To Cut or Not to Cut

The Long Take ◽  
2017 ◽  
Author(s):  
Lutz Koepnick
Keyword(s):  
Twentieth Century ◽  
First Century ◽  
Art Cinema ◽  
Moving Image ◽  
The Past ◽  
Expanded Cinema ◽  
Twenty First Century ◽  
The 1960S ◽  
History And Theory

Chapter 1: traces the history and theory of the long take in twentieth-century art cinema to make a case who and why twenty-first century moving image practice differs from the past and its concepts; shows how contemporary long take practice absorbs the recalibrates the dual legacies of expanded cinema and art cinema of the 1960s, and how it asks to rethink our concept of art cinema today, and why its study neither belongs to film scholars nor art critics alone today

Pentecostals and Charismatics in America

2019 ◽  
pp. 241-260
Author(s):  
Cecil M. Robeck
Keyword(s):  
Twentieth Century ◽  
Holy Spirit ◽  
First Century ◽  
1 Corinthians ◽  
The Past ◽  
Family Tradition ◽  
The Holy Spirit ◽  
Twenty First Century ◽  
Christian Family ◽  
The Church

This chapter traces Pentecostal and related congregations, churches, denominations, and organizations that stem from the beginning of the twentieth century. They identify with activities at Pentecost described in Acts 2 and in the exercise of charisms in 1 Corinthians 12–14. Each of them highlights is the significance of a personal encounter with the Holy Spirit leading to a transformed life. These often interrelated organizations and movements have brought great vitality to the Church worldwide for over one hundred years, and together, they constitute as much as 25 per cent of the world’s Christians. This form of spirituality is unique over the past 500 years, since it may be found in virtually every historic Christian family/tradition, and in most churches of the twenty-first century.

scholarly journals The Memory of the Avant-Garde and the New Wave in the Contemporary Serbian Novel

2020 ◽  
Vol 43 (2) ◽  
Author(s):  
Marko Avramović
Keyword(s):  
Twentieth Century ◽  
First Century ◽  
New Wave ◽  
Avant Garde ◽  
The Past ◽  
Twenty First Century

This article is dealing with the topic of two past twentieth-century epochs in a few representative Serbian novels at the turn from the twentieth to the twenty-first century. These are the 1980s and the New Wave era in Yugoslavia, an epoch close to the past that can still be written about from the perspective of an immediate witness, and the avant-garde era, that is, the period between the two world wars marked in art by different movements of the historical avant-garde. The novels Milenijum u Beogradu (Millennium in Belgrade, 2000) by Vladimir Pištalo, Vrt u Veneciji (The Garden in Venice, 2002) by Mileta Prodanović, and Kiša i hartija (Rain and Paper, 2004) by Vladimir Tasić are being interpreted. In these novels, it is particularly noteworthy that the two aforementioned epochs are most commonly linked as part of the same creative and intellectual currents in the twentieth century.

Contemporary Art and Archaeology in the Arab World

2020 ◽  
pp. 325-328
Author(s):  
Salwa Mikdadi
Keyword(s):  
Twentieth Century ◽  
Contemporary Art ◽  
Arab World ◽  
First Century ◽  
National Narratives ◽  
The Past ◽  
Nation States ◽  
Iconic Images ◽  
Twenty First Century

Contemporary Arab artists are increasingly engaging with the past to make sense of present-day issues. Mining historical regional archives for inspiration, they are placing ancient art and archaeology at the center of their research for art projects and exhibitions. This engagement continues a trend that started in the early decades of the twentieth century, when Egyptian and Iraqi artists employed archaeology in the construction of national narratives, re-appropriating ancient art from its colonial construct—its iconic images of the exotic Orient—to serve the emerging nation states. Twenty-first-century artists are now reflecting upon the discipline of Archaeology and examining the politics of excavations and the display and interpretation of historical artifacts. This chapter presents examples of diverse approaches and techniques in contemporary art that explore archaeological and museological practices in the context of current sociopolitical and economic concerns.

scholarly journals Divorced Eggs and the Culinary Field: Bourdieu, Field Theory, and the Chef

2020 ◽  
Vol 6 ◽  
pp. 58-66
Author(s):  
Jed Hilton
Keyword(s):  
Field Theory ◽  
Twentieth Century ◽  
First Century ◽  
The Future ◽  
Twenty First Century ◽  
The 1960S

In this article I seek to utilise Bourdieu’s field theory to examine the relation between the artistic and culinary fields. I examine how the field has changed since the mid-twentieth century and how, since the 1960s, the autonomy of the chef drastically changed the culinary field. Focusing upon elite chefs of the twenty-first century, such as Ferran Adrià and Massimo Bottura, I analyse how European haute cuisine has developed and how dialogues between the chef and diner have become a defining feature of contemporary haute cuisine. Overall I examine how this autonomy occurred and what it potentially means for haute cuisine in the future. Throughout, I reference the concepts of Bourdieu’s field theory, legitimation, and heteronomy/autonomy to explain how these changes within the culinary field occurred and what it means for the field.

