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Collective Cultural Memory as a TV Guide: “Living” History and Nostalgia on the Digital Television Platform

References Bond, Lucy; Stef Craps and Pieter Vermeulen, eds. 2017. Memory Unbound: Tracing the Dynamics of Memory Studies . New York: Berghahn Books. Boym, Svetlana. 2001. The Future of Nostalgia. New York: Basic Books. Bolter, Jay David and Richard Grusin. 1999. Remediation: Understanding New Media. Cambridge, MA: MIT Press. Buonanno, Milly. 2008. The Age of Television: Experiences and Theories . Bristol: Intellect Books. Bourdon, Jérôme. 2003. Some Sense of Time: Remembering Television. History and Memory vol. 15, no. 2: 5

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PLENARY SESSION II. Digital Aestethics. Nostalgia for a Digital Object
Regrets on the Quickening of QuickTime
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Film and Media as a Site for Memory in Contemporary Art

Abstract

This article explores the relationship between film, contemporary art and cultural memory. It aims to set out an overview of the use of film and media in artworks dealing with memory, history and the past. In recent decades, film and media projections have become some of the most common mediums employed in art installations, multi-screen artworks, sculptures, multi-media art, as well as many other forms of contemporary art. In order to examine the links between film, contemporary art and memory, I will firstly take a brief look at cultural memory and, secondly, I will set out an overview of some pieces of art that utilize film and video to elucidate historical and mnemonic accounts. Thirdly, I will consider the specific features and challenges of film and media that make them an effective repository in art to represent memory. I will consider the work of artists like Tacita Dean, Krzysztof Wodiczko and Jane and Louise Wilson, whose art is heavily influenced and inspired by concepts of memory, history, nostalgia and melancholy. These artists provide examples of the use of film in art, and they have established contemporary art as a site for memory.

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Sensations of the Past: Identity, Empowerment, and the British Monarchy Films

Abstract

Royal bio-pics have always enjoyed a high priority among cinematic representations of British history and taken a lion’s share in defining Britishness to audiences at home and abroad. These historical narratives never render national identity by capturing the past of historians, instead reconstruct the past as a mirror of contemporary reality and in a way as to satisfy their audience’s demand for both romantic qualities and antiquarian nostalgia, for sensations they regard their own. The author’s basic assumption is that such cinema does not represent history but exploits spectatorial desire for a mediated reality one inhabits through the experience of an empowered identity. The first part of the article examines how private-life films (a subgenre of royal bio-pics) mythologized and idealized Tudor monarchs in the 1930s, while in the second part, contemporary representatives of the subgenre are analysed as they portray the challenges of the Monarchy in its search for a place within modern British identity politics. Analysed films include The Private Life of Henry VIII (Alexander Korda, 1933), The Private Lives of Elizabeth and Essex (Michael Curtiz, 1939), Mrs Brown (John Madden, 1997), The Queen (Stephen Frears, 2006), and The King’s Speech (Tom Hooper, 2010).1

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Childhood and Children’s Retrospective Media Consumption Experiences
The case of Norway

. The Role of the Mobile in the Shaping of Swedish Media Generations. International Journal of Communication , 3: 108-124. Bolin, Göran (2014). Media Generations: Objective and Subjective Media Landscapes and Nostalgia among Generations of Media Users. Participations: Journal of Audience & Reception Studies, 11(2): 108-131. Bolin, Göran (2015). Passion and Nostalgia in Generational Media Experiences. European Journal Of Cultural Studies, 19(3): 250-264. Buckingham, David (2006). After the Death of Childhood: Growing up in the Age of Electronic

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Why Ageing is More Important than Being Old
Understanding the Elderly in a Mediatized World

). Reconstructing Past Media Ecologies: The 1960s Generation in Sweden. European Journal of Communication, 30(1): 50-63. Bolin, Göran (2014). Media Generations: Objective and Subjective Media Landscapes and Nostalgia among Generations of Media Users. Participations. Journal of Audience & Reception Studies, 11(2): 108-131. Bolin, Göran (2015). Passion and Nostalgia in Generational Media Experiences. European Journal of Cultural Studies. Advance online publication: http://doi.org/10.1177/1367549415609327 Bolin, Göran (2016). Media

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Spectacular Attractions: Museums, Audio-Visuals and the Ghosts of Memory

References Anon. 1930. Museums and Movies. Museums Journal vol. 29 no. 10: 334-351. Arnold-de Simine, Silke. 2013. Mediating Memory in the Museum: Trauma, Empathy, Nostalgia. Houndmills: Palgrave Macmillan. Arnold-de Simine, Silke. 2012. Memory Museum and Museum Text: Intermediality in Daniel Libeskind's Jewish Museum and W.G. Sebald’s Austerlitz. Theory, Culture & Society vol. 29 no. 1: 14-35. Billing, Scott. 2008. Smoke and Mirrors. Museum Practice (Summer): 36-40. Casetti

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Unsettling Melodies: a Cognitive Approach to Incongruent Film Music

Music and Emotion: Theory and Research, eds. P. N. Juslin and J.A. Sloboda, 249-274. Oxford: Oxford University Press. Flinn, Caryl. 1992. Strains of Utopia: Gender, Nostalgia and Hollywood Film Music. Princeton: Princeton University Press. Gorbman, Claudia. 1987. Unheard Melodies: Narrative Film Music. London: British Film Institute. Hartle, John. 1992. ‘Dogs’ Gets Walkouts and Raves. The Seattle Times. October 29. http://community.seattletimes.nwsource.com/archive/?date=19921029&slug=1521437. Last

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Sensing History. On the Uses of Medium-Specific Noise in Eastern European Found Footage Films

. Liv Hausken, 189–215. Frankfurt am Main: Peter Lang. Fetveit, Arild. 2015. Death, Beauty, and Iconoclastic Nostalgia: Precarious Aesthetics and Lana Del Rey. NECSUS (Autumn). https://necsus-ejms.org/death-beauty-and-iconoclastic-nostalgia-precarious-aesthetics-and-lana-del-rey/ . Last accessed 25. 08. 2018. Filippi, Gabriela and Andrei Rus. 2011. În dialog cu Dana Bunescu. Film Menu vol. 10: 30–41. https://filmmenu.wordpress.com/2014/11/10/interviu-dana-bunescu/ . Last accessed 25. 08. 2018. Foster, Hal. 2004. Vision Quest. The Cinema of

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Last Year at Mulholland Drive: Ambiguous Framings and Framing Ambiguities

. Lanham: The Scarecrow Press. Perlmutter, Ruth. 2005. Memories, Dreams, Screens. Quarterly Review of Film and Video vol. 22, no. 2: 125–134. Panek, Elliot. 2006. The Poet and the Detective: Defining the Psychological Puzzle Film. Film Criticism vol. 31: 62–88. Scott, A. O. 2001. Critic’s Notebook; Shoving Through the Crowd to Taste Lyrical Nostalgia. The New York Times , May 17. http://www.nytimes.com/2001/05/17/movies/critic-s-notebook-shoving-through-the-crowd-to-taste-lyrical-nostalgia.html . Last accessed 26. 02. 2019. Thanouli

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