Robin Blyn
- Published in print:
- 2013
- Published Online:
- August 2015
- ISBN:
- 9780816678167
- eISBN:
- 9781452947853
- Item type:
- chapter
- Publisher:
- University of Minnesota Press
- DOI:
- 10.5749/minnesota/9780816678167.003.0002
- Subject:
- Art, Visual Culture
This chapter examines the freak show silent films of Lon Chaney, the so-called Man of a Thousand Faces. It argues that the revival of the freak-garde in film occurs amid revolutionary changes in the ...
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This chapter examines the freak show silent films of Lon Chaney, the so-called Man of a Thousand Faces. It argues that the revival of the freak-garde in film occurs amid revolutionary changes in the medium of cinema and the opportunities they presented for new models of subjectivity. It outlines the landscape of Hollywood cinema during the 1920s when the film industry erupted in experimentation due to technological innovations. It argues that these experiments unhinged sound and image from one another in the cinematic spectacle, which resulted to radical instability. It highlights films featuring Chaney such as The Unholy Three and The Unknown and analyzes their disintegration of the senses which leads to the liberation of repressed desires and rogue subjectivities.Less
This chapter examines the freak show silent films of Lon Chaney, the so-called Man of a Thousand Faces. It argues that the revival of the freak-garde in film occurs amid revolutionary changes in the medium of cinema and the opportunities they presented for new models of subjectivity. It outlines the landscape of Hollywood cinema during the 1920s when the film industry erupted in experimentation due to technological innovations. It argues that these experiments unhinged sound and image from one another in the cinematic spectacle, which resulted to radical instability. It highlights films featuring Chaney such as The Unholy Three and The Unknown and analyzes their disintegration of the senses which leads to the liberation of repressed desires and rogue subjectivities.
Peter Gill
- Published in print:
- 2010
- Published Online:
- April 2015
- ISBN:
- 9780199569847
- eISBN:
- 9780191808609
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:osobl/9780199569847.003.0002
- Subject:
- Economics and Finance, Development, Growth, and Environmental
This chapter describes how the Ethiopian population is threatened by the uncertainties of nature and the ruthlessness of their government. It presents the role played by Professor Mesfin ...
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This chapter describes how the Ethiopian population is threatened by the uncertainties of nature and the ruthlessness of their government. It presents the role played by Professor Mesfin Wolde-Mariam, and effects of the literary and film works of Richard Pankhurst, Mike Davis, and Jonathan Dimbleby in providing the international media a picture of Ethiopian's famine. It looks at the irony of efforts displayed by the Ethiopian government, its supporters, as well as the neighboring countries.Less
This chapter describes how the Ethiopian population is threatened by the uncertainties of nature and the ruthlessness of their government. It presents the role played by Professor Mesfin Wolde-Mariam, and effects of the literary and film works of Richard Pankhurst, Mike Davis, and Jonathan Dimbleby in providing the international media a picture of Ethiopian's famine. It looks at the irony of efforts displayed by the Ethiopian government, its supporters, as well as the neighboring countries.
Bernhard Siegert
- Published in print:
- 2015
- Published Online:
- September 2015
- ISBN:
- 9780823263752
- eISBN:
- 9780823268962
- Item type:
- chapter
- Publisher:
- Fordham University Press
- DOI:
- 10.5422/fordham/9780823263752.003.0008
- Subject:
- Information Science, Communications
In order to conceptualize designing as a cultural technique, one has to wrestle the concept of disegno from the anthropocentric origin it acquired in the Florentine discourse on art, and to ...
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In order to conceptualize designing as a cultural technique, one has to wrestle the concept of disegno from the anthropocentric origin it acquired in the Florentine discourse on art, and to re-attribute it to those techniques and practices that operationalized “the open” and “the provisional” in early Renaissance. Design, then, did not originate in an ingenious uomo universale, but in the convergence of two cultural techniques that flourished in fourteenth-century Florence: the cartographic grid of latitude and longitudes and the grid-based techniques of scaling, proportion, and transfer employed by Renaissance artists’ workshops. Historically, the meaning that disegno acquired much later on can be traced back to the amalgamation of the differing concepts of the “open,” which in conjunction with the two cultural techniques found their way into drawings. Emerging from a field of tension between artisanal and cartographic projection techniques, the artistic design merges the open as the spatially unknown (as made addressable by the Ptolemaic grid) on the one hand and the open as provisional (as enabled by the veil) on the other.Less
In order to conceptualize designing as a cultural technique, one has to wrestle the concept of disegno from the anthropocentric origin it acquired in the Florentine discourse on art, and to re-attribute it to those techniques and practices that operationalized “the open” and “the provisional” in early Renaissance. Design, then, did not originate in an ingenious uomo universale, but in the convergence of two cultural techniques that flourished in fourteenth-century Florence: the cartographic grid of latitude and longitudes and the grid-based techniques of scaling, proportion, and transfer employed by Renaissance artists’ workshops. Historically, the meaning that disegno acquired much later on can be traced back to the amalgamation of the differing concepts of the “open,” which in conjunction with the two cultural techniques found their way into drawings. Emerging from a field of tension between artisanal and cartographic projection techniques, the artistic design merges the open as the spatially unknown (as made addressable by the Ptolemaic grid) on the one hand and the open as provisional (as enabled by the veil) on the other.
