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Paperback or Softback. Condizione: New. A Discussion about the Role of Photography in the African American Post-War Civil Rights Movement. Book.

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Taschenbuch. Condizione: Sehr gut. Gebraucht - Sehr gut SG - leichte Beschädigungen, Verschmutzungen, ungelesenes Mängelexemplar, Versand Büchersendung - Essay from the year 2010 in the subject Art - Photography and Film, grade: -, University of Westminster, language: English, abstract: Photography has played various roles in the African American Post-War Civil Rights Movement. Besides its extraordinary coverage of the contemporary Jazz scene and the historical documentation of the segregated South (Kasher, 1996), it had in particular a remarkable political function.Photography and television have given the Civil Rights fighters a voice which could not be ignored in Post-War America; by showing the struggle in all its unjust cruelty they confronted the national and international community with the shocking reality. People got motivated to express their sympathy for the demonstrators and the number of Movement supporters grew rapidly. Thereby, the most significant stream of followers arose only after the news media had shown images of unexpected outrage, making the relationship obvious (Streitmatter, 2008). In general, media do not only have a significant impact on public opinion but also contribute greatly to the success of humanitarian organisations. Often their influence even exceeds the possibilities available to politicians. This arises from the news media being the only source of information consumers get about developments further afield, making the success of civil rights movements highly dependent on their image given by press and television (International Council on Human Rights Policy, 2002).As one of these movements, the struggle for desegregation in America is the most thoroughly documented social conflict to date (Kasher, 1996). The tabloid Life, which can be seen as the national newspaper at the time (Shepherd, 1997), was reaching even more people than the new medium of television. For this reason, the magazine s understanding of the events, which was expressed by its presentation of images of the iconography of war uniformed troopers, weaponed assaults, the wounded, state funerals was spread widely and contributed to the change in public opinion (Kasher, 1996).Whereas the claim for the media being the cause of a basic change in politics and society often suffers from oversimplification (International Council on Human Rights Policy, 2002), there are many facts indicating it in the case of America s Post-War desegregation.This can be explained by three major events, the subsequent news coverage of each, and political shifts in the course of the Civil Rights Movement: the Birmingham campaign in May 1963; the March on Washington in August 1963; and Bloody Sunday , the first Selma to Montgomery March in March 1965.

Taschenbuch. Condizione: Neu. Druck auf Anfrage Neuware - Printed after ordering - Essay from the year 2010 in the subject Art - Photography and Film, grade: 61, University of Westminster (Media, Arts and Design), course: Photography and Visual Culture , language: English, abstract: The events of 9/11 shocked people all over the world and as a political consequence the 'war on terror' was established. A 'public trauma' emerged after the unexpected attacks because they made clear how near the unknown but also continuing threat of terrorism is. An extraordinary situation took place when people world wide felt shocked and directly targeted by the attacks. The exploding demand on visual media which dealt with the issue was the expression of a new function in the wake of the events: Visual representation had to assume the responsibility of substituting for the essential act of 'bearing witness' to help the public with handling trauma and grief (Zelizer, 2002).Fighting a war against an unknown enemy - 'the terror' or 'the evil' - was a historically unprecedented situation. People were frightened and many wanted to find somebody to blame for the attacks to feel safe again; the reaction of the government to attack Afghanistan found support although the justification for the attacks would be proven wrong later. But the dimension of cruelty of this war and in the American prison Abu Ghraib towards alleged terrorists caused another public shock after the limited imagery was published.Together, these two events and their subsequent public traumas caused two very contrasting consecutive world wide moods towards the US government. In retrospect the events are said to mark a change within visual representation, particularly the representation of trauma.One of the main shifts in visual representation in the wake of these crises was that the focus moved towards the public. 'This was curious, for among photojournalists the idea of using images to draw from and upon the public rather than to depict the events being witnessed was antithetical to what good journalism is supposed to do' (Zelizer, 2002, p.48).

