May Adadol Ingawanij and Richard Lowell MacDonald
- Published in print:
- 2010
- Published Online:
- September 2011
- ISBN:
- 9789622091214
- eISBN:
- 9789882207493
- Item type:
- chapter
- Publisher:
- Hong Kong University Press
- DOI:
- 10.5790/hongkong/9789622091214.003.0006
- Subject:
- History, Asian History
This chapter examines Apichatpong Weerasethakul's trajectory as an alternative filmmaker as a mode of cosmopolitanism exercized through education. Apichatpong's identity as a filmmaker is premised on ...
More
This chapter examines Apichatpong Weerasethakul's trajectory as an alternative filmmaker as a mode of cosmopolitanism exercized through education. Apichatpong's identity as a filmmaker is premised on the self-conscious marginality of his practice within Thailand and its appreciation by institutions of transnational art and avant-garde cinephilia in North America and, to a lesser extent, Europe. His mode of cultural practice constitutes a kind of contact zone with the West that is particularly dependent on transnational cinephilia for its visibility and perpetuation. The chapter explores how this encounter structures the attempt to articulate an alternative sphere of cultural production in Thailand, which desires to assert its autonomy from the domestic mass market.Less
This chapter examines Apichatpong Weerasethakul's trajectory as an alternative filmmaker as a mode of cosmopolitanism exercized through education. Apichatpong's identity as a filmmaker is premised on the self-conscious marginality of his practice within Thailand and its appreciation by institutions of transnational art and avant-garde cinephilia in North America and, to a lesser extent, Europe. His mode of cultural practice constitutes a kind of contact zone with the West that is particularly dependent on transnational cinephilia for its visibility and perpetuation. The chapter explores how this encounter structures the attempt to articulate an alternative sphere of cultural production in Thailand, which desires to assert its autonomy from the domestic mass market.
Sharon Hecker
- Published in print:
- 2017
- Published Online:
- January 2018
- ISBN:
- 9780520294486
- eISBN:
- 9780520967564
- Item type:
- book
- Publisher:
- University of California Press
- DOI:
- 10.1525/california/9780520294486.001.0001
- Subject:
- Art, Art History
Medardo Rosso (1858–1928) is one of the most original and influential figures in the history of modern art, and this book is the first historically substantiated critical account of his life and ...
More
Medardo Rosso (1858–1928) is one of the most original and influential figures in the history of modern art, and this book is the first historically substantiated critical account of his life and work. An innovative sculptor, photographer, and draftsman, Rosso was vital in paving the way for the transition from the academic forms of sculpture that persisted in the nineteenth century to the development of new and experimental forms in the twentieth century. His antimonumental, antiheroic work reflected alienation in the modern experience yet showed deep feeling for interactions between self and other. Rosso's art was transnational: he refused allegiance to a single culture or artistic heritage and declared himself both a citizen of the world and a maker of art without national limits. This book develops a narrative that is an alternative to the dominant Franco-centered perspective on the origin of modern sculpture in which Rodin plays the role of lone heroic innovator. Offering an original way to comprehend Rosso, the book negotiates the competing cultural imperatives of nationalism and internationalism that shaped the European art world at the fin de siècle.Less
Medardo Rosso (1858–1928) is one of the most original and influential figures in the history of modern art, and this book is the first historically substantiated critical account of his life and work. An innovative sculptor, photographer, and draftsman, Rosso was vital in paving the way for the transition from the academic forms of sculpture that persisted in the nineteenth century to the development of new and experimental forms in the twentieth century. His antimonumental, antiheroic work reflected alienation in the modern experience yet showed deep feeling for interactions between self and other. Rosso's art was transnational: he refused allegiance to a single culture or artistic heritage and declared himself both a citizen of the world and a maker of art without national limits. This book develops a narrative that is an alternative to the dominant Franco-centered perspective on the origin of modern sculpture in which Rodin plays the role of lone heroic innovator. Offering an original way to comprehend Rosso, the book negotiates the competing cultural imperatives of nationalism and internationalism that shaped the European art world at the fin de siècle.
Emily Roxworthy
- Published in print:
- 2008
- Published Online:
- November 2016
- ISBN:
- 9780824832209
- eISBN:
- 9780824869359
- Item type:
- chapter
- Publisher:
- University of Hawai'i Press
- DOI:
- 10.21313/hawaii/9780824832209.003.0006
- Subject:
- Society and Culture, Cultural Studies
This chapter uncovers the transnational performing arts (theatre, dance, and music) of internees at the “other” California relocation center, Tule Lake, which served from 1943 to 1946 as a ...
More
This chapter uncovers the transnational performing arts (theatre, dance, and music) of internees at the “other” California relocation center, Tule Lake, which served from 1943 to 1946 as a segregation center for Japanese Americans deemed especially “disloyal” to the United States and loyal to Japan. Manzanar and Tule Lake are generally understood to have very different, even diametrically opposed, histories of internee compliance and resistance, but closer examination of the performance histories of Manzanar and Tule Lake reveal the nuanced and similar ways that internees “talked back” to theatricalized stereotypes about Japanese culture, the spectacularization of Asian American assimilation, and the scrutinization of Japanese American loyalty. Significantly, these transnational performing artists rejected the myth of performative citizenship outright by denying that the enactment of either Japanese or American culture necessarily correlated with their loyalty to either nation.Less
This chapter uncovers the transnational performing arts (theatre, dance, and music) of internees at the “other” California relocation center, Tule Lake, which served from 1943 to 1946 as a segregation center for Japanese Americans deemed especially “disloyal” to the United States and loyal to Japan. Manzanar and Tule Lake are generally understood to have very different, even diametrically opposed, histories of internee compliance and resistance, but closer examination of the performance histories of Manzanar and Tule Lake reveal the nuanced and similar ways that internees “talked back” to theatricalized stereotypes about Japanese culture, the spectacularization of Asian American assimilation, and the scrutinization of Japanese American loyalty. Significantly, these transnational performing artists rejected the myth of performative citizenship outright by denying that the enactment of either Japanese or American culture necessarily correlated with their loyalty to either nation.
