Visar resultat för..."Velvet Goldmine"

It’s 1984, and investigative reporter Arthur Stuart is trying to locate Brian Slade, the glam-rock superstar who staged his own death and vanished from the spotlight ten years earlier. Todd Haynes’s Velvet Goldmine (1998) transforms that mystery into a vivid collage of memory, fantasy and desire, creating an alternative history of rock and a landmark of queer cinema.Velvet Goldmine divided opinion on its release, but Katherine Reed traces how the film’s fans have kept it alive through rewatches, relistens and fan fiction. Reed weaves in the history of the film with close readings of its cinematic references, songs and style. She re-evaluates Velvet Goldmine in light of Haynes’s other films, addresses its fraught production history and its allusions to David Bowie, Lou Reed and Iggy Pop, and the ways in which Haynes reshapes those figures into a new mythology.Reed also analyses Velvet Goldmine’s soundtrack, and examines legendary costume designer Sandy Powell’s role in creating blends of fantasy and reality in each character’s wardrobe. Like the film itself, this is not a linear history, but an exploration of how Velvet Goldmine teaches us to create anew.

Ever wonder why the makers of so many world-leading products struggle to come up with something disruptive? What prevents them from “coloring outside of the lines” to rejuvenate their operations?Principles of Intrapreneurial Capital is a refreshing blend of fundamental business insights and stories rooted in exploration. The book provides a new framework in the form of the 4C Model* to discover ideas that translate into value, and empowers change makers to put value into practice.*The 4C Model for Intrapreneurial Capital by Bengtson &x; Stja¨rne

Participatory Design and Social Transformation introduces theories and methodologies for using image-oriented narratives as modes of inquiry and proposition toward greater justice and equity for society and the environment.Participatory artistic- and design-based research encounters – being, making, and learning with people, things, and situations – are explored through practices that utilize image-oriented and cinematic narratives. Collaborative alliances are invited to consider aesthetics, visuality, attunement, reflection, reciprocity, and care as a means for transdisciplinary approaches that foster generative and ethically responsible conditions toward collective liberation. The design of spectacles is proposed as a way for collective movements to affectively contribute to positive systemic changes from the ground up. In this way, Participatory Design and Social Transformation bridges contemporary advances in design theory and practice with media and art theory, the human and social sciences, and a pedagogy of interdependence.Participatory Design and Social Transformation will be of great interest to both professional and academic communities, providing resources for researchers, artists, designers, activists, students, educators, and leaders engaged with initiatives for transformation.

This book is about some of the ways we remember the dead through performance. It examines the dramaturgical techniques and strategies that enable artists to respond to the imperative: ‘Remember Me’ – the command King Hamlet’s ghost gives to his son in Shakespeare’s famous tragedy, Hamlet. The book develops the concept of hauntological dramaturgy by engaging with a series of performances that commemorate, celebrate, investigate, and sometimes seek justice for the dead.It draws on three interrelated discourses on haunting: Derrida’s hauntology with its ethical exhortation to be with ghosts and listen to ghosts; Abraham and Torok’s psychoanalytic account of the role spectres play in the transmission of intergenerational trauma; and, finally, Mark Fisher's and Simon Reynolds’ development of Derrida’s ideas within the field of popular culture. Taken together, these writers, in different ways, suggest strategies for reading and creating performances concerned with questions of commemoration. Case studies focus on a set of known and unknown figures, including Ian Charleson, Spalding Gray and David Bowie.This study will be of great interest to students, scholars and practitioners working within theatre and performance studies as well as philosophy and cultural studies.

British Cinema in Documents presents an introduction to the key concerns and debates in British cinema through documents, ranging from official papers to fan magazines. Sarah Street shows how such documentary material can enrich our understanding of cinema's place in national culture and shed new light on defining moments in British cinema history.Street draws together a wide range of material, discussing oral histories, film posters and stills and star memorabilia alongside audience surveys, censorship reports, fan magazines and web sites, providing a context for each extract she discusses. She uses a series of case studies, including film censorship during the Second World War, the fan cultures surrounding stars from Margaret Lockwood to Ewan McGregor, and surveys of the British cinema audience to illustrate how archival research can provide a new understanding of the relationship between a film and other kinds of texts, and between films, their audiences, and the state.