Taschenbuch. Condizione: Neu. Druck auf Anfrage Neuware - Printed after ordering - Essay from the year 2011 in the subject Art - Photography and Film, grade: 62, University of Westminster (Media, Arts and Design), course: Contemporary Photographic Practices, language: English, abstract: In 1964 Pop artist Andy Warhol started to take his 'Screen Tests', short portrait films of his colleagues and friends who visited him in his famous studio, the 'Factory' in New York. Today, more than forty years after the last test was taken, fascination with the films still motivates people to look at them in exhibitions and books. They still catch us with their complex character as time witnesses and social documents, combined with a strong effect as extraordinarily personal pieces of art. In the following essay, I will illustrate in which way these complex films and their meanings are shaped in different contexts of representation: installed in an exhibition and printed in book form.At first when dealing with this question, it needs to be clear what the Screen Tests are: The films are not screen tests in the conventional sense of the word. The term usually means short test films taken of actors on castings to decide if they get a part in a film. In Warhol's Screen Tests, the sitter was instructed to look straight into the camera, without movement or emoting, and if possible even without blinking over the three minutes of recording time. People were recorded in close- ups, deprived of the chance to hide even the smallest movement of their faces (Angell, 2006). The 'Stillies', as Warhol called them in the beginning, were often produced spontaneously and with casual rapidity. The conceptual sophistication of these films as a whole makes this long- term project a central piece of Warhol's work as a portrait artist in the medium of both film and painting. They can be seen as the 'stem cells of Warhol's portraiture' (Angell, 2006, p.12): Giving us an overview over the world of fame and glamour in the 1960s scene, with almost exclusively well- known sitters, they deal with the same objects - celebrities - as Warhol's paintings do.Like all of Warhol's early films, they are taken on his first film camera 'Bolex' in black- and- white and on silent speed (16 instead of 24 frames per second). It is especially the combination of the slow silent speed, the almost- stillness of the obedient sitters and the unusual lack of sound in the films, which makes these portraits 'hybrid art images' (Sokolowski, 2004, p. 9), on the borderline between still photography and the moving image.

Taschenbuch. Condizione: Neu. Druck auf Anfrage Neuware - Printed after ordering - Essay from the year 2010 in the subject Art - Photography and Film, University of Westminster, language: English, abstract: Photography has played various roles in the African American Post-War Civil Rights Movement. Besides its extraordinary coverage of the contemporary Jazz scene and the historical documentation of the segregated South (Kasher, 1996), it had in particular a remarkable political function.Photography and television have given the Civil Rights fighters a voice which could not be ignored in Post-War America; by showing the struggle in all its unjust cruelty they confronted the national and international community with the shocking reality. People got motivated to express their sympathy for the demonstrators and the number of Movement supporters grew rapidly. Thereby, the most significant stream of followers arose only after the news media had shown images of unexpected outrage, making the relationship obvious (Streitmatter, 2008). In general, media do not only have a significant impact on public opinion but also contribute greatly to the success of humanitarian organisations. Often their influence even exceeds the possibilities available to politicians. This arises from the news media being the only source of information consumers get about developments further afield, making the success of civil rights movements highly dependent on their image given by press and television (International Council on Human Rights Policy, 2002).As one of these movements, the struggle for desegregation in America is the most thoroughly documented social conflict to date (Kasher, 1996). The tabloid Life, which can be seen as the national newspaper at the time (Shepherd, 1997), was reaching even more people than the new medium of television. For this reason, the magazine's understanding of the events, which was expressed by its presentation of images of the iconography of war - uniformed troopers, weaponed assaults, the wounded, state funerals - was spread widely and contributed to the change in public opinion (Kasher, 1996).Whereas the claim for the media being the cause of a basic change in politics and society often suffers from oversimplification (International Council on Human Rights Policy, 2002), there are many facts indicating it in the case of America's Post-War desegregation.This can be explained by three major events, the subsequent news coverage of each, and political shifts in the course of the Civil Rights Movement: the Birmingham campaign in May 1963; the March on Washington in August 1963; and 'Bloody Sunday', the first Selma to Montgomery March in March 1965.

