Titlebook: Darcy Lange, Videography as Social Practice; Mercedes Vicente Book 2024 The Editor(s) (if applicable) and The Author(s), under exclusive l

官僚統(tǒng)治

,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

infantile

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

Genetics

Headstrong

藝術(shù)

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

埋伏

媒介

蛙鳴聲

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

不易燃

打折

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