Elisa Mandelli
- Published in print:
- 2019
- Published Online:
- May 2021
- ISBN:
- 9781474416795
- eISBN:
- 9781474476577
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9781474416795.003.0004
- Subject:
- Film, Television and Radio, Film
This chapter considers the reciprocal influences between the presentations of museums and commercial and industrial fairs, from which curators have sometimes admitted having drawn inspiration. These ...
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This chapter considers the reciprocal influences between the presentations of museums and commercial and industrial fairs, from which curators have sometimes admitted having drawn inspiration. These close-knit exchanges between apparently distant worlds show that museums, far from being isolated and timeless institutions, were able to intercept the latest developments in display techniques. Museums used audio-visuals not only for educational purposes and to preserve memory, but also to attract a wider public and to keep up with the dynamic nature of modernity. This issue is discussed with specific reference to two case studies: the 1920s European Avant-Garde exhibition design, and the use of educational films in the galleries of the New York Museum of Science and Industry.Less
This chapter considers the reciprocal influences between the presentations of museums and commercial and industrial fairs, from which curators have sometimes admitted having drawn inspiration. These close-knit exchanges between apparently distant worlds show that museums, far from being isolated and timeless institutions, were able to intercept the latest developments in display techniques. Museums used audio-visuals not only for educational purposes and to preserve memory, but also to attract a wider public and to keep up with the dynamic nature of modernity. This issue is discussed with specific reference to two case studies: the 1920s European Avant-Garde exhibition design, and the use of educational films in the galleries of the New York Museum of Science and Industry.
Linda Badley
- Published in print:
- 2011
- Published Online:
- April 2017
- ISBN:
- 9780252035913
- eISBN:
- 9780252095429
- Item type:
- book
- Publisher:
- University of Illinois Press
- DOI:
- 10.5406/illinois/9780252035913.001.0001
- Subject:
- Film, Television and Radio, Film
Scandinavia's foremost living auteur and the catalyst of the Dogme 95 movement, Lars von Trier is arguably world cinema's most confrontational and polarizing figure. Willfully devastating audiences, ...
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Scandinavia's foremost living auteur and the catalyst of the Dogme 95 movement, Lars von Trier is arguably world cinema's most confrontational and polarizing figure. Willfully devastating audiences, he takes risks few filmmakers would conceive, mounting projects that somehow transcend the grand follies they narrowly miss becoming. Challenging conventional limitations and imposing his own rules, he restlessly reinvents the film language. He has cultivated an insistently transnational cinema, taking inspiration from sources that range from the European avant-garde to American genre films. This book provides a stimulating overview of Trier's career while focusing on his more recent work, including the controversial Gold Heart Trilogy (Breaking the Waves, The Idiots, and Dancer in the Dark), the as-yet unfinished USA Trilogy (Dogville and Manderlay), and individual projects such as the comedy The Boss of It All and the incendiary horror psychodrama Antichrist.Closely analyzing the films and their contexts, the book draws on a range of cultural references and critical approaches, including genre, gender, and cultural studies, performance theory, and trauma culture. Two revealing interviews that Trier granted during crucial stages of Antichrist's development are also included.Less
Scandinavia's foremost living auteur and the catalyst of the Dogme 95 movement, Lars von Trier is arguably world cinema's most confrontational and polarizing figure. Willfully devastating audiences, he takes risks few filmmakers would conceive, mounting projects that somehow transcend the grand follies they narrowly miss becoming. Challenging conventional limitations and imposing his own rules, he restlessly reinvents the film language. He has cultivated an insistently transnational cinema, taking inspiration from sources that range from the European avant-garde to American genre films. This book provides a stimulating overview of Trier's career while focusing on his more recent work, including the controversial Gold Heart Trilogy (Breaking the Waves, The Idiots, and Dancer in the Dark), the as-yet unfinished USA Trilogy (Dogville and Manderlay), and individual projects such as the comedy The Boss of It All and the incendiary horror psychodrama Antichrist.Closely analyzing the films and their contexts, the book draws on a range of cultural references and critical approaches, including genre, gender, and cultural studies, performance theory, and trauma culture. Two revealing interviews that Trier granted during crucial stages of Antichrist's development are also included.