Taschenbuch. Condizione: Neu. Druck auf Anfrage Neuware - Printed after ordering - Bachelor Thesis from the year 2013 in the subject Art - Photography and Film, grade: 78 % = 1, University of Westminster (Department of Media, Arts and Design), course: Photography Dissertation, language: English, abstract: 'The strongest of Richter's effects of withdrawing the work from the viewer's gaze, is the creation of a softening blur as the final touch to all his Photo Paintings. Making the paintings, the artist firstly drafts his subject with a normally sized brush to create a 'sharp' image (Fig.3). Having finished, he would come with a broader brush or a squeegee and blur the still wet oil paint (Fig. 4) to create the photographic effect of an out-of-focus image1. The blur in these paintings is not a trace of movement of the object in the photograph. This blur is an addition to the painting that does not relate to a form of haziness in the specific photographic source image, but to the general idea of vagueness, indecisiveness, anti-definition. Therefore, it mirrors the artist's attitudes towards life in an especially expressive way. The enlargement of the usual distance between what is depicted and the viewer are the basis of this effect. At first on a quite literal level: Richter introduces another layer of depiction in these paintings by creating the depiction of a depiction of an object. This places the object of the painting further away than usual from its maker and us as viewers (Butin, 2010). Secondly, on the level of reception: an image that stays 'out-of-focus' from whichever distance we look at it rejects us, and refuses to communicate. This typical caginess of Richter's paintings, the exclusion of the recipient whom they are made for, is a striking effect in the encounter with these images. The analysis of the antithetic emotional effects of this simple but fascinating painterly technique is the theme of this essay.'.

Taschenbuch. Condizione: Neu. On Gerhard Richter's Blur Effect. The Ambivalent Character of a Distanced Force | Sarah Doerfel | Taschenbuch | 72 S. | Englisch | 2014 | GRIN Verlag | EAN 9783656609896 | Verantwortliche Person für die EU: GRIN Publishing GmbH, Waltherstr. 23, 80337 München, info[at]grin[dot]com | Anbieter: preigu.

Condizione: New. Print on Demand pp. 20.

Condizione: New. Print on Demand pp. 20.

Condizione: New. PRINT ON DEMAND pp. 20.

Taschenbuch. Condizione: Neu. This item is printed on demand - it takes 3-4 days longer - Neuware -Essay from the year 2010 in the subject Art - Photography and Film, grade: 61, University of Westminster (Media, Arts and Design), course: Photography and Visual Culture , language: English, abstract: The events of 9/11 shocked people all over the world and as a political consequence the 'war on terror' was established. A 'public trauma' emerged after the unexpected attacks because they made clear how near the unknown but also continuing threat of terrorism is. An extraordinary situation took place when people world wide felt shocked and directly targeted by the attacks. The exploding demand on visual media which dealt with the issue was the expression of a new function in the wake of the events: Visual representation had to assume the responsibility of substituting for the essential act of 'bearing witness' to help the public with handling trauma and grief (Zelizer, 2002).Fighting a war against an unknown enemy - 'the terror' or 'the evil' - was a historically unprecedented situation. People were frightened and many wanted to find somebody to blame for the attacks to feel safe again; the reaction of the government to attack Afghanistan found support although the justification for the attacks would be proven wrong later. But the dimension of cruelty of this war and in the American prison Abu Ghraib towards alleged terrorists caused another public shock after the limited imagery was published.Together, these two events and their subsequent public traumas caused two very contrasting consecutive world wide moods towards the US government. In retrospect the events are said to mark a change within visual representation, particularly the representation of trauma.One of the main shifts in visual representation in the wake of these crises was that the focus moved towards the public. 'This was curious, for among photojournalists the idea of using images to draw from and upon the public rather than to depict the events being witnessed was antithetical to what good journalism is supposed to do' (Zelizer, 2002, p.48). 16 pp. Englisch.

