標(biāo)題: Titlebook: Darcy Lange, Videography as Social Practice; Mercedes Vicente Book 2024 The Editor(s) (if applicable) and The Author(s), under exclusive l [打印本頁] 作者: 不正常 時(shí)間: 2025-3-21 19:46
書目名稱Darcy Lange, Videography as Social Practice影響因子(影響力)
書目名稱Darcy Lange, Videography as Social Practice影響因子(影響力)學(xué)科排名
書目名稱Darcy Lange, Videography as Social Practice網(wǎng)絡(luò)公開度
書目名稱Darcy Lange, Videography as Social Practice網(wǎng)絡(luò)公開度學(xué)科排名
書目名稱Darcy Lange, Videography as Social Practice被引頻次
書目名稱Darcy Lange, Videography as Social Practice被引頻次學(xué)科排名
書目名稱Darcy Lange, Videography as Social Practice年度引用
書目名稱Darcy Lange, Videography as Social Practice年度引用學(xué)科排名
書目名稱Darcy Lange, Videography as Social Practice讀者反饋
書目名稱Darcy Lange, Videography as Social Practice讀者反饋學(xué)科排名
作者: 巧思 時(shí)間: 2025-3-21 20:50
M. L. Whitehead,J. P. Wilson,R. J. Bakerhotography and video shortly after. He desired that his art serve a social function, from the early observational video series . (1971–75), documenting people at work in factories, mines and rural settings, and the socially engaged . (1976–77) in Britain, to the . (1980), joining Indigenous activist作者: GUISE 時(shí)間: 2025-3-22 01:39
M. Merchan,D. E. Lopez,E. Salda?a,F. Collia (Harun Farocki and Kevin Jerome Everson). Ethnographic film discourses serve here to examine the politics of representation and the social and political inflections embedded in Lange’s early works, such as . (1972) and throughout his . (1972–77).作者: 歡樂中國 時(shí)間: 2025-3-22 05:45 作者: 衣服 時(shí)間: 2025-3-22 10:29 作者: 禁止 時(shí)間: 2025-3-22 16:25 作者: 禁止 時(shí)間: 2025-3-22 20:22 作者: 一起平行 時(shí)間: 2025-3-22 22:10
,Ethnographic, Structuralist and Real?Time Filmmaking, (Harun Farocki and Kevin Jerome Everson). Ethnographic film discourses serve here to examine the politics of representation and the social and political inflections embedded in Lange’s early works, such as . (1972) and throughout his . (1972–77).作者: syncope 時(shí)間: 2025-3-23 04:37
Images of People at Work,alist, socially engaged documentary tradition. He sided with the workers rather than addressing labour for a political argument, contrasting with the more programmatic articulations of his radical left and feminist contemporaries. Lange’s . examine work in its manifold meanings, including the workin作者: lacrimal-gland 時(shí)間: 2025-3-23 09:20
Education, Participation and the Making of the Subject,ctices as theoretically defined by Claire Bishop, that sought to activate the role of the artist in society. The dialogical nature of Lange’s video raises issues to do with the methodological analysis of this work, whether it ought to be framed within the discourses of video—the notion of feedback, 作者: 錫箔紙 時(shí)間: 2025-3-23 11:07 作者: 多嘴多舌 時(shí)間: 2025-3-23 15:23 作者: 減至最低 時(shí)間: 2025-3-23 21:34 作者: 最高峰 時(shí)間: 2025-3-24 00:43
2523-7527 ocratic dialogical tool for social transformation.A material.The Videography of Darcy Lange.?is a critical monograph of a pivotal figure in early analogue video. Trained as a sculptor at the Royal College of Art, Lange developed a socially engaged video practice with remarkable studies of people at 作者: 知識(shí)分子 時(shí)間: 2025-3-24 04:44 作者: 離開真充足 時(shí)間: 2025-3-24 09:37
Soundpoesie(n) im Neuen H?rspielf postcolonial studies debates in the 1980s (Said, Spivak) and more recent postcolonial literature coming out of Māori and Indigenous Studies in New Zealand (Hokowhitu, Boraman, Tuhiwai Smith). An activist impulse also lies behind Lange’s political multimedia musical performances . (1983) and . (1988), briefly introduced at the end of the chapter.作者: 使迷惑 時(shí)間: 2025-3-24 14:30 作者: 信徒 時(shí)間: 2025-3-24 15:14
