标签为 “Television” 的文章

  • 保持简洁的艺术:第16届伦敦电影节

    2019.02.01 · 发表评论

    夏普将随机的视觉效果和古怪的节奏拼接在一起,可以追溯到“刮花”(scratch),这是一个激进的DIY视频艺术运动,于20世纪80年代初在英国兴起,今年的电影节在一个放映和现场活动的晚上纪念了这一运动。

  • Looking Back 2018: The Year in TV – 回顾2018年:电视年

    2018.12.25 · 发表评论

    About a decade ago, I took part in a panel discussion at Frieze Art Fair that centred on what television scholars call the ‘qualitative turn’, that which is more popularly referred to as ‘the golden age of television’. In short, TV that behaves like ‘art’, which is to say: TV that showcases the bourgeois socio-aesthetic gestures and postures that once set the novel apart from the fable, pictorialism apart from photography as mere recording, Italian neorealism from Hollywood, and so on. I was joined by the philosopher Aaron Schuster, the artist Melanie Gilligan and the BBC producer Jonty Claypole and, in spite of our individual disciplines, we all acknowledged this trend. We did not, however, see eye-to-eye on what it entailed: mode of narration, visual register, character study, tone, production values, politics? – 大约十年前,我在Frieze艺术博览会上参加了一个小组讨论,集中讨论电视学者们称之为“质变”的问题,也就是更普遍地称为“电视的黄金时代”。简而言之,表现得像“艺术”的电视,也就是说:展示曾经使小说与寓言相区别的资产阶级社会审美姿态和姿态的电视,与摄影相区别的仅作为录音的图画主义,来自好莱坞的意大利新现实主义等等。哲学家亚伦·舒斯特、艺术家梅兰妮·吉利根和BBC制片人乔蒂·克莱波尔也加入了我的行列,尽管我们各自有自己的学科,但我们都承认这种趋势。然而,我们没有就它所包含的内容达成共识:叙事模式、视觉语域、人物研究、语调、生产价值、政治?

  • Looking Back on the Year in Art and Protest in Cuba – …

    2018.12.25 · 发表评论

    ‘Within the Revolution everything, against the Revolution nothing,’ declared Fidel Castro to the Cuban intelligentsia in 1961. Those words put an end to a debate over whether the state was justified in its censure of a film about nightlife at Havana’s port and led to the closure of Cuba’s premiere cultural magazine, Lunes de Revolución. While that infamous phrase has defined Cuba’s cultural policy ever since, its interpretation has varied depending on the political climate of the country. Nowadays Cuba enjoys international prestige for its free art education and its roster of home-grown art stars, but abstract painting, homoerotic fiction, scatological performances, anti-authoritarian poems, political punk rock and rap have fallen outside the boundaries of acceptability at many stages of the revolution, leading to arrests, the social death of several intellectuals and the confiscation of art works.       – 1961年,卡斯特罗向古巴知识分子宣称:“在革命中,一切都是反对革命的,什么都不是。”这些话结束了关于哈瓦那政府对一部关于哈瓦那港口夜生活的电影的批评是否正当的辩论,并导致古巴首映的文化杂志《Lunes de Revolucin》的关闭。尽管这个臭名昭著的词组自那时起就界定了古巴的文化政策,但其解释因政治而异。国家的气候。如今,古巴因其自由的艺术教育和本国艺术明星的名册而享有国际声誉,但抽象绘画、同性恋小说、讽刺表演、反独裁诗歌、政治朋克摇滚和饶舌在革命的许多阶段都已超出了可接受的范围,导致社会被捕。一些知识分子的死亡和艺术品的没收。

  • What Lena Dunham Writing a Syrian Refugee Film Tells Us Ab …

    2018.11.21 · 发表评论

    Last month it was announced that Lena Dunham, the American actor and creator of the hit US show Girls (2012–17) would adapt the book A Hope More Powerful Than the Sea (2017) by Melissa Fleming, the head of communications for the United Nations High Commissioner for Refugees. A Hope More Powerful Than the Sea tells the harrowing story of Syrian refugee Doaa al-Zamel, who survived the sinking of the boat she was on, attempting to cross from Egypt to Italy in 2014. Zamel was stranded for four days at sea, ending the ordeal holding two babies who had been entrusted to her by their dying families. Her only support was a child’s inflatable life ring given to her by her fiancé, who drowned in front of her in the choppy waters of the Mediterranean Sea. This year alone that same body of water has claimed the lives of nearly 2,000 people. – 上个月,据宣布,美国影星列娜·邓纳姆(Lena Dunham)将改编《希望比海洋更强大》(2017年)一书。《希望比海更强大》讲述了叙利亚难民多阿·扎梅尔(Doaa al-Zamel)的悲惨故事,她在2014年试图从埃及横渡到意大利的船只沉没中幸存下来。扎梅尔在海上搁浅了四天,结束了抱着两个孩子的苦难,这两个孩子是他们垂死的家人托付给她的。她唯一的支持是她的未婚夫送给她的一枚充气生命戒指,她被淹没在地中海波涛汹涌的海面上。仅今年一年,同样的水就夺去了将近2000人的生命。

