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fantaisie des acteurs, l’action se passe à la fois sur la scène, dans les loges et dans le parterre […]. Elle continue même à la fin du spectacle.“ 4 Die Dadaisten haben Theatererfahrung wie Hugo Ball oder stehen wie Tzara in Kontakt zu Marinetti und den Futuristen und konzipieren ihre Dada-Soireen nach

In: Christoph Schlingensief und die Avantgarde

Kapitalismus die Tore zu öffnen, der des Kreativitätsdispositivs bedarf, um eine individuelle Selbstverwirklichung zu versprechen, die vor allem von Design, Mode, Werbung und der Eventkultur instrumentalisiert werden kann und die Guy Debord schon 1967 mit der Société du spectacle angekündigt hat. 17 Mit dem

In: Christoph Schlingensief und die Avantgarde

numerous random shootings across the United States and global terrorist attacks by followers of extremist religious ideology that surpass any destructive act the avant garde ever dreamt of. In 2016, the alarming spectacle of the incoming US president announcing during a campaign rally that “[He] could

In: Christoph Schlingensief und die Avantgarde
Proletarian Art and Festive Decorations of Petrograd, 1917-1920
Art for the workers explores the mythology and reality of post-revolutionary proletarian art in Russia as well as its expression in the festive decorations of Petrograd between 1917 and 1920. It covers this brief period chronologically, and so permits a close inspection of the development of artistic policies in Russia under the Provisional Government followed by the Bolsheviks. Specifically, this book focuses on the pre-and post-revolutionary debate about the nature of proletarian art and its role in the new Socialist society, particularly focusing on festive decorations, parades and mass performances as expressions of proletarian art and forms of propaganda.

– which seek to reproduce the circle’s functional characteristics on a large scale, for the way it easily orients hundreds or thousands of spectators toward a central object of attention. 1. Myai-waing (circular spectacle) in rural northern Burma (from The Illustrated London News , April 1880). The

In: The Five Continents of Theatre
Community, Solidarity, and Political Economy in New Deal Cinema, 1935-1948
In 1936, director John Ford claimed to be making movies for “a new kind of public” that wanted more honest pictures. Graham Cassano’s A New Kind of Public: Community, solidarity, and political economy in New Deal cinema, 1935-1948 argues that this new kind of public was forged in the fires of class struggle and economic calamity. Those struggles appeared in Hollywood productions, as the movies themselves tried to explain the causes and consequence of the Great Depression. Using the tools of critical Marxism and cultural theory, Cassano surveys Hollywood’s political economic explanations and finds a field of symbolic struggle in which radical visions of solidarity and conflict competed with the dominant class ideology for the loyalty of this new audience.
Tracing the Development of the Pirate Motif with Disney’s Pirates of the Caribbean
Postmodern Pirates offers a comprehensive analysis of Disney’s Pirates of the Caribbean series and the pirate motif through the lens of postmodern theories. Susanne Zhanial shows how the postmodern elements determine the movies’ aesthetics, narratives, and character portrayals, but also places the movies within Hollywood’s contemporary blockbuster machinery. The book then offers a diachronic analysis of the pirate motif in British literature and Hollywood movies. It aims to explain our ongoing fascination with the maritime outlaw, focuses on how a text’s cultural background influences the pirate’s portrayal, and pays special attention to the aspect of gender. Through the intertextual references in Pirates of the Caribbean, the motif’s development is always tied to Disney’s postmodern movie series.

involved (see Mikos 327; Schatz, “New Hollywood” 33). 5 Spectacle and the Narrative One of the most controversial aspects in the discussion of contemporary blockbusters as postmodern is the spectacle, because it is always judged in relation to a film’s narrative. The spectacle is a scene aimed at producing

In: Postmodern Pirates

came the ever greater importance attributed to spectacles, as shown by their increasing number: this calendar indicates 177, half the days in a year. The spectacle-games that drew the most crowds were the ludi circenses , the horse races and gladiatorial combats, but the most common were the ludi

In: The Five Continents of Theatre

. PÉCUCHET – But just the other night I saw young people coming out of a theatre with great enthusiasm. The spectacle was undoubtedly worth the trouble. If you had only seen those beaming faces, those eyes both sparkling and pensive. BOUVARD – I admit, young people sometimes are an exception. Their

In: The Five Continents of Theatre