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Journal of Surrealism and the Americas, Cinema Issue (2016)

ContributorsLandau, Ellen G. (Author)
Created2017-08-07
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Journal of Surrealism and the Americas, Cinema Issue (2016)

This paper deals with a version of Surrealism that emerged in San Francisco in the late 1940s, and its influence on Wallace Berman’s film Aleph (1966) and Harry Smith’s Early Abstractions.

Many San Francisco poets of the 1940s through the 1970s understood poets

Journal of Surrealism and the Americas, Cinema Issue (2016)

This paper deals with a version of Surrealism that emerged in San Francisco in the late 1940s, and its influence on Wallace Berman’s film Aleph (1966) and Harry Smith’s Early Abstractions.

Many San Francisco poets of the 1940s through the 1970s understood poets as a visionary company possessing a nearly sacerdotal authority arising from their capacity to put aside the individual self and open themselves to influences from beyond—in a peculiar turn, these influences came to be understood as energy waves that are transmitted through the ether and operate the poet/artist—and cinema and the radio became models for these transmissions. The collage art that resulted was understood as anemic, cobbled together from insecurely apprehended fragments of thought carried in radio signals nearly drowned out by static. I conclude with comments relating the idea of artists’ feeble imaginations being operated by remote control to film and electric media.

ContributorsElder, Bruce (R. Bruce) (Author)
Created2017-08-07
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Journal of Surrealism and the Americas, Cinema Issue (2016)

La Ciudad Frente al Río (The City in Front of the River) is an Argentinian, ten-minute long film directed by Italian Surrealist Enrico Gras in 1949. The film was part of the promotional material for Bajo Belgrano, a modern housing plan sponsored

Journal of Surrealism and the Americas, Cinema Issue (2016)

La Ciudad Frente al Río (The City in Front of the River) is an Argentinian, ten-minute long film directed by Italian Surrealist Enrico Gras in 1949. The film was part of the promotional material for Bajo Belgrano, a modern housing plan sponsored by the Buenos Aires City Hall under the auspice of populist president Juan Perón. As part of this promotion, German photographer Grete Stern designed a brochure with images from the film and text by the Study for the Plan of Buenos Aires (Estudio del Plan de Buenos Aires, hereafter EPBA). I compare the film and brochure to contemporaneous work by Stern: a series of photomontages illustrating a women’s advice column. The column mined its readers’ dreams for insights into their unconscious, and advised them on proper behavior. Following a similar method, the film found Buenos Aires’ unconscious in the chaos of city life, and revealed what I have termed as "pastoral modernity" as the cure. Masked behind a veneer of revolutionary modernity, the message of these works was that of a nostalgic return to the past—an invitation to sleep, and to dream. Complicating this message, subtle hints in both the film and the photomontages point to the artists’ awareness of the totalizing vision they were collaborating with.

ContributorsLeón, Ana María (Author)
Created2017-08-07
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Journal of Surrealism and the Americas, Cinema Issue (2016)

Robert Desnos’s and Man Ray’s 1928 film L'Etoile de mer has long been considered an exemplar of the surrealist love story, thematically similar to Salvador Dalí’s and Luis Buñuel’s Un Chien andalou (1929) but less overtly shocking. In comparison to the elaborate

Journal of Surrealism and the Americas, Cinema Issue (2016)

Robert Desnos’s and Man Ray’s 1928 film L'Etoile de mer has long been considered an exemplar of the surrealist love story, thematically similar to Salvador Dalí’s and Luis Buñuel’s Un Chien andalou (1929) but less overtly shocking. In comparison to the elaborate iconographical analyses of Chien, critiques of L'Etoile tend to describe its avant-garde cinematic style, to distinguish how it illustrates or deviates from Desnos’s scenario, or to provide summary analysis of some of its more obviously Freudian iconography. There have been fewer scholarly explorations of specific symbolism, yet the film exhibits many political-philosophical intertexts, one of which explicitly builds a bridge between the surrealist revolution and America’s core self-signifier, Liberty.

ContributorsBelton, Robert James, 1953- (Author)
Created2017-08-07
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Introduction to the Cinema Issue

Created2017-08-07
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The maps in this chartbook describe the physical activity environment in Camden in terms of geographic distribution of parks and physical activity facilities. Research shows that people who have access to these facilities are more likely to be physically active.

• The maps in this chartbook were created using physical activity facilities data from a commercial

The maps in this chartbook describe the physical activity environment in Camden in terms of geographic distribution of parks and physical activity facilities. Research shows that people who have access to these facilities are more likely to be physically active.

• The maps in this chartbook were created using physical activity facilities data from a commercial database (lnfoUSA, 2008), data from city departments, as well as information obtained from systematic web searches. The maps present data for the city of Camden and for a 1 mile buffer area around Camden.

• Physical activity centers include private and public facilities which offer physical activity opportunities for children 3-18 years of age.

• Physical activity environment maps are compared with Census 2000 data to visualize accessibility of physical activity opportunities in neighborhoods with different characteristics.

• Poverty level presented in this chartbook are based on the 2000 Federal Poverty Guidelines.

• Crime rates in Camden are presented at the census block group level as relative crime risk (CrimeRisk) obtained from a commercial data source (Applied Geographic Solutions, 2008). CrimeRisk - an index value derived from modeling the relationship between crime rates and demographics data - is expressed as the risk of crime occurring in a specific block group relative to the national average. For this chartbook, data on total CrimeRisk, which includes personal and property crimes, are reported.

Created2010
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Narration of the Urban Jungle Sweet Sixteen encounter between #1 Harar Hyena and #7 Coyote, by Katie Hinde, Tara Chestnut, and Anne W. Hilborn

ContributorsChestnut, Tara (Creator) / Hinde, Katie (Creator) / Hilborn, Anne W. (Creator)
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Narration of the Jump Around Round 1 encounter between #8 Springhare and #9 Jackrabbit by Jessica Light.

ContributorsLight, Jessica (Creator)
Created2019
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Narration of the CAT-e-Gory Round 2 encounter between #2 Nimravid and #7 Tiger Quoll, by Katie Hinde and Patrice K. Connors.

ContributorsConnors, Patrice K. (Creator) / Hinde, Katie (Creator)
Created2019