Epilogue

Cinesonidos ◽  
2019 ◽  
pp. 234-242
Author(s):  
Jacqueline Avila
Keyword(s):  
Twentieth Century ◽  
Present State ◽  
Film Music ◽  
First Century ◽  
The Past ◽  
Mexican Cinema ◽  
State Of Research ◽  
The 1960S ◽  
Film Genres ◽  
Musical Elements

This last chapter briefly discusses the period following the época de oro, focusing on the new genres that developed which recycled narrative and musical elements from the genres of the past. This includes the film comedy, cine de luchadores, and cine de ficheras, film genres popular from the 1960s to the 1990s. The chapter then explores how the época de oro and its musical conventions are remembered and recycled in Mexican cinema, from the end of the twentieth century into the beginnings of the twenty-first century. The chapter concludes with look at the present state of research on and the importance of studying film music in Mexican cinema.

Literature, Society, and Politics

2020 ◽  
Author(s):  
Werner Mackenbach
Keyword(s):  
Nineteenth Century ◽  
Twentieth Century ◽  
American Literature ◽  
Literary History ◽  
Historical Change ◽  
First Century ◽  
Literary Historiography ◽  
Twenty First Century ◽  
Literature History ◽  
The 1960S

The historiography of Central American literature from the early nineteenth century to the beginning of the twenty-first century, focusing on the relationships between literature, (literary) history, and the political field, especially within the context of projects centered on national construction, is essential. The approach here analyzes the different periods—or moments of change or transition—regarding the relations between politics, society, and culture from the perspective of historical change, concentrating on “microperiods” characterized by a paradigm shift with respect to the relationships between literature, history, politics and society: the nineteenth century (the post-independence moment); the late nineteenth/early twentieth century; the 1930s–1960s; the 1960s–1990s; and the end of the twentieth century/beginning of the twenty-first. A set of proposals aims at filling the gaps, developing the desiderata, and coping with the challenges in literary historiography in and about Central America at the beginning of the twenty-first century.

Conclusion

2017 ◽  
Author(s):  
Christopher A. Cooper ◽  
H. Gibbs Knotts
Keyword(s):  
Twentieth Century ◽  
Social Identity ◽  
First Century ◽  
Southern Identity ◽  
The Social ◽  
The Future ◽  
Twenty First Century

The concluding chapter ties together key findings from previous chapters, highlights the book’s theoretical contributions, building on the social identity literature reviewed in chapter 1. The concluding chapter reinforces the idea that southern identity remains, but that the shape of twenty-first century southern identity is different from twentieth-century identity. The concluding chapter closes with a discussion of the future of southern identity and a prediction that regionalism and regional distinctiveness will only become more pronounced in an increasingly interconnected world.

A Historical Perspective

1996 ◽  
Author(s):  
Bruce A. Kimball
Keyword(s):  
Twentieth Century ◽  
Liberal Education ◽  
Historical Perspective ◽  
Historical Context ◽  
Current Situation ◽  
First Century ◽  
The Past ◽  
Human Endeavor ◽  
Twenty First Century

While envisioning liberal education for the twenty-first century, we must not forget that our visions are shaped and conditioned by historical context, or tradition. Indeed, the very fact that we discuss something called "liberal education" demonstrates the influence of tradition. The general precept is well known, but the nature of this particular tradition is often misconstrued, due not only to neglect but also to genuine intentions to rescue or correct the tradition. To be sure, this particular tradition is long and complex, and it is doubtful that anyone can claim to understand fully the current situation of liberal education in light of its tradition, particularly in this era of postmodern interpretivism and deconstruction. This brief essay will therefore make two, more modest claims. First, I hope to demonstrate that, contrary to the conventional perception, the tradition of liberal education is not uniform and continuous but full of variety, discontinuity, and innovation. It has been and is a conflicted tradition. Second, I wish to argue conversely that innovative proposals made for liberal education at the end of the twentieth century often belong to the tradition, although this heritage is generally not recognized by either the proponents or their opponents. These two points, I suggest, indicate the richness and complexity of the tradition and its value, as well as its influence, for those seeking to envision what the next century of liberal education may and should hold. This is not to say that the tradition is boundless, that liberal education is all things for all situations, or that it is without blemishes or addictions, even cancerous growths. But liberal education is what we have and what we are, after centuries of trying to get it right, and we can no more wipe the slate clean and start entirely afresh here than we can in any other human endeavor. We can certainly try to change and improve in the coming century, but change and improvement imply understanding of and comparison with the past.

Tracing Choreography

Tandem Dances ◽  
2020 ◽  
pp. 31-69
Author(s):  
Julia M. Ritter
Keyword(s):  
Twentieth Century ◽  
First Century ◽  
Dance History ◽  
Physical Theater ◽  
Twenty First Century ◽  
Eighteenth And Nineteenth Centuries

Chapter 1 contextualizes choreography as integral to, yet invisibilized within, immersive performance. The chapter's focus is the thematic concerns of choreography in Western dance history, specifically the intentionality with which it is created, the portability of its concepts outside of the realm of formal dance, and its resulting ubiquity across domains in the twenty-first century. Deployed by European aristocrats in the sixteenth and seventeenth centuries as a practice for reinforcing structures of ritual and power when assigning societal roles, choreography as a term emerged alongside the professionalization of dance in the eighteenth and nineteenth centuries. In the mid-twentieth century, choreography became a tacitly borrowed resource for creators of physical theater. In the twenty-first century, choreography is seen as an expanded practice, having surged beyond the bounds of dance to the point that it can be used to organize the behavior of spectators such that they perceive themselves to be immersed.

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