” phase described by Henry Rousso in his now seminal work on the Vichy syndrome and the Second World War in France. 17 In Rousso’s collective memory model, a younger generation of authors in search of connection with a dark past challenges the silences
Search Results
In French Politics, Culture & Society
- Published (Print):
- 01 Mar 2018
- Article Type:
- Research Article
- Pages:
- 128–147 (20 total)
Critique, Dialogue, and Action
Museum Representation in Black Panther
Susan Dine
Abstract
In recent decades, the museum world has devoted time and resources to studying the opinions and actions of their visitors; however, it is much more difficult to access perspectives of a more general public that includes non-visitors. This article situates popular visual culture as a form of engagement between museum professionals and the public. By analyzing the museum scene of the Marvel Studios movie Black Panther, as well as responses to it, and then contextualizing these within the history and current events of the museum field, I identify ways in which popularly received visual culture can spur change in other cultural industries—creating productive critiques that can evolve into impactful dialogue and action to model responsive research and more inclusive museum practices.
Conal McCarthy
-anthropology-community engagement, which is longer and more diverse than previously understood, Kreps provides revealing insights into what we can now see as vital models for “ethical and socially responsive practice” ( 2020: 227–228 ). Indeed, in the conclusion of the book readers
Greagh Smith, Conal McCarthy, Bronwyn Labrum, Ken Arnold, Dominique Poulot, Jill Haley, Jun Wei, and Safua Akeli Amaama
anthropology in a new light, in contrast to the postmodern crises/critique model of the 1980s, which tends to erase the past and overlook earlier and ever-present criticism and debate within the field. There are many lessons here: I had no idea about H. H
Social Sciences and the Cultural Sector in England
A Commentary on the Literature
Sara Selwood
). In the late 1980s, their relationship was illustrated by a model of concentric circles, with the creative arts at its core and economic goods and services grouped around them (Gorham and Partners1987). Thirty years later, Kate Oakley and Justin O
Sheila K. Hoffman, Aya Tanaka, Bai Xue, Ni Na Camellia Ng, Mingyuan Jiang, Ashleigh McLarin, Sandra Kearney, Riria Hotere-Barnes, and Sumi Kim
them. When visitors enter the first room, they may see a variety of exhibits, including ancient coins, modern banknotes, introductions to famous banks from various countries, foreign bonds from a century ago, and even models of local traditional account
Paula Mota Santos and Hugo DeBlock
more traditional and small-scale growers, the new world of legal production, distribution, and consumption is posing unexpected challenges, as they have to face business models that fall outside their way of relating to the plant. In an effort to avoid
Are Museums Allowed to Keep a Secret?
Secret and Sacred Objects at the Weltmuseum Wien
Anna Bottesi
order to show every culture's local development, and compare it to the European model. When, in the 2000s, this type of display was finally recognized as “anachronistic” ( Augustat 2021: 284 ), the museum closed and a complete overhaul began. Between
Larissa Juip, Geuntae Park, Jill Haley, Joanna Cobley, Kristin D. Hussey, Eric J. Dorfman, and Ken Arnold
Beaucamp-Markowsky looks at “gallantry” ( galanterien ), more commonly known as objets d'art. They are defined by the author as “small, decorative, personal accessories created by goldsmiths, jewellers, stonecutters and porcelain modellers” and were often
Art Gallery Education in New Zealand during COVID-19
The Emergence of a Community of Practice
Esther Helen McNaughton
months, in 12 months. To what extent will we be opening up? Will we be able to offer things onsite, and to what extent will that be? Will we have to embrace the model which has more substantial offsite delivery or more reduced onsite delivery?” He