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| 2. |
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| 3. |
- Herlitz, Alexandra, 1978, et al.
(författare)
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Konsthistoriepodden, avsnitt 19: Pablo Picasso, Guernica
- 2021
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Ingår i: Konsthistoriepodden. - : Acast. ; :19
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Annan publikation (övrigt vetenskapligt/konstnärligt)abstract
- På Museo Reina Sofía i Madrid får man beskåda Pablo Picassos enorma målning “Guernica” från 1937, som har blivit en av de starkaste skildringar av krigets fasansfulla våld och förödelse och som fortfarande är en laddad antikrigstavla. Redan 1936 hade Picasso fått uppdraget av den nyvalda republikanska regeringen att måla ett verk till den spanska paviljongen på världsutställningen 1937 i Paris och han hade redan en bildidé med titeln “Målare och modell”. Men efter att han läst i franska tidningen om den fruktansvärda bombningen mot den baskiska staden Guernica, förkastade han sin ursprungliga idé och började att arbeta med det nya motivet för målningen. Det spanska inbördeskriget hade härjat sedan 1936, när fascisterna med general Francisco Franco i spetsen genomförde en statskupp mot regeringen. Den 26 april 1937 vid halvfemtiden bombades staden Guernica av den tyska Kondorlegionen, som agerade som stöd för Franco och fascisterna. Uppdraget var kallblodigt. Guernica var inget militärt mål, utan man attackerade med mening den civila befolkningen. Det var marknadsdag i Guernica och 10 000 människor från regionen ska ha uppehållit sig i staden. För tyskarna var det en övning av en ny bombningstaktik som skulle skrämma motståndarna. Attacken varade i över tre timmar och de 24 flygplanen som dundrade in över den baskiska staden kastade nästan 22 000 kilo bomber över staden, som av den tyska befälhavaren uppgavs vara jämnad med marken efter bombningen. Staden sägs ha brunnit i 3 dagar och det är inte känt hur många människoliv denna terrorakt skördade. Det har uppskattats allt från några hundra till tusentals dödsoffer. Inom mindre än en månad arbetade Picasso fram den enorma duken på 3,49 x 7, 76 m som skapade stort uppseende på världsutställningen, där den visades tillsammans med dokumenterande fotografier från det spanska inbördeskriget.
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| 4. |
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| 5. |
- Fried, Alexandra, 1976, et al.
(författare)
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Konsthistoriepodden, avsnitt 5: Edward Hopper, Nighthawks
- 2020
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Ingår i: Acast. - Göteborg.
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Annan publikation (övrigt vetenskapligt/konstnärligt)abstract
- Denna vecka tar vi oss till New York på 1940-talet, när vi ska prata om Edward Hopper och hans mest välkända målning ”Nighthawks” från 1942. Vad inspirerade Hopper när han målade detta verk? Vad betyder ”Nighthawks”, som inte helt korrekt översattes till ”Nattugglor”, och varför heter målningen så? Och hur kom Edward Hopper med sin säregna stil att påverka filmskapare i Hollywood och deras filmfotografi? Vi ska också närma oss verket genom att lyfta samtidskontexten och konstnärens biografi, som inte är så välkända för oss i Europa.
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| 6. |
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| 7. |
- Lee, Vanessa, 1991-
(författare)
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Culinary Contructions : Food, Otherness and National Identity in French and French-language Cinemas
- 2019
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Ingår i: Ninth International Conference on Food Studies. - : National Kaohsiung University of Hospitality and Tourism.
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Konferensbidrag (övrigt vetenskapligt/konstnärligt)abstract
- This paper analyses how national identity and Othering are constructed through representations of food in French and French-language films. I focus on the French context, for if there have been a number of studies of films depicting the experiences of migrant communities in France and the confrontations between migrant communities and the "host" French communities (Sherzer, 1996; Dubois, 2016; Higbee, 2013; Berghahn, 2013; Asava, 2017), few delve into the representations of food and culinary practices in much detail. The questions raised in this paper may however be applied to other national contexts. To demonstrate how images and discourses related to cooking and eating are employed to convey specific representations of national identity and foreignness, I analyse four films made in the first decades of the twenty-first century (The Secret of the Grain, 2007, Abdellatif Kechiche; Cuire ensemble, 2014, François Pirotte and Foued Bellali; Serial (Bad) Weddings, 2014, Philippe de Chauveron; Tazzeka, 2017, Jean-Philippe Gaud). In these films food comes across as a marker of difference and/or sameness, and as a key element in the construction of national identity. The paper also investigates how these questions of food and national identity are further problematised by factors such as the migrant crisis in Europe and the existence of "postmigratory" generations (Kleppinger and Reeck, 2018) in France who consider themselves French as well as possessing multiple cultural identities.
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| 8. |
- Bowman, Jason E., 1967
(författare)
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Speaking Mandy
- 2014
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Ingår i: European Artistic Research Network Conference: Thinking on Stage, May 2 2014, National College of Art and Design, Dublin, EIRE.
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Konferensbidrag (övrigt vetenskapligt/konstnärligt)abstract
- I will present at the very beginning of a research process, towards the making of a new art work through which I aim to interrogate the heritage of the phonocentric Oralist tradition in the education of Deaf people. I seek to ‘read’ and deconstruct Alexander McKendrick’s film, Mandy (1952) through a co-participatory process - with Deaf people educated through Oralism and of the same generation as the child protagonist in the film - to question the advocacy of entry into the symbolic via the ‘spoken’ and ‘speech-identification’ and its relations to psychoanalytic and inter-subjective, spectator-focused film theory. Through mimetic and performative processes inherent to Oralism (such as speech-reading, lip-reading, ventriloquism, echo-practice, dubbing and lip-synchronisation) I aim to adapt Mandy - itself an adaptation of Hilda Lewis’ novel, 'The Day is Ours' (1947) – in ways that reveal the psychoanalytic dynamics of shame at play in Oralism’s delineation of Deafness as a culture and its adherence to Deafness as a disability.
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| 9. |
- Cappelen, Birgitta, 1962-, et al.
