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  1. Photography, early cinema and colonial modernity
    Frank Hurley's synchronized lecture entertainments
    Autor*in: Dixon, Robert
    Erschienen: ©2012
    Verlag:  Anthem Press, London

    Standort:
    Ostbayerische Technische Hochschule Amberg-Weiden / Hochschulbibliothek Amberg
    Fernleihe:
    uneingeschränkte Fernleihe, Kopie und Ausleihe

    Standort:
    Ostbayerische Technische Hochschule Amberg-Weiden, Hochschulbibliothek, Standort Weiden
    Fernleihe:
    uneingeschränkte Fernleihe, Kopie und Ausleihe
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    Quelle: Verbundkataloge
    Sprache: Englisch
    Medientyp: Ebook
    Format: Online
    ISBN: 0857287958; 1843317591; 9780857287953; 9781843317593
    Schriftenreihe: Anthem Australian humanities research series
    Schlagworte: PHOTOGRAPHY / Individual Photographers / Monographs; BIOGRAPHY & AUTOBIOGRAPHY / General; PHOTOGRAPHY / Criticism; PHOTOGRAPHY / Individual Photographers / Essays; Cinematography; Civilization, Modern; Photographers; Photography; Photography / Social aspects; Geschichte; Gesellschaft; Photographers; Photography; Cinematography; Photography; Civilization, Modern; Kulturwissenschaften; Krieg <Motiv>; Filmtechnik; Kolonialismus; Fotografie
    Weitere Schlagworte: Hurley, Frank / 1885-1962; Hurley, Frank (1885-1962); Hurley, Frank (1885-1962)
    Umfang: 1 Online-Ressource (xxxi, 256 pages)
    Bemerkung(en):

    Includes bibliographical references (pages 239-246) and index

    Introduction: Australia's Embrace of Colonial Modernity -- 1. 'The Home of the Blizzard': Douglas Mawson's synchronized lecture entertainment -- 2. Guided spectatorship: exhibiting the Great War -- 3. Touring the nation: Shackleton's 'Marvellous Moving Pictures' and the Australian season of 'In the Grip of the Polar Pack-Ice' -- 4. Entr'acte: 'Sir Ross Smith's Flight', aerial vision and colonial modernity -- 5. Colonial modernity and its sthers: 'Pearls and Savages' as a multi-media project

    "Australian photographer and film maker Frank Hurley became an international celebrity through his reporting of the Mawson and Shackleton Antarctic Expeditions, the First and Second World Wars, the England-Australia air race of 1919, and his own expeditions to Papua in the 1920s. This book is an account of his stage and screen practice in the context of early twentieth-century mass media. 'Photography, Early Cinema and Colonial Modernity' is not a biography of Frank Hurley the man; it is instead an examination of the social life of the many marvellous and meaningful things he made as a professional photographer and film maker in the early twentieth century: the negatives, photographic prints, lantern slides, stereographs, films, diaries and newspaper articles. His stage and screen practices offer an insight into Australia's engagement with the romance and wonder of international modernity in the early years of the twentieth century.

    The level of description at which this volume works is not that of personality or the originary events of Hurley's life - the Mawson and Shackleton Antarctic Expeditions, and the First and Second World Wars - but the media events he worked so hard and so professionally to create. He called them his 'synchronized lecture entertainments'. [NP] These media events were at once national and international; they involved Hurley in an entire culture industry comprising many kinds of personnel, practices and texts that were constantly in movement along global lines of travel and communication, and in a variety of institutional locations around the world. This raises complex questions both about the authorship of Hurley's photographic and filmic texts - which were often produced and presented by other people - and about their ontology, since they were in a more or less constant state of re-assemblage in response to changing market opportunities.

