{"title":"Epilogue","authors":"","doi":"10.1017/9789048551620.007","DOIUrl":"https://doi.org/10.1017/9789048551620.007","url":null,"abstract":"","PeriodicalId":147977,"journal":{"name":"Moving Pictures and Renaissance Art History","volume":"69 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-10-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114210782","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Prologue","authors":"","doi":"10.1017/9789048551620.002","DOIUrl":"https://doi.org/10.1017/9789048551620.002","url":null,"abstract":"","PeriodicalId":147977,"journal":{"name":"Moving Pictures and Renaissance Art History","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-10-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129239339","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"The Machine Aesthetic","authors":"Andrew Bracey, Simon Granell, Erica Butcher","doi":"10.5040/9781350088719.0142","DOIUrl":"https://doi.org/10.5040/9781350088719.0142","url":null,"abstract":"A Machine Aesthetic is a curated national touring exhibition taking place at Gallery North, Newcastle; The Gallery@AUB, Bournemouth, ProjectSpacePlus, Lincoln, The Gallery@NUA, Norwich and Transition Gallery, London, curated by Eric Butcher and Simon Granell. A Machine Aesthetic: The role of mechanisation in contemporary artistic practice as an exhibition, is divided into four parts (Machined Components, Behaving like Machines, Mechanised Processes, Art Machines), attempts to explore the various manifestations, uses and influences of different aspects of mechanisation within the practice of a diverse range of contemporary artists. Bracey presented his work, The Jump, in a new configuration in each gallery space and also contributed a new essay to the accompanying publication for the exhibition in the journal, Garageland. Bracey also delivered a newly lecture on and screening of Chris Marker's film 'La Jetee' at Arts university Bournemouth and chaired an in-conversation with the curators at projectSpacePlus, Lincoln. \u0000The project is supported by: \u0000Gallery North, Northumbria University/TheGallery, Arts University Bournemouth/University of Lincoln/Norwich University of the Arts/Transition Gallery, London. \u0000Exhibiting Artists \u0000Andrew Bracey, Eric Butcher, David Connearn, Robert Currie, Paul Goodfellow, Simon Granell, Emma Hart, Dan Hays, Natasha Kidd, Tim Knowles, Michael Roberts.","PeriodicalId":147977,"journal":{"name":"Moving Pictures and Renaissance Art History","volume":"48 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-10-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122675638","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Epilogue","authors":"","doi":"10.2307/j.ctv1wdvxbt.9","DOIUrl":"https://doi.org/10.2307/j.ctv1wdvxbt.9","url":null,"abstract":"","PeriodicalId":147977,"journal":{"name":"Moving Pictures and Renaissance Art History","volume":"235 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-08-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115577030","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Back Matter","authors":"","doi":"10.2307/j.ctv1wdvxbt.13","DOIUrl":"https://doi.org/10.2307/j.ctv1wdvxbt.13","url":null,"abstract":"","PeriodicalId":147977,"journal":{"name":"Moving Pictures and Renaissance Art History","volume":"11 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-08-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114647430","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"After Eve","authors":"Walter Bargen","doi":"10.17077/0021-065x.5465","DOIUrl":"https://doi.org/10.17077/0021-065x.5465","url":null,"abstract":"","PeriodicalId":147977,"journal":{"name":"Moving Pictures and Renaissance Art History","volume":"209 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-08-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122431953","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"The New and the Old in the Art of Cinema","authors":"Patricia A. Emison","doi":"10.2307/j.ctv1wdvxbt.5","DOIUrl":"https://doi.org/10.2307/j.ctv1wdvxbt.5","url":null,"abstract":"Alberti initiated the task of articulating goals for narrative visual art,\u0000 thereby rebalancing the traditional Christian emphasis on word over\u0000 image. When the choice wasn’t made for them by a patron, Renaissance\u0000 artists faced dilemmas about whether to appeal to a broader public (the\u0000 faithful) or a more narrow one (collectors, humanists, and emerging\u0000 connoisseurs). Film faced similar challenges and struggled to define its\u0000 cultural place: art versus business, America versus Old World, capitalism\u0000 versus Soviet communism. Hollywood specialized in romantic themes,\u0000 often treated like fairy tales, though at other times addressing tensions of\u0000 class and gender. Films were also used to present a version of war suitable\u0000 for cultural memory, variously heroic or pacifist.","PeriodicalId":147977,"journal":{"name":"Moving Pictures and Renaissance Art History","volume":"2012 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-08-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127406092","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Competing with Text","authors":"Patricia A. Emison","doi":"10.2307/j.ctv1wdvxbt.7","DOIUrl":"https://doi.org/10.2307/j.ctv1wdvxbt.7","url":null,"abstract":"The diminished role of the hero affected even the star-driven narratives of\u0000 Hollywood, in which stories of failure, disappointment, isolation, or moral\u0000 compromise assumed a new prominence in the wake of World War II. The\u0000 increasing artistry associated with directing correlated with storytelling\u0000 that relied less on compelling expressivity and more on allowing the viewer\u0000 to be intrigued rather than deliberately enlightened. The film auteur offers a\u0000 parallel to the original print designer, the peintre-graveur of the Renaissance,\u0000 both of them involved during the entire process, from ideation to realization.","PeriodicalId":147977,"journal":{"name":"Moving Pictures and Renaissance Art History","volume":"2 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-08-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122211610","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Prologue","authors":"Patricia A. Emison","doi":"10.5117/9789463724036_pro","DOIUrl":"https://doi.org/10.5117/9789463724036_pro","url":null,"abstract":"Cinema began primarily as a folk art, and remained a popular art, so there\u0000 tended to be a considerable gulf between film and fine art. The history of\u0000 cinema often exhibits a casual attitude toward stylistic innovation, while\u0000 the history of art has traditionally tended to emphasize exactly that. The\u0000 combined effect has tended to exaggerate the difference between the\u0000 two traditions. Yet they do not operate in total isolation. The makers\u0000 of cinema, even if scarcely students of the history of art, have absorbed\u0000 certain of its precepts and examples. The emotional life prompted and\u0000 supported by the new narrative imagery was crucial to the development\u0000 of Renaissance sensibilities; cinema constituted a new chapter in this\u0000 kind of enhancement. In both cases, effusive delight was expressed for\u0000 the new imagery.","PeriodicalId":147977,"journal":{"name":"Moving Pictures and Renaissance Art History","volume":"18 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-08-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133032630","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"After Eve","authors":"Patricia A. Emison","doi":"10.5117/9789463724036_ch04","DOIUrl":"https://doi.org/10.5117/9789463724036_ch04","url":null,"abstract":"The imagery of films both reflected and spurred radical shifts in women’s\u0000 lives throughout the 20th century. The history of film, and of responses\u0000 to film, provides evidence of social attitudes and prejudices—those in\u0000 Hollywood but also regional biases, pertaining to race as well as to gender.\u0000 Those who were socially denigrated, such as prostitutes, were often treated\u0000 with a degree of respect in screen narratives. The traditional genres had\u0000 depended on closure; film, especially post–World War II, featured women\u0000 and children with complexly difficult lives often lacking neat resolutions.\u0000 Resnais, Bergman, and Antonioni each focused on women with humdrum\u0000 rather than heroic lives, and made them the linchpin for studies of the\u0000 psychological pressures of the modern world.","PeriodicalId":147977,"journal":{"name":"Moving Pictures and Renaissance Art History","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-08-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116896277","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
京公网安备 11010802042870号
求助内容：
应助结果提醒方式：