(författare)
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From designing objects to designing fields : from control to freedom
- 2003
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Ingår i: Digital Creativity. - 1462-6268 .- 1744-3806. ; 14:2, s. 74-90
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Tidskriftsartikel (refereegranskat)abstract
- In this paper we want to explore Field as a concept and as a metaphor for understanding interactive systems. By interactive systems we mean both systems and artworks, where the user by interacting changes the course of events. We intend to show why we need new terms and why we consider Field to be a fruitful concept and term. Further we will show how the Field concept changes both our understanding of what we do as designers and composers and how we acknowledge our audience. We will exemplify the design consequences of the Field concept by going through some design considerations we made when designing the audio tactile installation Mufi.
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| 10. |
- Fried, Alexandra, 1976, et al.
(författare)
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Konsthistoriepodden, avsnitt 7: Jean-Michel Basquiat, Irony of Negro Policeman
- 2020
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Ingår i: Acast. - Göteborg.
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Annan publikation (övrigt vetenskapligt/konstnärligt)abstract
- Idag ska vi prata om den amerikanske konstnären Jean-Michel Basquiat och hans konstverk ”Irony of Negro Policeman” från 1981, vilket avspeglar rasismen, diskrimineringen och ojämlikheten, som då som nu tillhör vardagen för afroamerikaner i metropolen New York. Basquiats verk baserade sig på egna erfarenheter och upplevelser, men ofta även på vad han läste i böcker. Hur kan vi förstå kombinationen av bild och text i detta verk? Hur kom det sig att Basquiat blev en del av New Yorks jetset och hängde med konstnärer som Andy Warhol och popstjärnor som Madonna? Hur uppstod hypen kring Basquiat, både på 80-talet och i vår egen tid? Och hur blev han en av de få afroamerikanska konstnärerna som har fått en plats i den etablerade konsthistorieskrivningen? Veckans avsnitt är ett konsthistoriskt bidrag till människorättsrörelsen Black lives matter, som har engagerat så många människor i år.
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| 11. |
- Herlitz, Alexandra, 1978, et al.
(författare)
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Konsthistoriepodden, avsnitt 1: Jan Vermeer, Flicka med pärlörhänge
- 2020
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Ingår i: Acast. - Göteborg.
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Annan publikation (övrigt vetenskapligt/konstnärligt)abstract
- Vem är den mystiska och mytomspunna flickan som är avbildad i Jan Vermeers målning ”Flicka med pärlörhänge” från ca 1665? När blev målningen först omnämnd och vad hette den innan den så sent som på 1990-talet fick sitt nuvarande namn? Varför känner vi oss tilltalade av motivet? I dagens podd berättar vi de vedertagna historierna bakom ”Flicka med pärlörhänge”, men också om de nyaste forskningsresultaten som de tekniska undersökningarna i det holländska projektet ”The Girl in the Spotlight” har givit oss på sistone.
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| 12. |
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Intersections PARSE JOURNAL
- 2020
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Ingår i: PARSE JOURNAL. ; Summer:11
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Annan publikation (övrigt vetenskapligt/konstnärligt)abstract
- This issue of PARSE journal concludes the theme of “Intersectional Engagements in Politics and Art”, first initiated as a research arc within PARSE in 2018. Under this theme, artists, scholars and students, as well as a wider public have gathered to share a critical exploration of the nexus of race, coloniality, gender and sexuality in contemporary art-making, scholarship and artistic research. Focusing on socially engaged practices related to memory, history, embodiment and alterity, the journal issue offers yet another set of considerations that brings together research by practitioners and scholars from a wide range of fields, disciplines and contexts. The theme began as a way to address and explore interest within arts research about the notion of intersectionality as a mode of creative practice, as well as a form of critical analysis. This interest, arguably following a turn towards the intersectional in feminist artistic practice and pedagogy, came as scholars in the humanities and social sciences were already debating the various appropriations and reifications that had seemingly made intersectionality into “a grand theory of everything”, to use Kimberlé Crenshaw’s words, with the effect of positioning intersectionality as a deeply contested, seemingly overdetermined concept.
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| 13. |
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Memories of a city
- 2017
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Ingår i: Memories of a city. - Göteborg : University of Gothenburg. - 1101-3303. - 9789188101037 ; , s. 8-16
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Samlingsverk (redaktörskap) (övrigt vetenskapligt/konstnärligt)abstract
- Presented at the international conference Challenge the past / diversify the future, the contributions collected herein deal with ways of challenging accepted historical representations of the City by offering modes of recollection and perspectives that capture both multi-sensory and multi-layered aspects of urban context. As such, they offer new empirically grounded research on the experiences of the inhabitants, both past and present, whether individually or as a collective. With a focus on the city as a space that is performed by a host of actants reaching across time through both materiality and memory, the authors critically address modes through which visual, audible, and multi-sensory representations can challenge, diversify or uproot conventions of urban representation. Four projects. Four takes on making representations of a city.
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| 14. |
- Rossholm, Anna Sofia, 1973-
(författare)
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Ingmar Bergman’s Screenwriting
- 2014
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Ingår i: Journal of Scandinavian Cinema. - : Intellect Ltd.. - 2042-7891 .- 2042-7905. ; 4:2, s. 165-171
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Tidskriftsartikel (refereegranskat)abstract
- Via a combination of screenwriting theory and theories on literary manuscripts, this article approaches Ingmar Bergman’s screenwriting as process, from notebooks to script drafts and finished screenplays. It particularly emphasizes the playful dimensions in the early stages of the screenwriting process and the way the writing negotiates fiction and reality.