    This unique study re-imagines, from inside the quiet and stillness of the archive, the prior social life of Hurley's creations as they were once accelerated through the complicated topography of the early twentieth century's rapidly internationalizing mass media landscape. As a way to conceive of that space and the social life of the people and things within it, this study uses the concept of 'colonial modernity'."--

    "'Photography, Early Cinema and Colonial Modernity' is not a biography of Frank Hurley the man; it is instead an examination of the social life of the many marvellous and meaningful things he made as a professional photographer and film maker in the early twentieth century: the negatives, photographic prints, lantern slides, stereographs, films, diaries and newspaper articles. His stage and screen practices offer an insight into Australia's engagement with the romance and wonder of international modernity in the early years of the twentieth century. The level of description at which this volume works is not that of personality or the originary events of Hurley's life - the Mawson and Shackleton Antarctic Expeditions, and the First and Second World Wars - but the media events he worked so hard and so professionally to create. He called them his 'synchronized lecture entertainments'"--
  2. Photography, early cinema, and colonial modernity
    Frank Hurley's synchronized lecture entertainments
    Autor*in: Dixon, Robert
    Erschienen: 2011
    Verlag:  Anthem Press, London [u.a.]

    Standort:
    Universitätsbibliothek Erlangen-Nürnberg, Hauptbibliothek
    Fernleihe:
    uneingeschränkte Fernleihe, Kopie und Ausleihe
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    Quelle: Verbundkataloge
    Sprache: Englisch
    Medientyp: Buch (Monographie)
    ISBN: 9780857287953
    Auflage/Ausgabe: 1. publ.
    Schriftenreihe: Anthem Australian humanities research series
    Schlagworte: Geschichte; Gesellschaft; Photographers; Photography; Cinematography; Photography; Civilization, Modern; PHOTOGRAPHY / Individual Photographers / Monographs; Krieg <Motiv>; Filmtechnik; Kolonialismus; Kulturwissenschaften; Fotografie
    Weitere Schlagworte: Hurley, Frank (1885-1962); Hurley, Frank (1885-1962)
    Umfang: XXXI, 256 S., Ill.
    Bemerkung(en):

    "Australian photographer and film maker Frank Hurley became an international celebrity through his reporting of the Mawson and Shackleton Antarctic Expeditions, the First and Second World Wars, the England-Australia air race of 1919, and his own expeditions to Papua in the 1920s. This book is an account of his stage and screen practice in the context of early twentieth-century mass media. 'Photography, Early Cinema and Colonial Modernity' is not a biography of Frank Hurley the man; it is instead an examination of the social life of the many marvellous and meaningful things he made as a professional photographer and film maker in the early twentieth century: the negatives, photographic prints, lantern slides, stereographs, films, diaries and newspaper articles. His stage and screen practices offer an insight into Australia's engagement with the romance and wonder of international modernity in the early years of the twentieth century. The level of description at which this volume works is not that of personality or the originary events of Hurley's life - the Mawson and Shackleton Antarctic Expeditions, and the First and Second World Wars - but the media events he worked so hard and so professionally to create. He called them his 'synchronized lecture entertainments'. [NP] These media events were at once national and international; they involved Hurley in an entire culture industry comprising many kinds of personnel, practices and texts that were constantly in movement along global lines of travel and communication, and in a variety of institutional locations around the world. This raises complex questions both about the authorship of Hurley's photographic and filmic texts - which were often produced and presented by other people - and about their ontology, since they were in a more or less constant state of re-assemblage in response to changing market opportunities

    Includes bibliographical references and index
  3. Wendy Red Star delegation
    Beteiligt: Red Star, Wendy (Künstler); Amirkhani, Jordan (Verfasser von Zusatztexten)
    Erschienen: 2022
    Verlag:  Aperture, New York, NY ; Documentary Arts, Dallas, TX

    Foreword / Alan Govenar -- Back to the blanket: Wendy Red Star in conversation with Josh T. Franco -- Our side: Wendy Red Star's material conceptualism / Julia Bryan-Wilson -- Fifty shades of buckskin: Satire as a decolonizing tool / Tiffany Midge --... mehr

    Standort:
    Hochschulbibliothek der Fachhochschule Aachen
    Fernleihe:
    uneingeschränkte Fernleihe, Kopie und Ausleihe

     

