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The Aesthetics of Boredom

Slow Cinema and the Virtues of the Long Take in Once Upon a Time in Anatolia

Emre Çağlayan

films, this ostentatious narration makes viewers attend more closely to the film’s style and technique (once again, Béla Tarr comes to mind) as well as other aesthetic features (music, sound design, color, staging, performance). In others, it draws

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Jason Dean and Geoffrey Raynor

the mask is not that of Prowse or Jones. Rather, in this scene the redeemed Darth Vader is played by Sebastian Shaw, a British actor who was well known for his performances with the Royal Shakespeare Company. One may wonder, why did George Lucas decide

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“The physical anxiety of the form itself”

A Haptic Reading of Phil Solomon’s Experimental Films

Hava Aldouby

increased activity in the somatosensory cortex; and in addition, increased activation in motor and premotor regions. 7 Notwithstanding the artist’s self-proclaimed indebtedness to Ken Jacobs’s Nervous System multiple projector performances, and to the

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Shadows, Screens, Bodies, and Light

Reading the Discursive Shadow in the Age of American Silent Cinema

Amy E. Borden

grouping of magic and motion pictures as cultural practices each occupied with illusion, performance, and disappearing bodies. In doing so, it sketches a discursive and conceptual terrain in which to understand how figural bodies were broadly considered and

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On Shock Therapy

Modernist Aesthetics and American Underground Film

William Solomon

in every direction like shivers through an immense body.” 18 Crucially, the vertiginous performances that appear (in a perceptually distorted manner) in the film are unmistakably intended to function as reflexive figurations of the filmmaker

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Voicing Pride and Futurity in the Age of A.I.

An Interview with Playwright Pao-Chang Tsai on Solo Date

Jing Chen and Pao-Chang Tsai

This interview deals with the question of queer Sinofuturisms through the works of Pao-Chang Tsai, a Taiwanese performer, playwright, and director who became renowned for exploring the Taiwanese theaterscape with new media and novel performative techniques. With a special focus on his acclaimed theatrical production Solo Date (2016), the conversation inquires into themes of artificial intelligence, queer futurity, and transcultural performance featured in this one-man show. Linking the representation of A.I. interface as queer body with the demand for LGBT rights in Sinophone contexts, Tsai’s innovative solo performance has examined changing discourses toward queerness and futurism in the age of advanced artificial intelligence. The touching story of how a gay man struggled to process his grief after losing the love of his life further raises critical ethical questions, since the protagonist’s true identity is an A.I. robot.

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Looking for Something to Signify

Something to Signify Gender Performance and Cuban Masculinity in Viva

David Yagüe González

The behaviors and actions that an individual carries out in their daily life and how they are translated by their society overdetermine the gender one might have—or not—according to social norms. However, do the postulates enounced by feminist and queer Western thinkers still maintain their validity when the context changes? Can the performances of gender carry out their validity when the landscape is other than the one in Europe or the United States? And how can the context of drag complicate these matters? These are the questions that this article will try to answer by analyzing the 2015 movie Viva by Irish director Paddy Breathnach.

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Peter Lurie, Antonio Sanna, Hansen Hsu, Ella Houston, and Kristof van Baarle

(2009). In so doing Maurice raises questions about the film’s novel technique of performance capture in connection with its treatment of racialized characters, actors, and themes, above all the ways that Cameron’s claims for the film and the studio

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Michele Barker

day, however, with an extreme wide-angled view watching me watching it, there was to be no mastery in this all-too-fast performance. As I began to ride down the wave, it “closed out”—the whole face of the wave collapsed down all at once, creating a

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Karen Fiss

counts of sexual assault. Alex Giegold and Tomka Weiß’s two-part project— Genital Call and Genitals on Trial 1 —is an audiovisual installation and performance that confronts the transphobia of the courts and the resulting discriminatory practices of