Paul Haacke
- Published in print:
- 2021
- Published Online:
- April 2021
- ISBN:
- 9780198851448
- eISBN:
- 9780191886034
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/oso/9780198851448.003.0003
- Subject:
- Literature, 20th-century and Contemporary Literature
This chapter shows how the aesthetics of vertiginous aspiration and ironic transcendence became central for European writers who have come to be recognized as canonical modernists. It focuses in ...
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This chapter shows how the aesthetics of vertiginous aspiration and ironic transcendence became central for European writers who have come to be recognized as canonical modernists. It focuses in particular on Guillaume Apollinaire’s visions of “turning towers” in “Zone” and other poems dealing with Parisian modernity and cosmopolitanism; Franz Kafka’s “irony of transcendence” in various short stories and personal writings; Virginia Woolf’s “views from below” in novels like Mrs. Dalloway and To the Lighthouse to essays like “On Being Ill” and “The Leaning Tower”; and images of urban space, post-Christian philosophy, and the aesthetics and politics of sovereignty in James Joyce’s Portrait of the Artist as a Young Man and Ulysses.Less
This chapter shows how the aesthetics of vertiginous aspiration and ironic transcendence became central for European writers who have come to be recognized as canonical modernists. It focuses in particular on Guillaume Apollinaire’s visions of “turning towers” in “Zone” and other poems dealing with Parisian modernity and cosmopolitanism; Franz Kafka’s “irony of transcendence” in various short stories and personal writings; Virginia Woolf’s “views from below” in novels like Mrs. Dalloway and To the Lighthouse to essays like “On Being Ill” and “The Leaning Tower”; and images of urban space, post-Christian philosophy, and the aesthetics and politics of sovereignty in James Joyce’s Portrait of the Artist as a Young Man and Ulysses.
Katia Pizzi
- Published in print:
- 2019
- Published Online:
- January 2020
- ISBN:
- 9780719097096
- eISBN:
- 9781526146694
- Item type:
- book
- Publisher:
- Manchester University Press
- DOI:
- 10.7765/9781526121219
- Subject:
- History, Cultural History
This is the first interdisciplinary exploration of machine culture in Italian futurism after the First World War. The machine was a primary concern for the futuristi. As well as being a material tool ...
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This is the first interdisciplinary exploration of machine culture in Italian futurism after the First World War. The machine was a primary concern for the futuristi. As well as being a material tool in the factory it was a social and political agent, an aesthetic emblem, a metonymy of modernity and international circulation and a living symbol of past crafts and technologies. Exploring literature, the visual and performing arts, photography, music and film, the book uses the lens of European machine culture to elucidate the work of a broad set of artists and practitioners, including Censi, Depero, Marinetti, Munari and Prampolini. The machine emerges here as an archaeology of technology in modernity: the time machine of futurism.Less
This is the first interdisciplinary exploration of machine culture in Italian futurism after the First World War. The machine was a primary concern for the futuristi. As well as being a material tool in the factory it was a social and political agent, an aesthetic emblem, a metonymy of modernity and international circulation and a living symbol of past crafts and technologies. Exploring literature, the visual and performing arts, photography, music and film, the book uses the lens of European machine culture to elucidate the work of a broad set of artists and practitioners, including Censi, Depero, Marinetti, Munari and Prampolini. The machine emerges here as an archaeology of technology in modernity: the time machine of futurism.
Catherine M. Soussloff
- Published in print:
- 2017
- Published Online:
- September 2018
- ISBN:
- 9781517902414
- eISBN:
- 9781452958804
- Item type:
- chapter
- Publisher:
- University of Minnesota Press
- DOI:
- 10.5749/minnesota/9781517902414.003.0006
- Subject:
- Philosophy, Aesthetics
In his writing on the Surrealist Magritte, Foucault explored the impact of avant-garde “word and image paintings” in the history of twentieth century painting. He proposed that the circulating ...
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In his writing on the Surrealist Magritte, Foucault explored the impact of avant-garde “word and image paintings” in the history of twentieth century painting. He proposed that the circulating similitudes initiated by and proposed in The Treachery of Images (1928) were fulfilled in contemporary series painting, such as the Campbell’s soup cans by the Pop artist Andy Warhol.Less
In his writing on the Surrealist Magritte, Foucault explored the impact of avant-garde “word and image paintings” in the history of twentieth century painting. He proposed that the circulating similitudes initiated by and proposed in The Treachery of Images (1928) were fulfilled in contemporary series painting, such as the Campbell’s soup cans by the Pop artist Andy Warhol.