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| 15. |
- Zetterfalk, Per, 1968-
(författare)
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Inter esse : Det skapande subjektet, Norén och Reality
- 2008
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- At the centre of this dissertation is the artistic formation and, as an extension, the scientific formation. The purpose of the work is to reflect on the way from ambition to creation, to capture what about this process is unique. I have chosen two objects for my research. First, the Swedish playwright Lars Norén's (1944-) direction of a new work for the theatre, his own play Kyla (Chill). Second, Swedish Television (SVT) as they produce their largest-ever stake in the field of entertainment, the Reality-TV series Riket (The Kingdom).Concerning the creative process, I partly focus on beginning and end, and partly on the transformation from chaos to order. In this way I am able to focus on the way something unexpected occurs. The question of what constitutes creativity is often raised, but I set out to frame it in my own way: not only with the help of two processes, but also within myself. What is the difference between being a subject, doing something oneself, and observing? In this work I assume both positions. I am a registering and documenting researcher as well as a filmmaker.The work is structured by a principle of three: a documentation of the creative processes, a documentary film on Norén, Kall (Norén's drama), and a dissertation which unites everything into a synthesis.First, my work acts as a purveyor of insights into and understanding of two major and very different creative processes. Second, it is about two extremely established contemporary phenomena: Norén and the SVT together constitute somewhat of a counterpoint, which make it possible to compare a creative process within the art of theatre to one within TV/entertainment. Third, my work creates a field of tension between the creative process and the analysis via my own production: Norén's drama is both a tool of interpretation in the study of Norén and an intensifying of the overall research result. Fourth, my dissertation aims to bring together aspects, categories and literature in a new way.
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| 16. |
- Åberg, Anders
(författare)
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Tabu : Filmaren Vilgot Sjöman
- 2001
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- This thesis is a thematic and historical analysis of of Sjöman’s œuvre and its significance for Swedish film culture, focussing on his most important films during the 1960s and 1970s. Sjöman started as a novelist in the late 1940s, and has since then accomplished an œuvre consisting of some 60 works, mostly novels, plays, essays, and films. Sjöman is best known as a film director. In 1962, Sjöman’s first film, Älskarinnan (The Mistress), opened to great acclaim. Sjöman was greeted as the instigator of a new wave of Swedish cinema, comparable to the French Nouvelle vague and post-war Italian cinema. Other Swedish author-directors followed Sjöman’s lead. Through the debate on censorship inspired by the official banning of Sjöman’s film 491, Sjöman became known as a serious, but utterly controversial film-maker, treating sexual matters in a provocative and explicit manner. His international fame rests mainly on the diptych film, Jag är nyfiken – gul (I Am Curious – Yellow), and Jag är nyfiken – blå (I Am Curious – blue), from 1967 and 1968 respectively. Sjöman here launched a kind of cinéma vérité-aesthetic, combined with a self-reflexive cinematic discourse verging on self-parody. At the end of the 1960s and in the 1970s, Sjöman struggled to find his proper place in the politicised cultural climate. The title of this thesis is derived from a film released in 1977, Tabu (Taboo). The film was scandalous, its allegory of leftist political activism deemed unacceptable. After Tabu, Sjöman never really recovered as a director. His films tended to be unattractive for the general audience, and, as opposed to his earlier work, they have had no real impact on the discourses of Swedish contemporary cinema and culture in general.
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| 17. |
- Velasquez Atehortua, Juan, 1963
(författare)
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NO2LNG in Gothenburg, Sweden
- 2017
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Annan publikation (övrigt vetenskapligt/konstnärligt)abstract
- FILM FROM THE DEMONSTRATION 6 AUGUST 2017 DURING CLIMATE CAMP SWEDEN AGAINST THE CONSTRUCTION OF A LIQUID NATURE GAS TERMINAL IN GOTHENBURG, SWEDEN. NO2LNG MUSIC: VARNING TILL DE RIKA, BY CATS AND DINOSAURS, PERFORMED LIVE IN THE CAMP.
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| 18. |
- Caoduro, Elena, et al.
(författare)
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Documenting Fashion
- 2023
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Bok (övrigt vetenskapligt/konstnärligt)abstract
- An original, rich and timely compendium on the relationship between fashion and the documentary moving image that explores the topic from a variety of disciplines, from film and media studies to design, communication, history and journalism." Monica Titton, University of Applied Arts, Vienna.
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| 19. |
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On the Question of Exhibition, PARSE Journal Issue 13: Parts 1,2,3
- 2021
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Samlingsverk (redaktörskap) (övrigt vetenskapligt/konstnärligt)abstract
- This issue of PARSE, published in three parts, examines the question of the exhibition. One of the aims of this series-issue is to turn attention to the material, experiential, as well as conceptual and political conditions of the exhibition that may have been overlooked within the growing literature on curatorial and exhibition histories. Our aim, as editors is not to elevate the exhibition form. Rather, we wish to interrogate exhibition as a pervasive category of display and mediation where principles of exposition, demonstration, exemplification, taxonomy, circulation, commentary, spectatorship and valorization are operative. Since the 1990’s curatorial discourse has sought to position the curatorial away from, or at the very least as in excess of, the practical tasks of exhibition-making whilst the burgeoning field of exhibition histories has created a historiographic approach to the forms, developments and questions posed by exhibition. This series of contributions seeks, in some respects to return to the fundamental question of exhibition-to interrogate it as a self-explanatory category. Part 1 published in June 2021 includes contributions from Dave Beech, Kathrin Böhm, Alaina Claire Feldman, Samia Henni, Steven Henry Madoff, Saul Marcadent, Lisa Rosendahl and Jéssica Varrichio; and roundtables with Rasha Salti, Nick Aikens, Kristine Khouri and Anthony Gardner; and with Yolande Zola Zoli van der Heide, Gavin Wade, Mick Wilson and Franciska Zólyom. The contributions in Part 2 extend the considerations initiated in Part 1, by bridging the world-making and ordering techniques of exhibition–what we might broadly call its onto-epistemological register-with the pragmatic and technical questions of exhibitionary apparatuses, or its operational register. The purpose being not to create a dichotomy but rather to set up a field of tension and interference between different moments of production-analysis. This part offers detailed analyses of individual exhibitions, allowing for an interplay between the specificities of singular instances coupled with a wider angle from which to survey the field. Part 2 contains contributions from Ingrid Cogne Patrizia Costantin, Kris Dittel & Jelena Novak, Catalina Imizcoz, Joey Orr, Barbara Neves Alves, Mateusz Sapija, Vladislav Shapovalov, Sasha Shestakova, and Joshua Simon. The restless questioning of exhibition underpins Part 3, where artists curators and researchers unpick exhibition’s entangled relationship to pedagogy, to institutional processes, to aesthetics, to constituent work, to lived experience and the ways in which the political arises out of these entanglements. Part 3 includes texts by Doreen Mende, David Morris and Grace Samboh, Ola Hassanain, Li Yizhuo, Ginevra Ludovici, Cătălin Gheorghe, Sabine Dahl Nielsen, a visual essay by Paul O’Neill and a roundtable with Jeanne van Heeswijk, Maria Hlavajova, Damon Reaves & Mick Wilson