Taschenbuch. Condizione: Neu. This item is printed on demand - it takes 3-4 days longer - Neuware -Essay from the year 2010 in the subject Art - Photography and Film, University of Westminster, language: English, abstract: Photography has played various roles in the African American Post-War Civil Rights Movement. Besides its extraordinary coverage of the contemporary Jazz scene and the historical documentation of the segregated South (Kasher, 1996), it had in particular a remarkable political function.Photography and television have given the Civil Rights fighters a voice which could not be ignored in Post-War America; by showing the struggle in all its unjust cruelty they confronted the national and international community with the shocking reality. People got motivated to express their sympathy for the demonstrators and the number of Movement supporters grew rapidly. Thereby, the most significant stream of followers arose only after the news media had shown images of unexpected outrage, making the relationship obvious (Streitmatter, 2008). In general, media do not only have a significant impact on public opinion but also contribute greatly to the success of humanitarian organisations. Often their influence even exceeds the possibilities available to politicians. This arises from the news media being the only source of information consumers get about developments further afield, making the success of civil rights movements highly dependent on their image given by press and television (International Council on Human Rights Policy, 2002).As one of these movements, the struggle for desegregation in America is the most thoroughly documented social conflict to date (Kasher, 1996). The tabloid Life, which can be seen as the national newspaper at the time (Shepherd, 1997), was reaching even more people than the new medium of television. For this reason, the magazine's understanding of the events, which was expressed by its presentation of images of the iconography of war - uniformed troopers, weaponed assaults, the wounded, state funerals - was spread widely and contributed to the change in public opinion (Kasher, 1996).Whereas the claim for the media being the cause of a basic change in politics and society often suffers from oversimplification (International Council on Human Rights Policy, 2002), there are many facts indicating it in the case of America's Post-War desegregation.This can be explained by three major events, the subsequent news coverage of each, and political shifts in the course of the Civil Rights Movement: the Birmingham campaign in May 1963; the March on Washington in August 1963; and 'Bloody Sunday', the first Selma to Montgomery March in March 1965. 20 pp. Englisch.

Taschenbuch. Condizione: Neu. This item is printed on demand - it takes 3-4 days longer - Neuware -Essay from the year 2011 in the subject Art - Photography and Film, grade: 62, University of Westminster (Media, Arts and Design), course: Contemporary Photographic Practices, language: English, abstract: In 1964 Pop artist Andy Warhol started to take his 'Screen Tests', short portrait films of his colleagues and friends who visited him in his famous studio, the 'Factory' in New York. Today, more than forty years after the last test was taken, fascination with the films still motivates people to look at them in exhibitions and books. They still catch us with their complex character as time witnesses and social documents, combined with a strong effect as extraordinarily personal pieces of art. In the following essay, I will illustrate in which way these complex films and their meanings are shaped in different contexts of representation: installed in an exhibition and printed in book form.At first when dealing with this question, it needs to be clear what the Screen Tests are: The films are not screen tests in the conventional sense of the word. The term usually means short test films taken of actors on castings to decide if they get a part in a film. In Warhol's Screen Tests, the sitter was instructed to look straight into the camera, without movement or emoting, and if possible even without blinking over the three minutes of recording time. People were recorded in close- ups, deprived of the chance to hide even the smallest movement of their faces (Angell, 2006). The 'Stillies', as Warhol called them in the beginning, were often produced spontaneously and with casual rapidity. The conceptual sophistication of these films as a whole makes this long- term project a central piece of Warhol's work as a portrait artist in the medium of both film and painting. They can be seen as the 'stem cells of Warhol's portraiture' (Angell, 2006, p.12): Giving us an overview over the world of fame and glamour in the 1960s scene, with almost exclusively well- known sitters, they deal with the same objects - celebrities - as Warhol's paintings do.Like all of Warhol's early films, they are taken on his first film camera 'Bolex' in black- and- white and on silent speed (16 instead of 24 frames per second). It is especially the combination of the slow silent speed, the almost- stillness of the obedient sitters and the unusual lack of sound in the films, which makes these portraits 'hybrid art images' (Sokolowski, 2004, p. 9), on the borderline between still photography and the moving image. 16 pp. Englisch.

Condizione: Sehr gut. Zustand: Sehr gut | Sprache: Deutsch | Produktart: Bücher | Keine Beschreibung verfügbar.