This book is about some of the ways we remember the dead through performance. It examines the dramaturgical techniques and strategies that enable artists to respond to the imperative: ‘Remember Me’ – the command King Hamlet’s ghost gives to his son in Shakespeare’s famous tragedy, Hamlet. The book develops the concept of hauntological dramaturgy by engaging with a series of performances that commemorate, celebrate, investigate, and sometimes seek justice for the dead.It draws on three interrelated discourses on haunting: Derrida’s hauntology with its ethical exhortation to be with ghosts and listen to ghosts; Abraham and Torok’s psychoanalytic account of the role spectres play in the transmission of intergenerational trauma; and, finally, Mark Fisher's and Simon Reynolds’ development of Derrida’s ideas within the field of popular culture. Taken together, these writers, in different ways, suggest strategies for reading and creating performances concerned with questions of commemoration. Case studies focus on a set of known and unknown figures, including Ian Charleson, Spalding Gray and David Bowie.This study will be of great interest to students, scholars and practitioners working within theatre and performance studies as well as philosophy and cultural studies.

Participatory Design and Social Transformation introduces theories and methodologies for using image-oriented narratives as modes of inquiry and proposition toward greater justice and equity for society and the environment.Participatory artistic- and design-based research encounters – being, making, and learning with people, things, and situations – are explored through practices that utilize image-oriented and cinematic narratives. Collaborative alliances are invited to consider aesthetics, visuality, attunement, reflection, reciprocity, and care as a means for transdisciplinary approaches that foster generative and ethically responsible conditions toward collective liberation. The design of spectacles is proposed as a way for collective movements to affectively contribute to positive systemic changes from the ground up. In this way, Participatory Design and Social Transformation bridges contemporary advances in design theory and practice with media and art theory, the human and social sciences, and a pedagogy of interdependence.Participatory Design and Social Transformation will be of great interest to both professional and academic communities, providing resources for researchers, artists, designers, activists, students, educators, and leaders engaged with initiatives for transformation.

An examination of director Todd Haynes and his Bob Dylan biopic.As the first and only Bob Dylan “biopic,” I’m Not There caused a stir when released in 2007. Offering a surreal retelling of moments from Dylan’s life and career, the film is perhaps best known for its distinctive approach to casting, including Cate Blanchett and Marcus Carl Franklin, a Black child actor, as versions of Dylan though none of the characters bear his name. Greenlit by Bob Dylan himself, the film uses Dylan’s music as a score, a triumph for famed queer filmmaker Todd Haynes after encountering issues with copyright in previous projects. Noah Tsika eloquently characterizes all the ways that Dylan and Haynes harmonize in their methods and sensibilities, interpreting the rule-breaking film as a biography that refuses chronology, disdains factual accuracy, flirts with libel, and cannibalizes Western cinema. Fitting the film’s inspiration, creation, and reception alongside its continuing afterlife, Tsika examines Dylan’s music in the film through the context of intellectual property, raising questions about who owns artistic material and artistic identities and how such material can be reused and repurposed. Tsika’s adventurous analysis touches on gender, race, queerness, celebrity, popular culture, and the law, while offering much to Haynes and Dylan fans alike.

An examination of director Todd Haynes and his Bob Dylan biopic.As the first and only Bob Dylan “biopic,” I’m Not There caused a stir when released in 2007. Offering a surreal retelling of moments from Dylan’s life and career, the film is perhaps best known for its distinctive approach to casting, including Cate Blanchett and Marcus Carl Franklin, a Black child actor, as versions of Dylan though none of the characters bear his name. Greenlit by Bob Dylan himself, the film uses Dylan’s music as a score, a triumph for famed queer filmmaker Todd Haynes after encountering issues with copyright in previous projects. Noah Tsika eloquently characterizes all the ways that Dylan and Haynes harmonize in their methods and sensibilities, interpreting the rule-breaking film as a biography that refuses chronology, disdains factual accuracy, flirts with libel, and cannibalizes Western cinema. Fitting the film’s inspiration, creation, and reception alongside its continuing afterlife, Tsika examines Dylan’s music in the film through the context of intellectual property, raising questions about who owns artistic material and artistic identities and how such material can be reused and repurposed. Tsika’s adventurous analysis touches on gender, race, queerness, celebrity, popular culture, and the law, while offering much to Haynes and Dylan fans alike.

An examination of some of rock'n'roll's most iconic figures—The Velvet Underground & Andy Warhol—and the loaded push-pull relationship that distorted their lives and echoed throughout popular culture. Many cultural critics would agree that Andy Warhol gave the Velvet Underground their break simply by bringing them under his wing. While they reached a certain level of notoriety and local celebrity in their time and have since acquired a lasting cult following, their success was in large part fostered by Warhol’s patronage. But at the time, this relationship was muddied by a certain level of codependence and an insatiable appetite for fame and irony, leaving Reed to ponder quietly: Would we have succeeded without Warhol's help? This doubt begins to spread like a malignant force, eventually leading to the band’s undoing as they break away from Warhol and, perhaps, give up their golden ticket to success. Explore the story behind the group The New York Times called "arguably the most influential American rock band of our time," through good times and bad, as captured in emotive style by multi-award winning artist Koren Shadmi (Twilight Man, Love Addict: Confessions of a Serial Dater).