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Beholding Ourselves

Black Girls as Creators, Subjects, and Witnesses

Erin M. Stephens and Jamaica Gilmer

The bus was full of excited chatter as it pulled up in front of the Metropolitan Museum of Art (known universally as The Met) on Fifth Avenue on a cold morning in January. Thirteen girls, along with invited loved ones, had traveled for nine-and-a-half hours from Durham, NC, to view their art displayed in the exhibit, “Pens, Lens, and Soul: The Story of The Beautiful Project” (hereafter, “Pens, Lens, and Soul”). First, the girls filed off the bus to take a photograph on the steps of The Met. As their family and friends waited to disembark, they laughed and shivered while posing for numerous photographs and videos on the cold steps. As they stood at the bottom of the steps of the grand prestigious museum, the impressiveness of their accomplishment was just beginning to dawn on many of them. As she walked around the exhibit one of the artists would comment, “I feel surprised because I didn’t realize it was this big of a thing and I was here and it’s a thing, it’s a big thing … we are capable of doing anything.”

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Chiara Bottici and Benoît Challand

Both the name Europe and the political entity Europe are relatively recent inventions. Although the name can be traced back as far as 700 BCE, the term in its contemporary meaning only became widespread after 1700 CE. The political entity is an even more recent construct. It was only with the first steps toward European construction in the second half of the twentieth century that the contours of a political community bearing this name emerged, even if its borders were still far from clearly defined. Yet even with the existence of today’s European Union (EU) the meaning of the term remains highly contested. Does Europe mean only the EU? Is it a geographical or a political entity? Where are its boundaries? How did these boundaries come about?

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Andrew J. Webber

Abstract

This article is concerned with the 2012 feature Lore, which was made in Germany by Australian director Cate Shortland and is based on the story of the same name by Rachel Seiffert. Focusing on a group of siblings and their odyssey across Germany at the end of World War II, the film explores questions of identity constitution and subversion in the transitional ground between childhood and adulthood, in particular as this is registered in bodily experience. The three main sections of this article focus on the family archive (not least through the medium of photography), structures of double identity (in particular around the figure of the German Jew), and aesthetic strategies of representation (especially framing and mirroring). Through these steps, the article probes the ethical, aesthetic, and political stakes involved in representing the passing of children through the violence of history in what the director calls “grey zones.”

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Renée Monchalin and Lisa Monchalin

steps and look to our ancestral teachings. During a conversation over the phone one evening, a particular teaching made our experiences in academia make sense. The teaching is the Anishnaabe Seven Fires Prophecy, which is composed of seven predictions

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Sexy Health Carnival

One Small Part of Indigenous Herstory

Alexa Lesperance

actions and steps we take to survive, but rather to provide support and love, as our ancestors and spirits have taught us well to do. The carnival, since its birth in 2012, has become so much bigger than me as many other Indigenous youth and communities

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Girls with Disabilities in the Global South

Rethinking the Politics of Engagement

Xuan Thuy Nguyen

workshops, for instance, participants were shown a number of steps that demonstrated how they could use cameras to take pictures of, for example, gender-based violence. We used the images taken from other photovoice projects to illustrate these steps to the

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Reframing Disability through Graphic Novels for Girls

Alternative Bodies in Cece Bell’s El Deafo

Wendy Smith-D’Arezzo and Janine Holc

second frame, he steps on another group that includes Cece with his giant sneaker. In this situation, Cece is not part of the striving story as is Augie. She does not overcome her aversion to PE, but suffers through it. Even her alter ego, El Deafo

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Embodiment, Curation, Exhibition

Douglas Gordon’s “Pretty much every film and video work from about 1992 until now”

Jiaying Sim

experience of the exhibition is crucial in constructing the way his work is received. The visitor is invited from the outset to take the active steps in the participation of this encounter because the work is initially presented to one as an explosion of

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Before and After Ghostcatching

Animation, Primitivism, and the Choreography of Vitality

Heather Warren-Crow

performed a series of steps that would later be applied to animated figures ( Kaiser 1999 ). A choreographer who usually “generated new movements by dancing them himself and then set them onto the members of his company,” Jones was “spinning off his

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Philip Cowan

(Clark Gable) arrives, Paula is first seen through the doorway, which creates a prison feeling. The camera tracks back away from the door to reveal Jeff and his friend Shemp (Charles Butterworth) as Paula steps out of the house. Although the shot does not