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| 20. |
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| 21. |
- Brunow, Dagmar, Prof. Dr. 1966-
(författare)
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Out in the Archive : Queer Audiovisual Memories and the Transmediation of Truthfulness
- 2022
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Konferensbidrag (refereegranskat)abstract
- This talk brings Lars Elleström’s notion of transmediation as well as ideas of intermedial and multimodal truthfulness (Elleström, Schirrmacher)with my research on the curation of queer audiovisual memories in digital film archival collections (Brunow 2017, 2018). While visibility has been an important means for LGBTQI+ struggle, traces of queer lives and desires lie, above all, in archival silences and invisibilities. Queer lives can be traced in an empty note (Dever), in censored letters or diaries, in missing data and incomplete records. Can we mobilize the concept transmediation to grasp the spaces across and beyond media borders and as a way to theorize queerness? As José Esteban Muñoz reminds us, queerness lies in the in-between (in the ephemeral, the fleeting, the evasive). What does this mean for understanding queer audiovisual heritage? In its anti-positivist stance, queerness can be found in circulation and its reception.This paper looks at archival practices as processes of meaning making or as signifying practices which make queer readings possible. Such framing is provided by multimodal archival processes, such as the use of metadata or other paratexts. Many of these archival practices, however, rely on textual or visual evidence. For queer film history, however, the truth-claim of gossip is higher than alleged facts such as heterosexual marriages or reported love affairs which production companies staged to cover up the star’s homo- or bisexuality (see Siegel, forthcoming). Via acts of transmediation and media representation queer archives turn gossip and communicative memory (Assmann) into cultural memory. My examples will stem from European national film archives as well as two minor archives: the Lesbian Home Movie Project and SAQMI – The Swedish Archive for Queer Moving Images. Overall, this paper sets out to show how we can mobilize theorizations of transmediation and queerness and bring them into afruitful dialogue.
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| 22. |
- Höglund, Johan, 1967-, et al.
(författare)
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Black Hawk-Down : Adaptation and the Military-Entertainment Complex
- 2017
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Ingår i: Culture Unbound. - : Linköping University Electronic Press. - 2000-1525. ; 9:3, s. 365-389
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Tidskriftsartikel (refereegranskat)abstract
- This article investigates the non-fiction book Black Hawk Down (1999) by Mark Bowden, Black Hawk Down the movie (2001) directed by Ridley Scott, and the computer game Delta Force: Black Hawk Down (2003). The article suggests that while the movie and the game must be studied as adaptations of the first text, the tools developed by adaptation studies, and that are typically used to study the transfer of narratives from one media form to another, do not suffice to fully describe the ways in which these narratives change between iterations. To provide a more complete account of these adaptations, the article therefore also considers the shifting political climate of the 9/11 era, the expectations from different audiences and industries, and, in particular, the role that what James Der Derian has termed the Military-Industrial-Media-Entertainment Network (MIME-Net) plays in the production of narrative. The article thus investigates how a specific political climate and MIME-Net help to produce certain adaptations. Based on this investigation, the article argues that MIME-Net plays a very important role in the adaptation of the Black Hawk Down story by directing attention away from historical specificity and nuance, towards the spectacle of war. Thus, in Black Hawk Down the movie and in Delta Force: Black Hawk Down, authenticity is understood as residing in the spectacular rendering of carnage rather than in historical facts. The article concludes that scholarly investigations of the adaptation of military narratives should combine traditional adaptation studies tools with theory and method that highlight the role that politics and complexes such as MIME-Net play within the culture industry.
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| 23. |
- Velasquez Atehortua, Juan, 1963
(författare)
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Juan
- 2017
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Ingår i: Disobedience.live.
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Annan publikation (övrigt vetenskapligt/konstnärligt)abstract
- Disobedience Live var en direktsänd dokumentär om fyra aktivisterna Sigrid, Kevin, Juan och Sarakka som gav sig av på en resa för att delta i en civil olydnadsaktion för klimatet. Tillsammans med tusentals andra ville de blockera infrastruktur för uppgrävning och förbränning av brunkol i Rhineland, Tyskland. Dokumentären pågick dygnet runt 22-27 augusti 2O17 och visades i realtid. Detta konstprojekt genomfördes av Troja scenkonst, som ville belysa demokratins tillstånd idag samt olika former av engagemang som människor ägnar sig åt – med civil olydnad som utgångspunkt. Mer info om scenkonstkollektivet Troja finns på trojascenkonst.se
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| 24. |
- Wulia, Tintin, 1972
(författare)
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Memory is Frail (and Truth Brittle) – performance lecture
- 2024
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Ingår i: Jakarta, MACAN Museum, 13 Jan 2024.
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Konstnärligt arbete (övrigt vetenskapligt/konstnärligt)abstract
- This performance lecture is based on an eponymous installation of 115 charcoal and graphite drawings the artist made in 2019, which was based on a text published in 2018. It questions the nature of reality and the building block of human knowledge, which is perceived mainly through humankind’s limited senses, the main part of which is the eye. At an allegorical level, it interrogates how our understanding of the world is largely constructed visually and recorded through memory, and how these are also prone to manipulation, for example in state propaganda and isolated versions of state-sanctioned history. --- Art does not merely articulate an artist’s personal expression but is often inseparable from a larger historical, political, and geographical context. To kick off the 2024 Museum MACAN public programs, artist/researcher Tintin Wulia presents a performance lecture and discussion session, Memory is Frail (and Truth Brittle). Exhibited as 115 illustrations drawn with charcoal and graphite, Memory is Frail (and Truth Brittle) presents a connection between major world events scattered across different times and places, and how these events are recollected by humans. As the subject navigates through ideas surrounding reality, frailty of memory, and human geography and history, Wulia interrogates what we believe to be reality is constructed largely from our sensory perception, state-sanctioned histories, and fragile memories of humans.