Taschenbuch. Condizione: Neu. This item is printed on demand - it takes 3-4 days longer - Neuware -Bachelor Thesis from the year 2013 in the subject Art - Photography and Film, grade: 78 % = 1, University of Westminster (Department of Media, Arts and Design), course: Photography Dissertation, language: English, abstract: 'The strongest of Richter's effects of withdrawing the work from the viewer's gaze, is the creation of a softening blur as the final touch to all his Photo Paintings. Making the paintings, the artist firstly drafts his subject with a normally sized brush to create a 'sharp' image (Fig.3). Having finished, he would come with a broader brush or a squeegee and blur the still wet oil paint (Fig. 4) to create the photographic effect of an out-of-focus image1. The blur in these paintings is not a trace of movement of the object in the photograph. This blur is an addition to the painting that does not relate to a form of haziness in the specific photographic source image, but to the general idea of vagueness, indecisiveness, anti-definition. Therefore, it mirrors the artist's attitudes towards life in an especially expressive way. The enlargement of the usual distance between what is depicted and the viewer are the basis of this effect. At first on a quite literal level: Richter introduces another layer of depiction in these paintings by creating the depiction of a depiction of an object. This places the object of the painting further away than usual from its maker and us as viewers (Butin, 2010). Secondly, on the level of reception: an image that stays 'out-of-focus' from whichever distance we look at it rejects us, and refuses to communicate. This typical caginess of Richter's paintings, the exclusion of the recipient whom they are made for, is a striking effect in the encounter with these images. The analysis of the antithetic emotional effects of this simple but fascinating painterly technique is the theme of this essay.' 72 pp. Englisch.

Taschenbuch. Condizione: Neu. nach der Bestellung gedruckt Neuware - Printed after ordering - Essay from the year 2011 in the subject Art - Photography and Film, grade: 70, University of Westminster (Media, Arts and Design), course: Perspectives in Photography, language: English, abstract: Gerhard Richter is one of the most successful contemporary artists. His work is known for being very diverse and having no specific style seems to be his style. His apparent lack of a clear commitment to a style, an opinion, or a political standpoint can also be found in his blur technique which he uses for his paintings from photographic originals: blurring the originally sharp images abstracts them. Richter's point of view seems to be hidden behind a thin but insurmountable curtain. The blur also keeps the viewer from seeing clear himself, from judging the situation, from taking on a standpoint. The painter has to confront this criticism of having no opinion especially with his political historical subjects, like the paintings 'Onkel Rudi /Uncle Rudi' (1965) or 'Tante Marianne/ Aunt Marianne' (1965), which show relatives of Richter in the context of Nazi Germany. Apart from these, especially the cycle 'October 18, 1977' made onlookers search for the artist's opinion and intention, as these 15 paintings do not show a political subject represented on the basis of family photographs, like his earlier works. The cycle's source images are press and police photographs and it deals with the events around the Baader- Meinhof gang, a group of terrorists active in Germany in the 1970s. At the time Richter chose to paint this subject, the events had already passed for more than a decade, which seems like he wanted to say something about it that he felt was missing but essential to close this chapter of history. Viewers and critics are therefore looking for his statement in the painting but cannot find what they expect. The painter is criticized for picking a controversial subject, attracting attention to the issue, raising questions but refusing to offer an opinion and refuse an answer. The artist himself, though, says, that 'the political topicality of my October paintings means almost nothing to me' (Richter, 1968, n.p.).In the following essay I want to concentrate on the blur effect in Richter's cycle 'October, 18 1977'. I will show how the blur changed the effect of the source photographs and that the artist's statement lies exactly there. When generally 'blur' stands for obscuring the clear sight on a subject, this is arguable for the cycle: Through the blur, the viewer here much more gets the chance of a real encounter with these images. This essay will focus on the comparison of the effect of the original photographs and Richter's version.

Condizione: New. Print on Demand pp. 74 424:B&W 5.83 x 8.27 in or 210 x 148 mm (A5) Perfect Bound on Creme w/Matte Lam.