    Foreword / Alan Govenar -- Back to the blanket: Wendy Red Star in conversation with Josh T. Franco -- Our side: Wendy Red Star's material conceptualism / Julia Bryan-Wilson -- Fifty shades of buckskin: Satire as a decolonizing tool / Tiffany Midge -- Setting the stage: Self-portraits and the politics of looking / Jordan Amirkhani -- The Indian congress: Reconfiguring the indigenous archive / Annika K. Johnson -- Mosquitos: A line through grief: poems / by Layli Long Soldier -- Contributors 'Delegation' is the first comprehensive monograph by Apsaalooke/Crow artist Wendy Red Star, whose photography recasts historical narratives with wit, candor, and a feminist, Indigenous perspective. Red Star centers Native American life and material culture through self-portraiture, collages, archival interventions, and site-specific installations. Whether referencing nineteenth-century Crow leaders or 1980s pulp fiction, museum collections or family pictures, she constantly questions the role of the photographer in shaping Indigenous representation. Includes an array of Red Star's lens-based works from 2006 to the present, and a range of essays, stories, and poems

     
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    Quelle: Verbundkataloge
    Beteiligt: Red Star, Wendy (Künstler); Amirkhani, Jordan (Verfasser von Zusatztexten)
    Sprache: Englisch
    Medientyp: Buch (Monographie)
    ISBN: 1597115193; 9781597115193
    RVK Klassifikation: AP 94100 ; LI 99999
    Auflage/Ausgabe: First edition
    Schlagworte: Indigenous peoples; PHOTOGRAPHY / Individual Photographers / Monographs; ART / Museum Studies; PHOTOGRAPHY / History; ART / Mixed Media; Photography, Artistic
    Weitere Schlagworte: Red Star, Wendy / 1981-; Red Star, Wendy / 1981- / Interviews; Photography, Artistic; Interviews; Photography
    Umfang: 270 Seiten
    Bemerkung(en):

    Includes bibliographical references

    130 four-color images
  4. Eat the sun
    Beteiligt: Sigismondi, Floria (Herausgeber, Fotograf); Klanten, Robert (Herausgeber)
    Erschienen: 2019
    Verlag:  Gestalten, Berlin

    Influential director and photographer Floria Sigismondi showcases new images of the biggest names in music and in Hollywood. Floria Sigismondi’s compelling visual narratives have defined the cultural zeitgeist over the course of her 25-year career as... mehr

    Standort:
    Hochschulbibliothek der Fachhochschule Aachen
    Fernleihe:
    uneingeschränkte Fernleihe, Kopie und Ausleihe

     

    Influential director and photographer Floria Sigismondi showcases new images of the biggest names in music and in Hollywood. Floria Sigismondi’s compelling visual narratives have defined the cultural zeitgeist over the course of her 25-year career as a director and photographer. She has worked with numerous celebrities and is also behind surreal, career-defining music videos for Marilyn Manson among others. She has directed episodes of American Gods, The Handmaid’s Tale, and Daredevil for TV, and her Hollywood film credits include The Runaways, and The Turning (due to release in 2020). Eat the Sun is a star-studded overview of Sigismondi’s photographic and film work. Throughout the years, Sigismondi has stayed true to her distinctive noir aesthetic, pushing boundaries to become one of the best visual artists in the industry Die Monografie Eat the Sun bietet einen starbesetzten Überblick über das fotografische und filmische Werk von Floria Sigismondi. Für ihre rätselhaften Porträts setzt die Regisseurin und Fotografin Stars und Musiker wie Tilda Swinton, Elle Fanning, Saoirse Ronan und Jamie Bochert in surrealen Bildwelten in Szene. Filmstills (u.a. aus der Kurzfilmreihe The Horror Show der NYT und ihrem neuen Horrorfilm The Turning) und verstörende Fotoserien spiegeln ihre charakteristische Noir-Ästhetik wider. Mit ihrer Vorliebe für das Skurrile und Groteske hat Sigismondi in den letzten 25 Jahren immer wieder Grenzen gesprengt und sich damit als eine der kreativsten Künstlerinnen ihrer Branche etabliert. Mit Fotos von u.a. Kristen Stewart, Cynthia Nixon, Tatum O’Neal, Dakota Fanning

     
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