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| 25. |
- Chavarria Aldrete, Bertrand
(författare)
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Unveiling the invisible : Documentary film
- 2022
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Konstnärligt arbete (övrigt vetenskapligt/konstnärligt)abstract
- Unveiling the invisible (2022) is a short film about the Artistic Research project by Bertrand Chavarría-Aldrete, PhD candidate at Lund University in the form of a workshop for the blind and visually impaired.
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| 26. |
- Florea, Ioana, 1981
(författare)
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Gazeta de Arta Politica : Political Art Gazette
- 2017
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Ingår i: Gazeta de Arta Politica. - 2559-6446. ; 5:18, 19
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Tidskriftsartikel (övrigt vetenskapligt/konstnärligt)abstract
- Gazeta de Artă Politică discusses, analyzes and promotes the social and political dimension of the most diverse forms of cultural and artistic projects. G.A.P. aims at: • disclosing the political dimension of artistic objects, including those that do not explicitly assume it; • analyzing the potential impact of major cultural programs and public policies in the cultural sphere; • promoting artistic projects with emancipatory goals and contributing to the consolidation of an Eastern-European left-wing-oriented arts network; • elaborating a revolutionary artistic discourse and practice, from a local perspective.
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| 27. |
- Hedling, Olof, et al.
(författare)
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Train Kept a Rollin' : Antonioni, Blow Up och den brittiska bluesvågen
- 2008
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Ingår i: Theorier om verklig diktning. - : Absalon förlag, Lund. ; 25, s. 349-358
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Bokkapitel (övrigt vetenskapligt/konstnärligt)abstract
- Discussion and presentation of the extraordinary outpour of blues music and blues musicians out of Britain in the 1960s and how this is briefly portrayed in Michelangelo Antonioni's film Blow Up (1966).
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| 28. |
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In the archival multiverse, the blubber decays but the fever increases. : A contribution to VIOLENCE: the fourth biennial PARSE Research Conference at the Faculty of Fine, Applied and Performing Arts, University of Gothenburg, Sweden. Under the "Archives and Witnessing" section of the conference. Moderated by Åsa Sonjasdotter
- 2021
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Konstnärligt arbete (film/video) (refereegranskat)abstract
- The presented work is composed by Marc Johnson — a memory worker — who is currently a Ph.D. candidate in performative and media-based practices at the Stockholm University of the Arts. The shared perspectives are engaging issues of violence from the center of an artistic practice-based research focused on archival practices and concerned with how a documentary heritage circulates, is formed, debated, shared, and re-interpreted.The lecture-performance starts by considering the “Rights of Nature” — from recent environmental litigations in Aotearoa (New Zealand), Bolivia, and Ecuador — which focus on the idea of legal standing. What does it take to enforce the legal personhood of a river or other natural entities?Marc Johnson investigates and reflects on some ways to deal with representations of murdered bodies — human and more-than-human (cellular life forms) — without replicating historical patterns of abuse? Under what conditions shall these documents, artifacts, or, images be seen?Marc Johnson collaborates with Hitomi Ohki 大木瞳 — Soprano singer — to expose how polyphony[1] and counterpoint[2] applied to cinema can be used practically to navigate the uncertain archive(s) of violence studies.Marc Johnson addresses the dynamics of archival silences[3] and archival amnesty[4] as an important reminder of the ways in which violence — despite its presence in the everyday life of most people mainly through paper-based, and online news media (including social networks) — can also be deeply buried and invisible through institutional and corporate powers and other means; nonetheless impacting the lives of ordinary people (as opposed to powerful people, military, political and business leaders).The proposal does not intend to resolve; but rather to expose and to put oneself in the presence of using the means of montage.Skepsis is the deployed strategy throughout the duration of the time-based work as defined by Jacques Derrida as a “vigilance, and attention of the gaze during an examination. […] One is on the lookout, one reflects upon what one sees, reflects what one sees by delaying the moment of conclusion.”[5] [1] A process of combining two or more voices so that they harmonize with each other but maintain their individuality.[2] A process of adding one or more melodies as an accompaniment to a given melody according to certain fixed rules; a composition in which melodies are thus combined.[3] Rodney G. S. Carter, “Of Things Said and Unsaid: Power, Archival Silences, and Power in Silence,” Archivaria, September 25, 2006, 215–33.[4] Tonia Sutherland, “Archival Amnesty: In Search of Black American Transitional and Restorative Justice,” ed. Michelle Caswell, Ricardo Punzalan, and T-Kay Sangwand, Journal of Critical Library and Information Studies, Critical Archival Studies, 1, no. 2 (2017): 1–23, https://doi.org/10.24242/jclis.v1i2.42.[5] Jacques Derrida, Memoirs of the Blind: The Self-Portrait and Other Ruins, trans. Pascale-Anne Brault and Michael Naas (Chicago: University of Chicago Press, 1993).
