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Full-Text Articles in Arts and Humanities
Apocalypse And Eschatology In John Ford's The Grapes Of Wrath (1940), Nancy Wright
Apocalypse And Eschatology In John Ford's The Grapes Of Wrath (1940), Nancy Wright
Journal of Religion & Film
John Ford’s The Grapes of Wrath (1940) visualizes conventions of the apocalypse genre to represent not simply a particular historical setting, the Great Depression, but also a vision of history to be interpreted in terms of eschatology. Expressionistic photography transforms the characters’ experiences into enigmatic visions that invite and guide interpretation. A comparison of montage sequences in Ford’s The Grapes of Wrath and Pare Lorentz’s The Plow That Broke The Plains (1936), a Farm Security Administration documentary, clarifies how Ford’s narrative film aligns spectators within and outside the mise-en-scène.
Photographic (Over) Exposures In The Nuclear Age In Joyce Carol Oates’S You Must Remember This, Sonia Weiner
Photographic (Over) Exposures In The Nuclear Age In Joyce Carol Oates’S You Must Remember This, Sonia Weiner
Bearing Witness: Joyce Carol Oates Studies
Joyce Carol Oates’s novel, You Must Remember This, examines themes of memory, time, and nostalgia through verbal descriptions of iconic and fictional photographs (such as Rocky Marciano, Holocaust Victims, Atomic Mushroom Clouds, Rita Hayworth). An analysis of the photographic imagery in the novel reveals discrepancies between surface appearances and embedded social and cultural ideological contexts within the work. Photographs are shown to undermine the overt conformity and conservatism of postwar America by exposing its underlying uncertainties and tensions. These tensions are explored through the perspective of a rebellious adolescent female, whose struggles highlight Oates’s critique of power, violence, and postwar …
Shale Play: Poems And Photographs From The Fracking Fields By Julia Spicher Kasdorf And Steven Rubin, Kelly Shepherd
Shale Play: Poems And Photographs From The Fracking Fields By Julia Spicher Kasdorf And Steven Rubin, Kelly Shepherd
The Goose
Review of Julia Spicher Kasdorf and Steven Rubin's Shale Play: Poems and Photographs from the Fracking Fields
Autour De Frances Benjamin Johnston, Gertrude Käsebier Et Catharine Weed Barnes Ward: Stratégies Séparatistes Dans L’Exposition Des Femmes Photographes Américaines Au Tournant Des Xixe Et Xxe Siècles, Thomas Galifot
Artl@s Bulletin
Cette étude inclut une nouvelle analyse de l’exposition des photographes américaines conçue par Frances Benjamin Johnston à l’occasion de l’Exposition universelle de Paris de 1900. Dans une mise en perspective inédite, l’événement est également replacé dans un contexte américain élargi, riche en initiatives et en débats aussi fondateurs que méconnus. Cette enquête, qui donne lieu au premier panorama des expositions collectives de photographes américaines jusqu’en 1914, aboutit à une nécessaire remise à l'honneur de Catharine Weed Barnes Ward et de Gertrude Käsebier, personnalités dont le rôle central sur ces questions est largement mésestimé.
The Unbribable Witness: Image, Word, And Testimony Of Crimes Against Humanity In Mark Twain’S King Leopold’S Soliloquy (1905), Nora Nunn
Genocide Studies and Prevention: An International Journal
In the creation of King Leopold’s Soliloquy, a textured, visually irrefutable, and darkly satirical account of crimes against humanity in the Belgian Congo Free State, Mark Twain aimed to evoke his Euro-American audience’s empathy by activating their imaginations and inaugurating political reform. Informed by the work of cultural and literary critics such as Roland Barthes, this paper considers how the visual imagery in Twain’s text engender questions about fact, testimony, and witnessing in the realm of human rights and collective violence—both in the Congo Free State and, indirectly, in the United States. I ultimately argue that the relation (or …
The Half-Life & After-Life Of New Media, Nancy Austin
The Half-Life & After-Life Of New Media, Nancy Austin
Journal of Contemporary Archival Studies
It is fitting to think of the half-life of new media using the time-based metaphor of radioactive decay. As a metaphor, an object’s half-life can be a useful way to talk about the potent technological modernity of new media and, like Walter Benjamin’s well-known notion of the aura, call attention to an object’s performativity. However, Benjamin’s aura remains a constant reminder of irrevocable originality whereas remarking on half-life references a quality that changes over time. But what happens after the rhetorical impact of being new has run its course? What is the life expectancy of once-new media and what of …
Time, Photography, And Optical Technology In Nabokov's Speak, Memory, Tetyana Lyaskovets
Time, Photography, And Optical Technology In Nabokov's Speak, Memory, Tetyana Lyaskovets
CLCWeb: Comparative Literature and Culture
In her article "Time, Photography, and Optical Technology in Nabokov's Speak, Memory" Tetyana Lyaskovets discusses how Vladimir Nabokov narrates time in his autobiography by invoking photography and optical instruments. Photography and optical technology function in Speak, Memory as metaphors and probe the limits of chronological time. Nabokov portrays time as personal and reversible time that collapses the past and the present and allows one to glimpse the future. Because this temporal collapse is not possible physically but, as Nabokov believes, can be achieved through one's will, he engages optical technologies which provide a spatial form for his project to …
Literature And The Study Of Intermediality: A Book Review Article On New Work By Grishakova And Ryan And Carvalho Homem, Ioan-Flaviu Patrunjel, Asunción López-Varela
Literature And The Study Of Intermediality: A Book Review Article On New Work By Grishakova And Ryan And Carvalho Homem, Ioan-Flaviu Patrunjel, Asunción López-Varela
CLCWeb: Comparative Literature and Culture
No abstract provided.
Evoking A Memory Of The Future In Foer's Everything Is Illuminated, Doro Wiese
Evoking A Memory Of The Future In Foer's Everything Is Illuminated, Doro Wiese
CLCWeb: Comparative Literature and Culture
In her article "Evoking a Memory of the Future in Foer's Everything is Illuminated" Doro Wiese discusses Jonathan Safran Foer's novel. In the text a photograph plays a decisive role: the image of two young people drives the Jewish American Jonathan to visit the Ukraine. The photograph is presumably of Jonathan's grandfather Safran and a woman named Augustine who saved Safran's life during a nazi raid of his village: the photograph becomes an ekphrasis, a description of a visual work of art in another medium which transforms the generic characteristics of written and photographic representations. According to Anselm …
Photo Essay: On The Street, John G. Hopper
Photo Essay: On The Street, John G. Hopper
IUSTITIA
When people speak of crime in the streets, they invariably refer to cold statistics or a report from a governmental agency as a source of information. There is however another source of information on the subject-that of personal experience. It is the unique experience that urban police sometimes refer to as being "on the street". The following is this photographer's impression of spending several winter nights on the streets with an urban police force.