 34 (4) ◽  
pp. 55-60 ◽  
Author(s):  
Robert O. Herrmann
Keyword(s):  
Consumer Movement ◽  
Current Wave ◽  
The Future ◽  
Consumer Movements ◽  
The 1960S

What are the causes of the current wave of consumer unrest? What are the goals of consumer protest groups? How are they organized? Who supports them? In this article, the consumer movement of the 1960s is examined and comparisons made with the consumer movements of the early 1900s and the 1930s. The analysis suggests new answers to the questions raised and a basis for predicting the future course of consumerism.

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