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Conclusions

Elisa Mandelli

in The Museum as a Cinematic Space: The Display of Moving Images in Exhibitions

This chapter runs through the main arguments of the book and traces the conclusions, arguing that not only audio-visuals can be incorporated in exhibitions, but exhibitions can also be structured ... More

This chapter runs through the main arguments of the book and traces the conclusions, arguing that not only audio-visuals can be incorporated in exhibitions, but exhibitions can also be structured according to cinematic principles, or be influenced by the configuration of the “classic” cinematic dispositive. Moreover, moving images play a key role in shaping the relationships between visitors and the museum. The cinematic component should thus be understood as a “structural element” of contemporary museum exhibitions, rather than as an extrinsic component.Less

Nathaniel Hawthorne, American Consul

David Seed (ed.)

in American Travellers in Liverpool

This chapter focuses on the writer Nathaniel Hawthorne, who served as US consul in Liverpool in the 1850s. It includes excerpts from his memoirs and those of his son Julian. In addition to describing ... More

This chapter focuses on the writer Nathaniel Hawthorne, who served as US consul in Liverpool in the 1850s. It includes excerpts from his memoirs and those of his son Julian. In addition to describing the workings of the consulate, Hawthorne particularly focused on differences between the two cultures. He records a number of city events as well as his experiences of residence within Liverpool and on the Wirral. Like Dickens, he derived his impressions from strolls around the city, but also left on record accounts of other American travellers there.Less

Introduction

Elisa Mandelli

in The Museum as a Cinematic Space: The Display of Moving Images in Exhibitions

The introduction presents the subject of the monograph: the use of moving images in the exhibition design of museums. The focus is on different kinds of institutions, chiefly art, history, science ... More

The introduction presents the subject of the monograph: the use of moving images in the exhibition design of museums. The focus is on different kinds of institutions, chiefly art, history, science and ethnographic museums in Europe and the US. Within these settings, films and audio-visuals are not displayed as works of art, but rather as tools for contextualization, explanation or visitor engagement. However, their role is far from being merely instrumental, and they deeply affect the exhibition strategies of museums. Furthermore, the introduction provides the theoretical framework of the monograph and illustrates the methodology. In order to investigate the display of moving images in museums, the book adopts a strongly interdisciplinary approach that combines theoretical and methodological tools drawn primarily from museum, film, and media studies. Following museum studies, it pays attention not only to the way in which exhibition design can influence the meaning of the exhibits, but also to the type of relationship that the visitor establishes with the contents proposed by the institution. On the other hand, film and media studies offer methodological instruments to investigate the dissemination of moving images outside the movie theatres, both in the past and in the present.Less

Sustaining People-to-People Relationships

Jonathan S. Addleton

in Mongolia and the United States: A Diplomatic History

This chapter focuses on the “soft” aspects of the diplomatic relationship between the United States and Mongolia - public outreach; public affairs; educational exchanges and cultural ties. It also ... More

This chapter focuses on the “soft” aspects of the diplomatic relationship between the United States and Mongolia - public outreach; public affairs; educational exchanges and cultural ties. It also details the growing interaction between Americans who work in Mongolia and Mongolians who live in the United States, marking the foundation of an active Mongolian-American community that has grown significantly in recent years. Education exchanges such as the Fulbright program are discussed and assessed, along with Mongolia's success in accessing funds for cultural support through the Ambassador's Fund for Cultural Preservation. Finally, it discusses the establishment and growth of a large Peace Corps presence in Mongolia.Less

The Smithsonian Folklife Festival: Many Auspicious Doors

Betty Belanus

in Curatorial Conversations: Cultural Representation and the Smithsonian Folklife Festival

This chapter uses the 2008 Bhutan program to examine visitor experience and the role of curators in crafting these experiences. Using the suggestive possibilities of a portable Buddhist shrine ... More

This chapter uses the 2008 Bhutan program to examine visitor experience and the role of curators in crafting these experiences. Using the suggestive possibilities of a portable Buddhist shrine featured in the program and basing the analysis on 20 years of experience working with the Festival and its evaluation, the author lays out a framework for analyzing four levels of Festival visitor engagement: Level 1—Sensory Cultural Enlightenment/Being Present; Level 2—Choosing a Route/Moving Through; Level 3—Viewing and Taking part in the Live Performance/Active Experiencing; and Level 4—Revealing the Deeper Layers/Discovering More. The chapter concludes with observations about visitor studies relevant to museums as well as festivals.Less

Misalliance: Gardens and Books as the Means to New Dramatic Forms

Tony Jason Stafford and R. F. Dietrich

in Shaw's Settings: Gardens and Libraries

In Misalliance, it would seem at first glance that Shaw has abandoned the use of both gardens and libraries, for the sole on-stage setting is “a big hall with tiled flooring” and a “glass pavilion ... More

In Misalliance, it would seem at first glance that Shaw has abandoned the use of both gardens and libraries, for the sole on-stage setting is “a big hall with tiled flooring” and a “glass pavilion [which] springs from a bridgelike arch in the wall of the house.” But that would be a mistake, for gardens and books are both present, but in a way unlike anything Shaw has attempted before: the garden, with which much interaction occurs by characters such as Hypatia and Percival as well as others, is outside and seen through the enormous glass pavilion, and books and libraries form a major portion of the conversations, especially discussions involving John Tarleton. Furthermore, gardens and books are united in their mutual function of enabling Shaw to move in a new direction in both the style of the play and in his use of settings.Less