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| 29. |
- Burman, Christo
(författare)
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Osynligheten tar vid där ruinerna slutar
- 2005
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Ingår i: À Derrida x 13. - : Institutionen för konstvetenskap, Umeå universitet: Umeå. - 917305884X ; , s. S. 59-63
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Bokkapitel (övrigt vetenskapligt/konstnärligt)
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| 30. |
- Åsberg, Cecilia, 1974-
(författare)
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Looking at science, looking at you! : the feminist re-visions of nature (Brain and genes)
- 2009. - 1
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Ingår i: Teaching visual culture in interdisciplinary classrooms. - Utrecht : ATHENA 3. - 9187792494 ; , s. 95-121
-
Bokkapitel (övrigt vetenskapligt/konstnärligt)abstract
- Vision has often been a central concern of feminist studies of science, medicine and technology. In cultural or social feminist analysis, the male gaze and the ways in which technoscience accommodates, and in effect organizes the watching of women, has been an important part of the feminist interrogation of the gender and power relations that produce the subjects and the objects of science. This attention is due to the intimate, and power-saturated, merge of processes of seeing and processes of knowing. Inherent in the notion of vision, there is always a politics to ways of seeing, ordering and observing, of organising the knowledge of the world. Historically, this can be exemplified by the eighteen-century Swedish “father” of biological classification, Linnaeus. Taking a leap away from Christian assumptions, Linnaeus placed human beings in a taxonomic order of nature together with other animals.
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| 31. |
- Fried, Alexandra, 1976, et al.
(författare)
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Konsthistoriepodden, avsnitt 15: Andy Warhol, Marilyn Monroe
- 2021
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Ingår i: Konsthistoriepodden. - : Acast. ; :15
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Annan publikation (övrigt vetenskapligt/konstnärligt)abstract
- I detta poddavsnitt talar vi om Andy Warhols fyra serigrafier ”Marilyn Monroe” från 1967, som finns på Göteborgs konstmuseum. Vi berättar mer om varför popkonsten skiljer sig så mycket från annan konst i sitt uttryck och formspråk, och hur det massmediala konsumtionssamhället som växte fram efter andra världskriget inspirerade popkonstnärer som Andy Warhol. Det är en tid då det enorma bildflödet i det offentliga rummet, som vi är så vana vid nuförtiden, precis tar fart och då konstnärer använder sig av de återkommande bilderna från underhållningsindustrin och reklamer för att kommentera på samhället och för att utplåna skillnaderna medan populärkultur och finkultur. Medan Andy Warhol hade full fokus att visa Monroe som en säljbar produkt från underhållningsindustrin, ser vi i detta poddavsnitt människan bakom motivet och berättar mer om den oerhörda personliga tragedin som Warhol, nästan omgående efter hennes självmord 1962, exploaterade ytterligare.
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| 32. |
- Herlitz, Alexandra, 1978, et al.
(författare)
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Konsthistoriepodden, avsnitt 16: Lars Lerin, Fönster mot gården
- 2021
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Ingår i: Konsthistoriepodden. - : Acast. ; :16
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Annan publikation (övrigt vetenskapligt/konstnärligt)abstract
- I detta avsnitt pratar vi om det mest samtida konstverk i poddens historia hittills, nämligen Lars Lerins akvarellmålning ”Fönster mot gården” från 2009, som finns i Nordiska Akvarellmuseets samlingar. I podden pratar vi om Lerins motivvärld och arbetssätt, men även om akvarellmediets historia och traditioner samt föreställningar som förknippas med detta medium. Inte minst kontextualiserar vi målningen och dess motiv. Vi berättar bland annat om filmförlagan ”Fönstret åt gården” från 1954 och dess utgångspunkter som filmens regissör Alfred Hitchcock hittade i den amerikanska målaren Edward Hoppers konst och hans voyeuristiska motiv.
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| 33. |
- Mistry, Jyoti, 1970
(författare)
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Decolonising Film Education
- 2020
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Ingår i: Film Education Journal. - Scotland : SCOTTISH INTERNATIONAL FILM EDUCATION.
-
Konferensbidrag (övrigt vetenskapligt/konstnärligt)abstract
- The discussion around how to develop curricula that are inclusive and reflexive of their historical and epistemic positions has grown in urgency. This is connected to discourses around the call for decolonising institutions, reconstituting teaching-learning frameworks and revitalising pedagogy, which draws from and includes multiple experiences and subjectivities present in the classroom. How then do we approach the necessity for revising received certainties of western knowledge paradigms and reference points to include histories, experiences and image-making practices that draw from multiple positions and perspectives? More significantly, images (and image-making) are increasingly central to modes of expressing research processes and outcomes across faculties and disciplines. Experiments in decolonising pedagogy implies that there are no given certainties of what decolonising might mean in image-making beyond its metaphoric meanings. The approach suggests working through historical and contemporary power relations in representations to encourage collaborative understandings of what the “decolonial” might be that advances active teaching-learning and encourages critical thinking which is central to the idea of critical pedagogy. More importantly how does this relate to the contemporary issues in film education where online platforms are increasingly central to education and exhibition (dissemination) of content. Drawing from the conference-workshop titled: Decolonising Pedagogy: Exploring processes in image-making as a case study this presentation provides some reflection on the implications of shifting paradigms and challenging received canons and addressing an integrated disciplinary approach to other (across) disciplines. This presentation will offer a set of conceptual possibilities gleaned not just from this particular workshop-conference but site some examples from visual methodologies framed by the BRICS (Brazil, Russia, India, China South Arica) geo-economic alliance film practice research. The ideas proposed in this presentation will further suggest that strategies for active learning implies not just a radical shift in pedagogic approaches but that the re-examination of the curriculum advances socio-political enquiry, affirming critical thinking by encouraging student engagement with curriculum (content) and the how (methods) of what is taught (not just the what (content) of the curriculum) is paramount to active learning.
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| 34. |
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| 35. |
- Tetzlaff, Andrew, et al.
(författare)
-
Tintin Wulia: Secrets
- 2023
-
Ingår i: Melbourne, RMIT Gallery, 5 Dec 2023 - 27 Jan 2024.
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Konstnärligt arbete (övrigt vetenskapligt/konstnärligt)abstract
- Tintin Wulia is an Indonesian Australian artist whose work reflects on globalisation and geopolitics and uses personal stories to unpick and lay them bare. For over 20 years she has researched the histories that have been told by the world’s dominant narrators, scrutinising their blindspots and systemic inequities and retelling them from nonconforming perspectives. Wulia’s recounting brings the past powerfully into the present and centres it on the voices of the periphery. Her works decode, reinterpret and represent history, orienting us to the current global situation in an effort to help collectively navigate towards a more socially just future.
