Reading of audiovisual productions of contemporary art in art education

This article focuses on the reading of audiovisual productions of contemporary art as a creative process, seeking to analyse which effects of meaning the articulations between the visual and sound systems produce, and the meaning that children give to then. It describes a video art, identifying the languages that compose it and the relationships that link them. Such reading exercise had as corpus of analysis the Chair video art, by Masaru Ozaki, and counted with the theoretical and methodological support of the discourse semiotics, especially with studies on assembly procedures that articulate visual and auditory languages. Also, it presents a focal study with the meanings that a group of children gave to the video art. The findings indicate the importance of including the reading of audiovisual productions of contemporary art at school through the problematization of effects of meaning produced by the interrelation between different languages. And they suggest some subsidies that allow teachers from different areas of knowledge to reflect about the visuality in their pedagogical practice; the choice of the audiovisual materials taken to the classroom and other ways of seeing these texts edited.

Reterritorialising Canada: Arctic ice’s liquid modernity and the imagining of a Canadian archipelago

Studying mobile actor networks of moving people, objects, images, and discourses, in conjunction with changing time-spaces, offers a unique opportunity to understand important, and yet relatively neglected, “relational material” dynamics of mobility. A key example of this phenomenon is the recontinentalization of Canada amidst dramatically changing articulations of the meanings and boundaries of the Canadian land-ice- ocean mass. A notable reason why Canada is being re-articulated in current times is the extensiveness of Arctic thawing. The reconfiguration of space and “motility” options in the Arctic constitutes an example of how “materiality and sociality produce themselves together.” In this paper we examine the possibilities and risks connected to this recontinentalization of Canada’s North. In exploring the past, present, and immediate future of this setting, we advance the paradigmatic view that Canada’s changing Arctic is the key element in a process of transformation of Canada into a peninsular body encompassed within a larger archipelagic entity: a place more intimately attuned to its immense (and growing) coastal and insular routes.

Applying the Paradigm: Shakespeare and World Cinema

The essay discusses films that have been made of the plays written by dramatist William Shakespeare, particularly films that were made outside of Great Britain and the U.S. The Chinese film "The Banquet," directed by Xiaogang Feng, is a retelling of Shakespeare's play "Hamlet." The film demonstrates how Shakespeare's play could be successfully repositioned to demonstrate problems in 21st century Asia.

Funding, ideology and the aesthetics of the development film in postcolonial Zimbabwe

This article considers the relationships between aesthetics and ideology in donor-funded ‘development’ film-making from Zimbabwe, examining in particular how the films’ producers have attempted to popularize a genre of film-making that has its roots in colonial cinema. Making close reference to two productions from the Harare-based Media for Development Trust (MFD) – Neria (Godwin Mawaru, 1992), and Everyone’s Child (Tsitsi Dangarembga, 1996) (both of which may be regarded as archetypal examples of their genre) – the article demonstrates how the films deploy a range of aesthetic strategies to imbue a set of narratives drawn from colonial development films with greater impact and cultural resonance for contemporary local audiences. The article also suggests that close analysis of these strategies may provide insights into the relationships between the films’ aesthetic dimensions and wider ideological issues in the region.

Responses of calves to acute stress: Individual consistency and relations between behavioral and physiological measures

The present study examined the consistency over time of individual differences in behavioral and physiological responsiveness of calves to intuitively alarming test situations as well as the relationships between behavioral and physiological measures. Twenty Holstein Friesian heifer calves were individually subjected to the same series of two behavioral and two hypothalamo-pituitary-adrenocortical (HPA) axis reactivity tests at 3, 13 and 26 weeks of age. Novel environment (open field, OF) and novel object (NO) tests involved measurement of behavioral, plasma cortisol and heart rate responses. Plasma ACTH and/or cortisol response profiles were determined after administration of exogenous CRH and ACTH, respectively, in the HPA axis reactivity tests. Principal component analysis (PCA) was used to condense correlated measures within ages into principal components reflecting independent dimensions underlying the calves' reactivity. Cortisol responses to the OF and NO tests were positively associated with the latency to contact and negatively related to the time spent in contact with the NO. Individual differences in scores of a principal component summarizing this pattern of inter-correlations, as well as differences in separate measures of adrenocortical and behavioral reactivity in the OF and NO tests proved highly consistent over time. The cardiac response to confinement in a start box prior to the OF test was positively associated with the cortisol responses to the OF and NO tests at 26 weeks of age. HPA axis reactivity to ACTH or CRH was unrelated to adrenocortical and behavioral responses to novelty. These findings strongly suggest that the responsiveness of calves was mediated by stable individual characteristics. Correlated adrenocortical and behavioral responses to novelty may reflect underlying fearfulness, defining the individual's susceptibility to the elicitation of fear. Other independent characteristics mediating reactivity may include activity or coping style (related to locomotion) and underlying sociality (associated with vocalization). (c) 2005 Elsevier Inc. All rights reserved.