  • Does Hollywood Understand the Conservative US? – 好 …

    2018.11.19 · 发表评论

    In an early episode from the second season of the Netflix series Ozark (2017–ongoing), Jacob and Darlene Snell – rural poppy farmers and homesteaders played by Peter Mullan and Lisa Emery – brush off the killing of a cartel lieutenant with a gift of artisanal honey, a terse offer of contrition and an observation to their panicked business partner, Marty Byrde (Jason Bateman), that ‘things happen, you apologize, and you move on.’ (The show is named after the mountain range that stretches across four states of the lower midwestern US.) The Snells represent a world of familial and martial honour that subsume the more mercurial calculations of profit and loss, life and death that are Byrde’s lodestar. They are also the chaotic antagonists in a show built on the conceit that an upper middle-class Chicagoan has been using his asset management business to launder money for a far-reaching Mexican drug operation. Its first season, which aired in 2017, was well timed, riding ahead of HBO’s Ozark-set dramas Sharp Objects and the forthcoming third season of True Detective, and a post-2016 fascination with the US interior and its newly potent voting blocks. Byrde and his family, who are the core of Ozark’s grim fish-out-of-water story, head south, to the shores of the sprawling lake of the same name in central Missouri to hide from the cartel’s proxies after a deal gone bad, and to dig themselves out of debt by setting up new ‘clean’ businesses, red-state style. – 在Netflix系列剧《奥扎克》(2017-2017)第二季的早期一集中,雅各布和达琳·斯内尔——由彼得·穆兰和丽莎·埃默里扮演的农村罂粟种植者和家庭主妇——用手工蜂蜜(一种简洁的悔恨)来抹杀卡特尔中尉。n以及对他们惊慌失措的商业伙伴Marty Byrde(Jason Bateman)的观察,“事情发生了,你道歉,然后你继续前进。”(这个节目是以横跨美国中西部下部四个州的山脉命名的。)Snells代表一个家庭和火星的世界。泰勒的荣誉,让我更准确地计算了利润和损失,生死存亡。他们也是混乱的对手,在一个建立在一个上层中产阶级芝加哥人利用他的资产管理业务洗钱的一个影响深远的墨西哥毒品经营自负。它的第一季,在2017年播出,正好赶上HBO的奥扎克系列剧《锐利目标》和即将上映的《真侦探》第三季,以及2016年后对美国内陆及其新势力强大的投票区块的迷恋。拜德和他的家人是奥扎克可怕的“水外之鱼”故事的核心人物,他们向南前往密苏里州中部的同名湖岸,躲避卡特尔的代理人,在交易失败后,通过建立新的“干净”的企业,使自己摆脱债务。红州风格。

  • Frederick Wiseman's ‘Beating Heart’ of Rural American …

    2018.11.07 · 发表评论

    Frederick Wiseman’s new documentary, Monrovia, Indiana (2018) opens with a series of bucolic shots of rural Americana before moving inside to a meeting of a small church group. ‘Remember,’ a middle-aged man wearing a cross tells those gathered, ‘when He started this whole thing, everything was perfect. We messed it up. We brought the tribulations.’ – 弗雷德里克·怀斯曼的新纪录片《印第安纳州蒙罗维亚》(2018)以美国乡村的一系列田园风光开场,然后进入一个小型教会团体的会议。“记住,”一个背着十字架的中年人告诉那些聚集在一起的人,“当他开始这一切时,一切都很完美。”我们把事情搞糟了。我们带来了苦难。

  • The Triumphant Return of Sheffield's Art Scene – …

    2018.11.06 · 发表评论

    For over a year, a significant hole was left in Sheffield’s art scene as two of the city’s most significant galleries, Site Gallery and S1 Artspace, were closed for redevelopment. The absence of a significant institutional presence had seen Site and S1 become hugely important to the city, making their closure keenly felt. While S1’s development is still ongoing, the July opening of their current space, followed by the September opening of Site’s newly expanded home, trebling the gallery in size, felt like a triumphant return.  – 一年多来,在谢菲尔德的艺术舞台上留下了一个重大的漏洞,因为这个城市最重要的两个画廊,即Site Gallery和S1 Artspace,被关闭进行重建。由于缺乏重要的机构存在,Site和S1对城市变得极其重要,使得他们强烈地感受到了封闭。虽然S1的开发仍在进行中,但7月份他们目前的空间开放,9月份新扩建的房屋开放,使画廊的规模增加了两倍,感觉像是凯旋而归。