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| 36. |
- Tofighian, Nadi
(författare)
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Mapping ‘the whirligig of amusements’ in colonial Southeast Asia
- 2018
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Ingår i: Journal of Southeast Asian Studies. - : Cambridge University Press. - 0022-4634 .- 1474-0680. ; 49:2, s. 277-296
-
Tidskriftsartikel (refereegranskat)abstract
- This article assesses the interconnected nature of Southeast Asia around 1900, the transnational entertainment scene in Southeast Asia, and the role of Singapore as a hub for commerce, shipping, and entertainment. The global and regional development of transportation and communications technology and networks facilitated the movement of people, goods, ideas, and amusement forms. The article is based primarily on archival research from colonial newspapers in the region. It surveys and maps more than one hundred itinerant entertainment companies that travelled throughout Southeast Asia around the turn of the century, thereby creating and visualising a circuit of entertainment.
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| 37. |
- Wulia, Tintin, 1972, et al.
(författare)
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Tintin Wulia: Disclosures
- 2024
-
Ingår i: Jakarta, Baik Art, 10 Jan - 24 Feb 2024.
-
Konstnärligt arbete (övrigt vetenskapligt/konstnärligt)abstract
- “Tintin’s recent projects offers essential context, illuminating the interconnectedness between national happenings and the influence and complicity of external forces. They reveal how these forces have molded Indonesia’s modern history’s socio-political contours. In this way, her work establishes a dialogue between the personal and political, between hidden histories and communal memory, and between the banality of everyday life and the extraordinary events that shape it. This preoccupation can be seen across all of the works within this exhibition.” (Aaron Seeto, December 2023) BAIK ART Jakarta is pleased to present Tintin Wulia: Disclosures. Tintin Wulia is an Indonesian Australian artist whose work reflects on globalisation and geopolitics and uses personal stories to unpick and lay them bare. For over 20 years she has researched the histories that have been told by the world’s dominant narrators, scrutinising their blind spots and systemic inequities and retelling them from nonconforming perspectives. Tintin’s recounting brings the past powerfully into the present and centres it on the voices of the periphery. Her works decode, reinterpret and represent history, orienting us to the current global situation in an effort to help collectively navigate towards a more socially just future. Tintin Wulia: Disclosures is presented in parallel with Tintin Wulia: Secrets at RMIT Gallery, Melbourne. It is prepared in conjunction with Tintin’s artistic research project at the University of Gothenburg entitled Protocols of Killings: 1965, distance, and the ethics of future warfare, funded by the Swedish Research Council (2020-02828), and is co-supported by various institutions and collaborators.
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| 38. |
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| 39. |
- Andersson, Therése, 1974-
(författare)
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Dressed for Success : Hollywoodstjärnor och mode
- 2005
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Ingår i: Kulturella perspektiv - Svensk etnologisk tidskrift. - Umeå : Institutionen för kultur och medier vid Umeå universitet. - 1102-7908. ; :3
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Tidskriftsartikel (refereegranskat)
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| 40. |
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| 41. |
- Arvidson, Mats, et al.
(författare)
-
Intermedial combinations
- 2022
-
Ingår i: Intermedial Studies. - London : Routledge. - 9781032004549 - 9781032004662 - 9781003174288 ; , s. 106-137
-
Bokkapitel (refereegranskat)abstract
- Media products of all sorts form a complex web of different relationships. Media products involve transformations, integrations and combinations as well as transmedial aspects. When we look at media combinations in this chapter, all these different aspects are brought into play. Media combinations of different basic media types are always, literally, intermedial combinations that involve intermedial relations between different forms of communication.This chapter deals with different kinds of combinations of technical, basic and qualified media types in comics, films, radio drama, songs/singing and music videos. Some of them are more obvious in this aspect. The music video, for instance, integrates sound, words and (moving) images. The pages of comics display text and image, and these two basic media types communicate differently in the semiotic modality. In radio dramas or songs, the combination aspect is not as visually apparent. Still, the soundwaves of a song or a radio drama firmly integrate several auditory media types.With specific examples, we discuss how to understand the different intermedial aspects at play whenever different media types are brought together in a particular media product. Different perspectives are possible. Should one focus on the combination of different forms of meaning-making, or instead stress how deeply integrated these different media types are? Should one approach a song as the combination of different qualified media (poetry and music), or focus on the close integration of different auditory media types (words and organized sound)? When we approach media combinations with the four modalities, we can focus on both. When words, (moving) images, and organized sounds are brought together in media products, such as comics, songs and music videos, they form an integrated whole. We can focus on how different basic media types in the material and sensorial modality are firmly integrated. We can then explore how these integrations on pages, in soundwaves, on stages or in the studio enable an intricate combination of different forms of meaning-making that support and interact with each other in the spatiotemporal and semiotic modality.First, we will take a look at how words and images on pages convey a graphic narrative in comics. Then we will highlight the importance of sound effects in the complex combination of moving images and auditory media types in film. We then explore how different auditory basic and qualified media types together create a complex auditory narrative in radio drama, using the specific example of The Unforgiven (2018). We will also discuss how word and music combine on different levels in art and pop songs. The chapter will end with a few reflections on the audiovisual combinations of basic and qualified media types at work in music videos.
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| 42. |
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| 43. |
- Audissino, Emilio, Senior Lecturer, 1981-
(författare)
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John Williams, The Boston Pops Orchestra and Film Music in Concert
- 2012
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Ingår i: <em>Cinema, critique des images</em>. - Udine : Campanotto. - 9788845612886 ; , s. 230-235
-
Konferensbidrag (övrigt vetenskapligt/konstnärligt)abstract
- The Boston Pops is a world-class orchestra playing “non-high Art music” in one of the most prestigious concert venues in the world: Symphony Hall in Boston. The first in its genre, with an impressive array of best-selling recordings, tours, and nation-wide radio and TV broadcasts, the Boston Pops has always been at the forefront of American music and has, over the years, achieved huge popularity. In 1980, famed Hollywood composer John Williams was named to succeed the late Fiedler. While several film composers had conducted film music concerts before, this was the very first case of a Hollywood composer appointed leader of such an important musical institution. During his fourteen-year tenure, Williams seized the opportunity to erode the “iron curtain” that segregated “applied” film music from “absolute” concert music.
