Anna Powell - Böcker

Contemporary Art in Heritage Spaces considers the challenges that accompany an assessment of the role of contemporary art in heritage contexts, whilst also examining ways to measure and articulate the impact and value of these intersections in the future.Presenting a variety of perspectives from a broad range of creative and cultural industries, this book examines case studies from the past decade where contemporary art has been sited within heritage spaces. Exploring the impact of these instances of intersection, and the thinking behind such moments of confluence, it provides an insight into a breadth of experiences – from curator, producer, and practitioner to visitor – of exhibitions where this juncture between contemporary art and heritage plays a crucial and critical role. Themes covered in the book include interpretation, soliciting and measuring audience responses, tourism and the visitor economy, regeneration agendas, heritage research, marginalised histories, and the legacy of exhibitions.Contemporary Art in Heritage Spaceswill be essential reading for academics and students engaged in the study of museum and heritage studies and contemporary art around the globe. Museum practitioners and artists should also find much to interest them within the pages of this volume.Chapter 9 of this book is freely available as a downloadable Open Access PDF at http://www.taylorfrancis.com under a Creative Commons Attribution-Non Commercial-No Derivatives (CC-BY-NC-ND) 4.0 license.

The horror film analysed from a Deleuzian perspective. This book argues that dominant psychoanalytic approaches to horror films neglect the aesthetics of horror. Yet cinematic devices such as mise en scène, editing and sound, are central to the viewer’s visceral fear and arousal. Using Deleuze’s work on art and film, Anna Powell argues that film viewing is a form of ‘altered consciousness’ and the experience of viewing horror film an ‘embodied event’.The book begins with a critical introduction to the key terms in Deleuzian philosophy and aesthetics. These include: subjectivity/becoming, the body without organs, molecularity, time/duration, affect, movement/rhythm, space, anomaly and schizoanalysis. These concepts are then applied to horror films.Themes such as insanity, sensory response to film, the subject/object, fractured time, the body and cinematography are explored in horror films such as Jacob’s Ladder, Dr Jekyll and Mr Hyde, Psycho, Silence of the Lambs, The Fly, A Nightmare on Elm Street, Alien Resurrection, The Others, The Shining, Interview with the Vampire, Bram Stoker’s Dracula and Nosferatu.Features*A substantial new contribution to horror film theory*A critical introduction to key terms in Deleuzian philosophy and aesthetics *New readings of the classic horror canon and recent films*Analysis of horror styles, narrative and special effects.Deleuze and Horror Film was originally published in hardback in March 2005. The paperback edition was published in November 2006.

Deleuze, Altered States and Film offers a typology of altered states, defining dream, hallucination, memory, trance and ecstasy in their cinematic expression. The book presents altered states films as significant neurological, psychological and philosophical experiences. Chapters engage with films that simultaneously present and induce altered consciousness. They consider dream states and the popularisation of alterity in drugs films. The altered bodies of erotic arousal and trance states are explored, using haptics and synaesthesia. Cinematic distortions of space and time as well as new digital and fractal directions are opened up.Anna Powell’s distinctive re-mapping of the film experience as altered state uses a Deleuzian approach to explore how cinema alters us by ‘affective contamination’. Arguing that specific cinematic techniques derange the senses and the mind, she makes an assemblage of philosophy and art, counter-cultural writers and filmmakers to provide insights into the cinematic event as intoxication.The book applies Deleuze, alone and with Guattari, to mainstream films like Donnie Darko as well as arthouse and experimental cinema. Offering innovative readings of ‘classic’ altered states movies such as 2001, Performance and Easy Rider, it includes ‘avant-garde’ and ‘underground’ work. Powell asserts the Deleuzian approach as itself a kind of altered state that explodes habitual ways of thinking and feeling.

Contemporary Art in Heritage Spaces considers the challenges that accompany an assessment of the role of contemporary art in heritage contexts, whilst also examining ways to measure and articulate the impact and value of these intersections in the future. Presenting a variety of perspectives from a broad range of creative and cultural industries, this book examines case studies from the past decade where contemporary art has been sited within heritage spaces. Exploring the impact of these instances of intersection, and the thinking behind such moments of confluence, it provides an insight into a breadth of experiences – from curator, producer, and practitioner to visitor – of exhibitions where this juncture between contemporary art and heritage plays a crucial and critical role. Themes covered in the book include interpretation, soliciting and measuring audience responses, tourism and the visitor economy, regeneration agendas, heritage research, marginalised histories, and the legacy of exhibitions.Contemporary Art in Heritage Spaces will be essential reading for academics and students engaged in the study of museum and heritage studies and contemporary art around the globe. Museum practitioners and artists should also find much to interest them within the pages of this volume. Chapter 9 of this book is available for free in PDF format as Open Access from the individual product page at www.routledge.com. It has been made available under a Creative Commons Attribution-Non Commercial-No Derivatives 4.0 license

The Routledge Handbook of Heritage and Creative Practice explores the role of creativity as a tool for critical engagement with heritage. It provides a comprehensive study of ways in which heritage and creative practice intersect, in research, in practice and in a transnational context.This book introduces researchers, students, creative and heritage practitioners to contemporary practices from a breadth of perspectives. The transnational nature of its scope is key to the exploration of how ‘heritage’ and ‘creativity’ are ever evolving, conceived of differently in different contexts, and intersect in interesting ways through the work of creative practitioners. The volume argues that heritage itself is a creative practice, such that the ‘creative’ work that occurs in these examples is not singular and distinct; rather the symbiotic reciprocity between heritage and creativity is intersectional and embedded. The international array of authors and differing approaches from around the world, including case studies from Africa, Bahrain, Brazil, Caribbean, Columbia, China, Hong Kong, Iraq, Japan, Kuwait, Mexico, Oman, Qatar, United Kingdom and United Arab Emirates provide a global approach to the subject, while the diverse range of topics covered, including urban renewal, the coronavirus pandemic, memorial culture, public art and colonial heritage, allows readers to gain insight into the richness of practices across a diversity of disciplines and contexts.This volume offers a significant and new contribution to heritage studies that will be of interest to scholars and students in heritage and museum studies, as well those in the fields of art, architecture, anthropology, design, digital and curatorial studies. It also provides a valuable resource for artists, arts professionals, architects and museums and heritage practitioners.

ROTOЯ Review II is a sequel to ROTOЯ Review (published 2014), focussing on the second phase of the programme with beautifully written and thoughtful reviews of the exhibitions: Thought Positions in Sculpture, China East-West, Open House: A Collaboration of Experts, Migrations and Discursive Documents by international academics and art journalists.