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Books > Arts & Architecture > History of art / art & design styles > From 1900 > Art styles, 1960 - > Electronic & video art
Fiona Tan is one of the most distinctive contemporary artists
working in film and video. Her work moves between documentation and
fiction, biography and fantasy. In using historical and
ethnographic film material, Tan shows portraits of individuals and
groups from different cultural backgrounds and social strata.
"Mirror Maker" includes important works dating from the last eight
years.
Children and horror are often thought to be an incompatible meeting
of audience and genre, beset by concerns that children will be
corrupted or harmed through exposure to horror media. Nowhere is
this tension more clear than in horror films for adults, where the
demonic child villain is one of the genre's most enduring tropes.
However, horror for children is a unique category of contemporary
Hollywood cinema in which children are addressed as an audience
with specific needs, fears and desires, and where child characters
are represented as sympathetic protagonists whose encounters with
the horrific lead to cathartic, subversive and productive outcomes.
Horror Films for Children examines the history, aesthetics and
generic characteristics of children's horror films, and identifies
the 'horrific child' as one of the defining features of the genre,
where it is as much a staple as it is in adult horror but with
vastly different representational, interpretative and affective
possibilities. Through analysis of case studies including
blockbuster hits (Gremlins), cult favourites (The Monster Squad)
and indie darlings (Coraline), Catherine Lester asks, what happens
to the horror genre, and the horrific children it represents, when
children are the target audience?
Since Ursula Andress's white-bikini debut in Dr No, 'Bond Girls'
have been simultaneously celebrated as fashion icons and dismissed
as 'eye-candy'. But the visual glamour of the women of James Bond
reveals more than the sexual objectification of female beauty.
Through the original joint perspectives of body and fashion, this
exciting study throws a new, subversive light on Bond Girls. Like
Coco Chanel, fashion's 'eternal' mademoiselle, these 'Girls' are
synonymous with an unconventional and dynamic femininity that does
not play by the rules and refuses to sit still; far from being the
passive objects of the male gaze, Bond Girls' active bodies instead
disrupt the stable frame of Bond's voyeurism. Starting off with an
original re-assessment of the cultural roots of Bond's postwar
masculinity, the book argues that Bond Girls emerge from masculine
anxieties about the rise of female emancipation after the Second
World War and persistent in the present day. Displaying parallels
with the politics of race and colonialism, such tensions appear
through sartorial practices as diverse as exoticism, power dressing
and fetish wear, which reveal complex and often contradictory ideas
about the patriarchal and imperial ideologies associated with Bond.
Attention to costume, film and gender theory makes Bond Girls:
Body, Gender and Fashion essential reading for students and
scholars of fashion, media and cultural studies, and for anyone
with an interest in Bond.
The first collection of Annette Michelson's influential writings on
film, with essays on work by Marcel Duchamp, Maya Deren, Hollis
Frampton, Martha Rosler, and others. The celebrated critic and film
scholar Annette Michelson saw the avant-garde filmmakers of the
1950s and 1960s as radically redefining and extending the Modernist
tradition of painting and sculpture, and in essays that were as
engaging as they were influential and as lucid as they were
learned, she set out to demonstrate the importance of the
underappreciated medium of film. On the Eve of the Future collects
more than thirty years' worth of those essays, focusing on her most
relevant engagements with avant-garde production in experimental
cinema, particularly with the movement known as American
Independent Cinema. This volume includes the first critical essay
on Marcel Duchamp's film Anemic Cinema, the first investigation
into Joseph Cornell's filmic practices, and the first major
explorations of Michael Snow. It offers an important essay on Maya
Deren, whose work was central to that era of renewal and
reinvention, seminal critiques of Stan Brakhage, Hollis Frampton,
and Harry Smith, and overviews of Independent Cinema. Gathered here
for the first time, these texts demonstrate Michelson's pervasive
influence as a writer and thinker and her role in the establishment
of cinema studies as an academic field. The postwar generation of
Independents worked to develop radically new terms, techniques, and
strategies of production and distribution. Michelson shows that the
fresh new forms they created from the legacy of Modernism became
the basis of new forms of spectatorship and cinematic pleasure.
Chicago New Media, 1973-1992 chronicles the unrecognized story of
Chicago's contributions to new media art by artists at the
University of Illinois at Chicago's Electronic Visualization
Laboratory, the School of the Art Institute of Chicago, and at
Midway and Bally games. It includes original scholarship of the
prehistory, communities, and legacy of the city's new media output
in the latter half of the twentieth century along with color plate
images of video game artifacts, new media technologies, historical
photographs, game stills, playable video game consoles, and virtual
reality modules. The featured essay focuses on the career of
programmer and artist Jamie Fenton, a key figure from the era, who
connected new media, academia, and industry. This catalog is a
companion to the exhibition Chicago New Media 1973-1992, curated by
Jon Cates, and organized by Video Game Art Gallery in partnership
with Gallery 400 and the Electronic Visualization Laboratory. It is
part of Art Design Chicago, a 2018 initiative of the Terra
Foundation for American Art, with presenting partner The Richard H.
Driehaus Foundation, to explore Chicago's art and design legacy.
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