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Since its birth in 1996, machinima (machine-cinema) has grown into a truly global phenomenon – and its latest transformation is evident in the Lets Play community. Machinima is the first digital culture to have emerged from the internet into a mainstream creative genre and it has taken shape as an important fan culture. Its impact has been felt across many aspects of popular culture and its influence can be found in contexts such as the arts and cinema, performance, creative technologies and social media, politics and citizenship. This book traces its history and impacts through a selection of the most culturally significant works. It firstly sets out to describe the key films, provides an overview of the creative processes and interviews with filmmakers and contributors involved in their development. It then traces their release and impact among fans, users and appropriators, supported with material and interviews. This important new work focuses on the specific disruptive socio-cultural impacts of key works identified by the community and Harwood research over a period of 10 years – from film and filmmaking to digital arts, practice and theory. The book will be of interest to machinima researchers and practitioners, including game culture, media theorists and digital artists, and those interested in how creative technologies influences communities of practice over time.
Cosmopolitan Ambassadors: Touring Exhibitions, Cultural Diplomacy and the Intercultural Museum critically examines international exhibitions, looking at both theoretical and practical implications. How are museums working internationally through exhibitions? What motivates this work? What are the benefits and challenges? What factors contribute to success? What impact does this work have for audiences and other stakeholders? What contributions are they making to cultural diplomacy, intercultural dialogue and understanding? In seeking answers to these questions, the book first provides an overview of the current state of knowledge about international touring exhibitions: their history, current practice, debates and issues. It then proposes an interdisciplinary analytical framework, encompassing museum studies, visitor studies, cultural diplomacy and international relations, intercultural communication/education, and theories of cosmopolitanism. Having laid the theoretical groundwork, it presents a comprehensive empirical analysis of an exhibition exchange involving two exhibitions that crossed five countries and three continents, connecting six high profile cultural institutions and spanning almost a decade from initial conception to completion. A detailed comparison of both the intercultural production of touring exhibitions by museum partnerships and by the interpretive acts and meaning-making of visitors, reveals the many complexities, challenges, tensions and rewards of international museum exhibitions and their intersection with cultural diplomacy. Key themes include the realities of international collaboration, its purposes, processes and challenges, including communication and relationship building; the politics of cultural (self-)representation and Indigenous museology; implications for exhibition design, interpretation, and marketing; intercultural competency and museum practice; audience reception and meaning-making; cultural diplomacy in practice and perceptions of its value. This first-ever detailed, empirically-grounded, theoretical analysis provides the basis of a critical theory of international touring exhibitions and guidelines for practice, including recommendations for successful international museum partnerships and exhibitions aimed at facilitating intercultural understanding for audiences and enhancing intercultural practices among museum professionals, and maximizing the potential contribution cultural diplomacy.
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This is the first book of its kind. Aubrey Malone has gone back to the start of the Oscar ceremonies and discovered that mistakes have been made every year in the choice of what has been deemed “best” in the categories of acting, directing, producing and the subsidiary awards. He has identified all the great stars (Garbo, Montgomery Clift, Peter O’Toole, Barbara Stanwyck, etc.) who never held Oscars in their hands, and also iconic directors like Stanley Kubrick who were never thus honored. Why were some people over-rewarded by the Academy and why did others fall below the radar? The author outlines all of the extraneous factors leading to voting choices, and how Oscar pariahs have often been subsequently (or even posthumously) awarded for the wrong films to make up for omissions in a given year. With both wit and wisdom he has written an “alternative” history of the Oscars that will be required reading for both academics and film buffs alike. It tells the story behind the story. “If there were Oscars for research, Aubrey Malone would be right up there with the best of them.” (Film Ireland)
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The main purpose of this book is to contribute to the intellectual assets of the scholars working in the fields of science, education, fine arts, and humanities. In this regard, this work combines different studies in the fields mentioned above. The very first chapter discusses teaching profession in favor of professionalism and sacredness. The second chapter focuses on foreign experts’ opinions about the structure of Turkish education system. The following chapter deals with the repercussions of recent Turkish education policies. The fourth chapter presents a provocative debate on the underestimation of scientific theories. The subsequent chapter deeply analyzes the role of the political power on state theatres in Turkey. The relationship between society and art discussed through the theater has been examined in terms of the relationship between the individual and art through automatism movement in the sixth chapter. The last chapter intends to make a connection between meliorism and other conceptual themes like optimism and messianism. Hopefully, reading this work will be an inspirational experience for curious scholars.
Contingencies and Encounters of an ‘Artistic Animator’1st edition / ISBN: 978-1-62273-195-4
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The term “artistic animator” is inspired by the definition “Kunstanimator” given to Spoerri by his longstanding friend Karl Gerstner during an interview with Katerina Vatsella in 1995. Wherever he went, Spoerri was capable of inspiring others to make art, and at the same time he absorbed, interiorized and transformed ideas from others. His fluctuating memberships during late Modernism (Zero, Nouveau Réalisme, Fluxus, Mail Art) explain why some areas of this work have not yet received their due attention and their connection to the whole picture has often eluded scholarly inquiry. Beyond his tableaux-pièges, which gave him immediate notoriety through an early purchase by the MoMA, Spoerri discovered a new way to approach the multiples in sculpture (Edition MAT), he transformed his trap pictures into an experimental narrative form (Topographie Anécdotée du Hasard), he initiated the Eat Art movement, he tested an innovative curatorial approach (the Musée Sentimental and the Giardino). Despite constant interruptions due to his semi-nomadic lifestyle, this oeuvre presents an extraordinary coherence, where none of these ventures can be properly understood without considering all the others. This is the first monograph entirely devoted to Daniel Spoerri in the United States to date. With an introduction by Barbara Räderscheidt.