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Diese Anthologie versammelt 15 Beiträge internationaler Autorinnen
und Autoren, die sich mit Fragen der Einschreibung und
Institutionalisierung von Gender Studies in der Disziplin
Kunstgeschichte auseinander setzen. Diskutiert werden einerseits
die kunsthistorische Kanonbildung und die Möglichkeiten des
Zugangs von Künstlerinnen in das Kunstsystem. Anderseits werden
transgressive, hybride Bilder von «Weiblichkeit» und
«Männlichkeit» von der frühen Neuzeit bis in die Gegenwart
untersucht sowie neuere Ansätze postkolonialer und queerer Theorie
vorgestellt. Ce volume rassemble 15 contributions d’auteur-e-s de
réputation internationale qui abordent la question de
l’inscription et de l’institutionnalisation des études genre
dans la discipline de l’histoire de l’art. La constitution des
canons artistiques, tout comme les possibilités d’accès des
femmes au système artistique sont analysées. Par ailleurs, les
représentations hybrides et transgressives de la « féminité »
et de la « masculinité » sont interrogées de la Renaissance
à nos jours, ainsi que les apports des études
post-coloniales et queer. Written by authors of international
repute, the 15 articles compiled here address the inscription and
institutionalisation of gender studies in the field of art history.
They analyze the formation of art-historical canons and the
possibilities for women of accessing the art system. Moreover, they
explore transgressive, hybrid images of «femininity» and
«masculinity» from the early modern times to the present. Recent
approaches in post-colonial and queer theory are also discussed.
Newsreel cinema and television not only served as an important tool
in the shaping of political spheres and the construction of
national and cultural identities up to the 1960s. Today's potent
televisual forms were furthermore developed in and strongly
influenced by newsreels, and much of the archived newsreel footage
is repeatedly used to both illustrate and re-stage past events and
their significance. This book addresses newsreel cinema and
television as a medium serving the formation of cultural identities
in a variety of national contexts after 1945, its role in forming
audiovisual narratives of a "biopic of the nation", and the
technical, aesthetical, and political challenges of archiving and
restaging cinematic and televisual newsreel.
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