  • Rebecca Belmore: The Aesthetics of Indigenous Protest R …

    2018.11.02 · 发表评论

    In the summer of 1990, the Canadian government deployed the largest number of troops since the Korean War. Tanks and guns and jackbooted soldiers arrived not overseas but in the small Quebecois town of Oka to enforce the construction of an additional nine holes on a local golf course. The extension of the leisure class’ grass playground would mean further destruction of The Pines, a traditional burial ground of the nearby Mohawk communities of Kanehsatàke and Kahnawake. In response to this threat, approximately 30 Mohawk men erected a barricade to block entrance into The Pines. After confrontation with local police, this blockade swelled. Canadian media and official record called it the Oka Crisis; for the Mohawks, it was the Oka Uprising. This, too, is how it is remembered by the hundreds of Native peoples throughout North America who followed the blockade on television, or travelled to join in arms, or learned about it years later, as I did from a future elder. As the artist Rebecca Belmore has said: ‘All Native people were affected by that summer.’ Like the shooting down of General George Custer during the Battle of the Little Bighorn in 1876, it is one of our beloved victories. – 1990夏季,加拿大政府自朝鲜战争以来部署了最多的军队。坦克、枪支和轻便马靴的士兵没有到达海外,而是到达了魁北克小镇奥卡,在当地的高尔夫球场上建造了另外九个洞。休閒阶层的草地游乐场的扩展将意味着松树园的进一步破坏,松树园是邻近的莫霍克社区Kanehsatàke和Kahnawake的传统墓地。为了应对这一威胁,大约30名莫霍克人竖起路障阻止松树进入。在与当地警察发生冲突后,封锁加强了。加拿大媒体和官方记录称这是OKA危机;对于莫霍克人来说,这是奥卡起义。这也是北美各地数百个土著民族如何记住的,他们跟随电视上的封锁,或前往参加武装,或多年后了解它,就像我从未来的长辈那里做的那样。正如艺术家丽贝卡·贝尔莫尔(Rebecca Belmore)所说:“所有原住民都受到那个夏天的影响。”就像1876年在小巨角战役中乔治·卡斯特将军被击毙一样,这是我们最爱的胜利之一。

  • Across Australia, Artists are Disrupting the Colonial Mind …

    2018.11.01 · 发表评论

    In the Australian art world, ‘decolonization’ has become a buzzword in academia, galleries and museums, yet our Aboriginal and Torres Strait Islander artists have been calling for decolonization and asserting sovereignty for decades. The process of decolonization requires ongoing work and our peoples have created generational legacies of storytelling about surviving colonization through art, theatre, literature and community activism. Sovereignty is central to the identity and well-being of Indigenous peoples in our fight for justice. The arts are an accessible and engaging way of discussing these complex issues in a country where white colonial and patriarchal narratives dominate public spaces. In recent years, a social-media revolution has been mobilized by Indigenous scholars, artists and activists who descend from a lineage of Aboriginal resistance through letter- and petition-writing. There is also an emerging Aboriginal podcast culture: Wild Black Women, for example – hosted by the academic Dr Chelsea Bond and the comedy writer Angelina Hurley – is a sharply funny and politically astute programme that takes racism, whiteness and the patriarchy to task. – 在澳大利亚艺术界,“非殖民化”已经成为学术界、美术馆和博物馆的一个时髦词,然而几十年来,我们的土著和托雷斯海峡岛民艺术家们一直呼吁非殖民化和维护主权。非殖民化进程需要不断努力,我们各国人民通过艺术、戏剧、文学和社区活动创造了一代又一代的传奇故事,讲述殖民地幸存下来的故事。主权是我们争取正义的原住民的身份和福祉的核心。在一个白人殖民主义和父权主义叙事占据公共空间的国家,艺术是讨论这些复杂问题的一种容易接近和吸引人的方式。近年来,土著学者、艺术家和活动家发动了一场社会媒体革命,他们通过写信和请愿书从土著反抗血统中脱颖而出。还有一个正在兴起的原住民播客文化:例如,由学术界切尔西·邦德博士和喜剧作家安吉丽娜·赫利主持的《野生黑人妇女》就是一个非常有趣和政治精明的节目,它以种族主义、白人和父权制为任务。