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| 44. |
- Bengtsson, Bengt, 1962-
(författare)
-
Ungdom i fara : ungdomsproblem i svensk spelfilm 1942-62
- 1998
-
Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- This thesis treats the way juvenile delinquency is depicted in Swedish feature films made between 1942 and 1962. The study makes a historical survey of the youth-going-astray films, how they portray contemporary society and life and convey their conception of youth related problems. The analysis is primarily based upon role analyses with the tliematics and cultural reception of the films in focus.The analysis studies not only about twenty films that deal mainly with the subject, but also a number of films concerning other youth related subjects such as prostitution, sexual problems and, as a counterweight, the well-behaving youth, for instance youth engaged in associations. Furthermore, the analysis gives a picture of the public reception of tire films, both by critics and the Board of Film Censors.The main point of the analysis is tire way the films mirror a widespread contemporary opinion. Thus, the relation between tire debate and tire film is analysed, as well as tire extent to which tire contemporary debate and the "politically correct” values catch on in Swedish film. To a large extent, Swedish films reflect the views expressed in the Public Inquiries of the State and in middle-of-the-road opinions in the debate. The majority of films try to stick to the middle course between the conservative line demanding stronger measures and the progressive line associating with the new pedagogy and liberal upbringing.
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| 45. |
- Bengtsson, Jan Christer, 1945-
(författare)
-
Peter Weiss filmer : från de korta små lekfulla kopparslagen till kommersiell långfilmsdebut: filmer - filmidéer - utkast
- 2010
-
Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- This doctoral thesis deals with Peter Weiss’ (1916-1982) films and some of his never finished attempts. The focus is in general on Weiss’ film work activities in the 1950’s, when film held the very central place in his works of art. The intention has been to interrogate what short films Peter Weiss made and to find out the meaning and the role of film in the life of the artist Peter Weiss. The conclusion is that Peter Weiss fought with personal difficulties in expressing himself in a language — a language of words and a language of signs — because it is assumed that Peter Weiss carried a very strong will to become an author. In order to “conquer the words” Weiss exercised himself in describing all kinds of worlds — an interior one as well as an exterior one. That explains why he dealt with surrealist psychological subjects and documentary forms while making films.
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| 46. |
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| 47. |
- Brunow, Dagmar, Dr. phil. 1966-
(författare)
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Audiovisual Memory and Placemaking in the Music City : Salford Lads in the Digital Era
- 2020
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Ingår i: Book of Abstracts, Groove the City 2020. - Lüneburg : Leuphana University of Lüneburg. ; , s. 11-12
-
Konferensbidrag (refereegranskat)abstract
- This paper looks at the remediation of memory as a method of place making and negotiating urban spaces through music. It shows how music memories can be mobilised through the interplay of locations and digital tools. City tours, audio walks, tourist amateur photography or selfies in front of iconic buildings contribute to mapping the city. In classical concepts around the locatedness of memory (e.g. Pierre Nora’s notion of the lieux de mémoire), memories are tied to specific places. Yet, what is the ‘site’ of memory in times of digitization? The third wave of memory studies (Erll, Rigney, Rothberg) has focused on the transnational dynamics of memory, of memory as a process, as never stable, as always in flux. Drawing on my recent research on the digitization of audiovisual heritage, on the remediation of transcultural memory and on the construction of post-punk memory in Manchester, I argue that remediation creates nodal points (mnemotopes) around which narratives of the past are constructed. These mnemotopes can be mobilised for city branding (Brunow 2019). The paper argues that digital cultures (e.eg. social media) can be a means of “bringing home” transnational memories, tying these back into the local urban scape while remaining constantly in flux. Two cases of living archives will serve as theoretical objects to exploring the tensions of de- and reterritorialization within urban memory cultures: 1) The Salford Lad’s Club and 2) The Manchester Music Tours, a guided tour to locations relevant to bands such as Joy Division, The Smiths or Oasis.
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| 48. |
- Brunow, Dagmar, Prof. Dr. 1966-
(författare)
-
Feministisches Archivieren als Care-Arbeit : bildwechsel
- 2024
-
Annan publikation (övrigt vetenskapligt/konstnärligt)abstract
- Artikeln undersöker vilka former av "care-in-practice" vi kan hitta i mindre arkivprojekt som det feministiska konstnärsprojektet bildwechsel i Hamburg. Detta 'care'-arbete riskerar att gå förlorat när samlingar överförs från mindre arkiv till stora kulturarvsinstitutioner.
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| 49. |
- Chinita, Fátima, et al.
(författare)
-
Foreword
- 2019
-
Ingår i: Ekphrasis. - Cluj, Romania : Babeș-Bolyai University. - 2067-631X. ; 22:2, s. 5-5
-
Tidskriftsartikel (övrigt vetenskapligt/konstnärligt)abstract
- From times immemorial people have been telling stories to one another; humanity at large as well as entire civilizations have been built upon the impetus of this storytelling. First orally, later through other media and art forms, stories have spread among cultures, eras, and generations stimulating an ever-growing dissemination. Technical and technological developments have helped in this enterprise across a vast array of long-lasting and canonical art forms as well as more popular and recent ones. Film sits precisely at that intersection, which makes it a privileged form for media confluences at the service of narrative spreading. But how does this dialogue between cinema and other media and/or art forms operate? How are stories conveyed from the former to the latter, and vice versa? What, if anything, changes in that transposition, and what remains the same? How does creativity work at this border-crossing and exactly what does it entail? Urged by these questions, the current issue of Ekphrasis aims at examining the narrative phenomenon across media borders, in the confluence of other media and art forms.
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| 50. |
- Dahlquist, Marina, 1964-
(författare)
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Pearl White
- 2010
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Annan publikation (övrigt vetenskapligt/konstnärligt)abstract
- Critical career profile of Pearl White
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