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Showing 1 - 4 of 4 matches in All Departments
In Feeling Media Miryam Sas explores the potentialities and limitations of media theory and media art in Japan. Opening media studies and affect theory up to a deeper engagement with works and theorists outside Euro-America, Sas offers a framework of analysis she calls the affective scale-the space where artists and theorists work between the level of the individual and larger global and historical shifts. She examines intermedia, experimental animation, and Marxist theories of the culture industries of the 1960s and 1970s in the work of artists and thinkers ranging from filmmaker Matsumoto Toshio, photographer Nakahira Takuma, and the Three Animators' Group to art critic Hanada Kiyoteru and landscape theorist Matsuda Masao. She also outlines how twenty-first-century Japanese artists-especially those responding to the Fukushima disaster-adopt and adapt this earlier work to reframe ideas about collectivity, community, and connectivity in the space between the individual and the system.
In Feeling Media Miryam Sas explores the potentialities and limitations of media theory and media art in Japan. Opening media studies and affect theory up to a deeper engagement with works and theorists outside Euro-America, Sas offers a framework of analysis she calls the affective scale-the space where artists and theorists work between the level of the individual and larger global and historical shifts. She examines intermedia, experimental animation, and Marxist theories of the culture industries of the 1960s and 1970s in the work of artists and thinkers ranging from filmmaker Matsumoto Toshio, photographer Nakahira Takuma, and the Three Animators' Group to art critic Hanada Kiyoteru and landscape theorist Matsuda Masao. She also outlines how twenty-first-century Japanese artists-especially those responding to the Fukushima disaster-adopt and adapt this earlier work to reframe ideas about collectivity, community, and connectivity in the space between the individual and the system.
How can a movement like Surrealism be transferred, transplanted, or
transported from one culture to another, one language to another?
This book traces the creative dialogue between France and Japan in
the early twentieth century, focusing on Surrealist and avant-garde
writings. It opens a theoretical treatment of cultural memory,
influence, visuality, writing, nostalgia, and nation to suggest a
new perspective for the reading of modern Japanese culture and
cross-cultural interactions. The author argues that the problem of
literary influences should be recast as a problem of cultural
memory, where analysis of causes and effects gives way to a deeper
analysis of displacements and aftershocks, which she calls cultural
"fault lines."
How can a movement like Surrealism be transferred, transplanted, or
transported from one culture to another, one language to another?
This book traces the creative dialogue between France and Japan in
the early twentieth century, focusing on Surrealist and avant-garde
writings. It opens a theoretical treatment of cultural memory,
influence, visuality, writing, nostalgia, and nation to suggest a
new perspective for the reading of modern Japanese culture and
cross-cultural interactions. The author argues that the problem of
literary influences should be recast as a problem of cultural
memory, where analysis of causes and effects gives way to a deeper
analysis of displacements and aftershocks, which she calls cultural
"fault lines."
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