The Fraternity of Metaphors: Jean-Luc Godard's Film Socialisme

Since the 'completion' of Histoire(s) du cinema (1988-1998), Jean-Luc Godard's work has become increasingly mosaic-like in its forms and configurations, and markedly elegiac in its ruminations on history, cinema, art, and thought. While his associative aesthetic and citational method –including his choice of ‘actors’, and the fragmentariness of his ‘soundtracks’ – can combine to create a distinctive cinematic event, the films themselves refuse to cohere around a unifying concern, or yield to a thematic schema. Not surprisingly, Film Socialisme does not offer us the illusion of narrative or structural integrity anymore than it contributes to the quotidian rhetoric of political and moral argument. It is, however, a political film in the sense that it alters something more fundamental than opinions and points of view. It transforms a way of seeing and understanding reality and history, fiction and documentary, images, and images of images. If anything, it belongs to that dissident or ‘dissensual’ category of artwork capable of ‘emancipating the spectator’ by disturbing what Jacques Rancière terms ‘the distribution of the sensible’ in that it generates gaps, openings, and spaces, poses questions, invites associations without positing a fixed position, imposing an interpretation, or allowing itself to invest in the illusion of expressive objectivity and the stability of meaning. The myriad citations and fragments that comprise the film are never intended to culminate into anything cohesive, never mind conclusive. In one sense, they have no source and no context beyond their moment in the film itself, and what we make of that moment. This article studies the degree to which Godard allows these images and sounds to combine and collide, associate and dissolve in this film, arguing that Film Socialisme is both an important intervention in the history of contemporary cinema, and necessary point of reference in any serious discussion of the relations between that cinema and political reality.

Regarding the Real: Cinema, Documentary, and the Visual Arts

Regarding the Real: Cinema, Documentary, and the Visual Arts develops an interdisciplinary approach to documentary film, focusing on its cultural and formal relations to other visual arts, such as animation, assemblage, photography, painting, sculpture, and architecture. The book considers the work of figures whose preferred film language is associative and fragmentary, and for whom the documentary is an endlessly open form, an unstable expressive phenomenon that cannot but interrogate the validity of its own narratives and representational modes. Combining close analysis with cultural history, Regarding the Real calls for a re-assessment of the influence of the modern arts in subverting the structures of realism typically associated with documentary filmmaking.

Towards a Poetics of the Cinematographic Frame

In delineating a poetics of the cinematographic frame, this article presents a typology of framing styles, and demonstrates how filmmakers use the frame as an expressive resource and how the frame uses them. The examples discussed are modernist in orientation, and each has a particular association with a city - its history, architecture, and cultural character. Although it is common practice to refer to some framing situations as instances of 'deframing', the article enquires into the problematic nature of this term, suggesting alternative visual and cinematographic contexts more amenable to its deconstructive implications. As the boundaries between cinema and the other arts continue to converge and relations between frame, image, and screen become more complex, this article offers a reassessment of some first principles of film language, especially the aesthetic integrity of the cinematographic frame.

Japan’s Blair Witch: Restraint, Maturity, and Generic Canons in the British Critical Reception of Ring

This essay examines the British critical reception of the Japanese horror ? lm Ring. Critics claimed that Ring was representative of a non-graphic, suggestive tradition in horror, and used the ?lm rhetorically to present a sense of difference from teen horror ?lms such as Scream.

Categorising Korean Cult: The Reputation and Reception of Save the Green Planet!

This article examines the international release of the South Korean film Save the Green Planet! and argues that this is an example of a film whose cult reputation was pre-sold to audiences on the basis of constructed associations between Korean cinema and excessive violence. This article also considers the divided critical reception of Save the Green Planet! as experts from different fields argued over the value and meaning of the film.

DRAKULA HALÁLA (1921): The Cinema's First Dracula.

This essay covers the history of Károly Lajthay’s Hungarian film Drakula halála (1921), the cinema’s first adaptation of Bram Stoker’s novel Dracula. The essay attempts to construct a production history of the film, as well as to create an accurate list of cast members and key filming locations. As Drakula halála is lost, the essay also features the very first English translation of an extremely rare 1924 Hungarian novella based on the film, which offers much insight into its narrative.