Actors

Susan P. Shapiro

in Speaking for the Dying: Life-and-Death Decisions in Intensive Care

This chapter introduces health care providers in the ICU, patients, and especially their significant others. It depicts the misfortunes that brought patients to the ICU, their impact on patients’ ... More

This chapter introduces health care providers in the ICU, patients, and especially their significant others. It depicts the misfortunes that brought patients to the ICU, their impact on patients’ decision-making capacity, and how capacity determinations are made. The chapter traces the worlds from which patients traveled and their very diverse backgrounds (age, race/ethnicity, marital status, religion, health insurance, affluence of residence). It shows the arrangements patients made in advance to plan for medical decision making on their behalf—including preparation of advance directives—and what happens when, as is usually the case, they made no preparations. The chapter introduces the friends and family who visit, interact with health care providers, and maintain the occasional vigil at the bedside. It describes their characteristics, the complex tangled family trees from which some travel, family dynamics, and the sometimes challenging or contentious struggles to determine who gets to speak on behalf of the patient. The chapter examines the relationship of surrogate decision makers to the patient and how the former come to understand their role and responsibilities. Finally, ICU health care professionals’ characteristics and bedside manner are described.Less

The cosmopolitan world of Victorian portraiture: the Crystal Palace portrait gallery, c.1854

Jason Edwards

Kate Nichols and Sarah Victoria Turner (eds)

in After 1851: The Material and Visual Cultures of the Crystal Palace at Sydenham

‘The World of Victorian Portraiture’ focuses on the 500 plaster cast busts that make up the largely ignored portrait sequence at the Crystal Palace, that ran throughout and alongside the Fine Arts ... More

‘The World of Victorian Portraiture’ focuses on the 500 plaster cast busts that make up the largely ignored portrait sequence at the Crystal Palace, that ran throughout and alongside the Fine Arts Courts, treating the portrait collection as a microcosm of Sydenham as a whole. Focussing on a close reading of Samuel Phillips’s official 1854 guide to the portrait sequence, in relation to the few surviving images of portrait busts at Sydenham, the chapter seeks to counter a myopic, insular, working-class historical emphasis on Sydenham as a provincial, proletarian pleasure park. In its place, the chapter returns to centre stage the complex, cosmopolitan, high cultural experiences and ambitions of a specific subset of visitors - the ideal audience imagined by the official guides.Less

Women visiting museums

Kate Hill

in Women and Museums 1850-1914: Modernity and the Gendering of Knowledge

This chapter examines women’s role as visitors to museums, looking first at how women visitors were perceived – where there was a change from seeing them as potential polluters of the museum, to ... More

This chapter examines women’s role as visitors to museums, looking first at how women visitors were perceived – where there was a change from seeing them as potential polluters of the museum, to seeing them as agents of civilisation who would improve the conduct of male visitors – and then exploring how women visitors themselves understood their visit and used the museum space. Here it is argued that as middle-class women in particular became a dominant part of museum audiences, they came to use the space in a variety of ways, as an important component of their leisure, educational, and imaginative lives. It is in this context that the suffragette attacks on museum paintings and objects needs to be set – the key problem such suffragettes posed is that they looked just like all the other visitors.Less

Godfrey Reggio (on Visitors)

Scott MacDonald

in Avant-Doc: Intersections of Documentary and Avant-Garde Cinema

Well known for his Qatsi Trilogy (Koyaanisqatsi, Powaqqatsi, Naqoyqatsi—“qatsi” means life in the Hopi language), Reggio works with composer Philip Glass on each of his feature projects. Visitors is ... More

Well known for his Qatsi Trilogy (Koyaanisqatsi, Powaqqatsi, Naqoyqatsi—“qatsi” means life in the Hopi language), Reggio works with composer Philip Glass on each of his feature projects. Visitors is a meditation on people and place in the new millennium, and particularly on the faces of individual children and adults (and in several instances Triska, a lowland gorilla living in the Bronx Zoo), recorded in close-up, as they respond to the camera and/or to television and video games. These portraits are complemented by elegant imagery of the Louisiana landscapes, close to where Reggio grew up, that were transformed by Hurricane Katrina. Reggio describes the evolution of Visitors, his way of working with Glass, and the various “angels” (including Steven Soderberg) who made a release of the film possible.Less

England and Wales

Claire van Overdijk

in The International Protection of Adults

The territory of England and Wales forms a single jurisdiction covering two of the four countries of the United Kingdom (‘UK’). England and Wales together form the constitutional successor to the ... More

The territory of England and Wales forms a single jurisdiction covering two of the four countries of the United Kingdom (‘UK’). England and Wales together form the constitutional successor to the former Kingdom of England and follow a single legal system, known as English law. Less

Northern Ireland

Michael Graham

in The International Protection of Adults

Northern Ireland is part of the United Kingdom with its own Regional Assembly, but is subject to direct rule from the UK Parliament in Westminster in relation to certain reserved matters. The law ... More

Northern Ireland is part of the United Kingdom with its own Regional Assembly, but is subject to direct rule from the UK Parliament in Westminster in relation to certain reserved matters. The law relating to mental capacity in Northern Ireland is in a period of change. Less