Social Activism,f postcolonial studies debates in the 1980s (Said, Spivak) and more recent postcolonial literature coming out of Māori and Indigenous Studies in New Zealand (Hokowhitu, Boraman, Tuhiwai Smith). An activist impulse also lies behind Lange’s political multimedia musical performances . (1983) and . (1988), briefly introduced at the end of the chapter.作者: Awning 時(shí)間: 2025-3-24 20:40 作者: CHART 時(shí)間: 2025-3-25 02:19 作者: 官僚統(tǒng)治 時(shí)間: 2025-3-25 04:45
,Ethnographic, Structuralist and Real?Time Filmmaking,e “narrative” filmmaking’. This chapter introduces the film theory and aesthetic analysis of Lange’s real?time, sparsely edited, observational style, which shared some of the structural parameters that N?el Burch attributed to ‘primitive cinema’—a ‘purer’ cinema reduced to its basic elements and unt作者: infantile 時(shí)間: 2025-3-25 07:43
Images of People at Work,covery and re-evaluation of the social function of photographic practice that emerged in the 1970s as a critique of Modernism, and the ideological objectives and utopian aspirations of the socially engaged documentary tradition of the 1920s and 1930s—Soviet factographers, the Worker Photography move作者: Genetics 時(shí)間: 2025-3-25 13:12 作者: Headstrong 時(shí)間: 2025-3-25 18:48 作者: 藝術(shù) 時(shí)間: 2025-3-25 21:59
Conclusion,t work that was obstinate, earnest and singular. Dan Graham, via T. J. Clark, once described Lange as ‘a(chǎn) late 20th-century Gustave Courbet, a man of the New Zealand countryside who became an avant-garde, urban, political artist’. Lange’s pursuit of realism was in solidarity with the working class in作者: 埋伏 時(shí)間: 2025-3-26 02:35 作者: 媒介 時(shí)間: 2025-3-26 05:17 作者: 蛙鳴聲 時(shí)間: 2025-3-26 11:24
M. L. Whitehead,J. P. Wilson,R. J. Baker. He saw in portable video a democratic tool for communication and social transformation, continuing the legacy of the revolutionary avant-garde projects that merged art with social life and turned audiences into producers. Lange, like many of his early socially engaged video ., held utopian hopes f作者: 不易燃 時(shí)間: 2025-3-26 13:46 作者: 打折 時(shí)間: 2025-3-26 19:54
M. Merchan,D. E. Lopez,E. Salda?a,F. Colliae “narrative” filmmaking’. This chapter introduces the film theory and aesthetic analysis of Lange’s real?time, sparsely edited, observational style, which shared some of the structural parameters that N?el Burch attributed to ‘primitive cinema’—a ‘purer’ cinema reduced to its basic elements and unt作者: Obsequious 時(shí)間: 2025-3-26 23:59 作者: 后退 時(shí)間: 2025-3-27 03:59 作者: BIBLE 時(shí)間: 2025-3-27 06:25
Soundpoesie(n) im Neuen H?rspieloined the efforts of fellow documentary filmmakers to raise awareness and mobilise support for Māori over their land rights. This chapter traces the political and cultural debates and transformations taking place in the 1970s during the so-called Māori renaissance, a movement which sought self-deter作者: omnibus 時(shí)間: 2025-3-27 13:12 作者: 突襲 時(shí)間: 2025-3-27 14:13
https://doi.org/10.1007/978-3-031-36903-2Darcy Lange; early video; conceptual art; social documentary; socially engaged practices; activism; labour作者: Osteons 時(shí)間: 2025-3-27 20:45 作者: 神化怪物 時(shí)間: 2025-3-27 22:19 作者: 好忠告人 時(shí)間: 2025-3-28 05:36 作者: 靈敏 時(shí)間: 2025-3-28 09:31
