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Abstract: An overview of still pictures is presented to assist teachers in their effective preparation and use as part of an instructional unit in the classroon. Guidelines are given on favorable and unfavorable characteristics of still pictures, their production, utilization, preservation, and storage; and on the creation of display areas. Specific emphasis is given to planning and presenting a classroom lesson using still pictures. Several case studies and selected student project activities are included. A glossary, a listing of software producers, picture source catalogs (covering free or inexpensive materials), and a bibliography are appended. (wz).
“Superb . . . [The] final, splendid, most personal work of [Janet Malcolm’s] long career.” —Charles Finch, The New York Times Book Review For decades, Janet Malcolm’s books and dispatches for The New Yorker and The New York Review of Books poked and prodded at reportorial and biographical convention, gesturing toward the artifice that underpins both public and private selves. In Still Pictures, she turns her gimlet eye on her own life—a task demanding a writer just as peerlessly skillful as she was widely known to be. Still Pictures, then, is not the story of a life but an event on its own terms, an encounter with identity and family photographs as poignant and original as anything since Roland Barthes’s Camera Lucida. Malcolm looks beyond the content of the image and the easy seductions of self-recognition, constructing a memoir from memories that pose questions of their own. Still Pictures begins with the image of a morose young girl on a train, leaving Prague for New York at the age of five in 1939. From her fitful early loves, to evenings at the old Metropolitan Opera House, to her fascination with what it might mean to be a “bad girl,” Malcolm assembles a composite portrait of a New York childhood, one that never escapes the tug of Europe and the mysteries of fate and family. Later, Still Pictures delves into her marriage to Gardner Botsford, the world of William Shawn’s New Yorker, and the libel trial that led Malcolm to become a character in her own drama. Displaying the sharp wit and astute commentary that are Malcolmian trademarks, this brief volume develops into a memoir like few others in our literature.
Moving Pictures, Still Lives revisits the cinematic and intellectual atmosphere of the late twentieth century. Against the backdrop of the historical fever of the 1980s and 1990s-the rise of the heritage industry, a global museum-building boom, and a cinematic fascination with costume dramas and literary adaptations-it explores the work of artists and philosophers who complicated the usual association between tradition and the past or modernity and the future. Author James Tweedie retraces the "archaeomodern turn" in films and theory that framed the past as a repository of abandoned but potentially transformative experiments. He examines late twentieth-century filmmakers who were inspired by old media, especially painting, and often viewed those art forms as portals to the modern past. In detailed discussions of Alain Cavalier, Terence Davies, Jean-Luc Godard, Peter Greenaway, Derek Jarman, Agnès Varda, and other key directors, the book concentrates on films that fill the screen with a succession of tableaux vivants, still lifes, illuminated manuscripts, and landscapes. It also considers three key figures-Walter Benjamin, Gilles Deleuze, and Serge Daney-who grappled with the late twentieth century's characteristic concerns, including history, memory, and belatedness. It reframes their theoretical work on film as a mourning play for past revolutions and a means of reviving the possibilities of the modern age (and its paradigmatic medium, cinema) during periods of political and cultural retrenchment. Looking at cinema and the century in the rear-view mirror, the book highlights the unrealized potential visible in the history of film, as well as the cinematic phantoms that remain in the digital age.
Author : Anthony L. Geist Publisher : University of Illinois Press Page : 88 pages File Size : 30,4 MB Release : 2002 Category : Art ISBN : 9780252070266
A heart-wrenching, yet enlightening collection of children's drawings forged in the fires of war. Of the 600,000 refugees who sought shelter from Franco's tyranny in the relative security of Republican-controlled eastern Spain, more than 200,000 were children. The Republic responded to this crisis by establishing colonias infantiles (children's colonies), often in country estates and mansions that had been abandoned by fascist sympathizers. In these colonies, the young refugees -- many of them orphaned or sent by their parents to safety -- received schooling and medical care, kept each other company, and produced thousands of drawings that serve as a moving, collective testimony of the experience of being a child in wartime. Companion to a major traveling exhibition, They Still Draw Pictures collects and comments on a cross-section of the children's art produced in the colonias infantiles. Born of the trauma of exile and separation, the drawings are invaluable historical documents, giving physical form to the children's experiences of air raids, brutality, destruction, and homelessness. These pictures also represent daily life in the colonies and preserve the children's clear memories of life before the war and hope for life after it. They are supplemented by a smaller selection of drawings from later wars. "Once I drew like Rafael, " Picasso said, "but it has taken me a lifetime to draw like a child." Deceptively transparent, these drawings speak with a poignant immediacy of war's consequences for its youngest victims.
"Much of the of the content of these pictures is concerned, I think, with a kind of visual play, and therefore with agility, surprise, balance, unexpected moves, and grace. The subjects of the pictures are these virtues in themselves, and also the fact that these virtues can flower in such unlikely circumstances. At first aquaintance, the pictures might seem casual. I believe, on the contrary, that their very point and purpose is order. Like much of the best photography being done today, they concern photography's ability to know and rationalize reaches of our visual life that are so subtle, fugitive, and intuitive that until now they have been undefinable and unsharable." -- John SzarkowskiBill Dane (aka Bill Zulpo-Dane, born William Thacher Dane on November 12, 1938) is a North American street photographer. Dane pioneered a way to subsidize his public by using photographic postcards. He has mailed over 69,000 of his pictures as photo-postcards since 1969. As of 2007, Dane's method for making his photographs available shifted from mailing photo-postcards to offering his entire body of work on the internet. In Bill Dane Pictures ... it's not pretty. he mixes his idiosyncratic writing with a selection of photographs from the past 50 years.
This National Book Award finalist is a revealing and beautifully written memoir and family history from acclaimed photographer Sally Mann. In this groundbreaking book, a unique interplay of narrative and image, Mann's preoccupation with family, race, mortality, and the storied landscape of the American South are revealed as almost genetically predetermined, written into her DNA by the family history that precedes her. Sorting through boxes of family papers and yellowed photographs she finds more than she bargained for: "deceit and scandal, alcohol, domestic abuse, car crashes, bogeymen, clandestine affairs, dearly loved and disputed family land . . . racial complications, vast sums of money made and lost, the return of the prodigal son, and maybe even bloody murder." In lyrical prose and startlingly revealing photographs, she crafts a totally original form of personal history that has the page-turning drama of a great novel but is firmly rooted in the fertile soil of her own life.
A successful international artist offers a no-holds-barred approach to making it in the arts and selling your work. "This profound, funny book, full of hard truths and smart advice, is must reading for artists. Read it and you just might transform your life and jolt your art career awake! Are you ready for some high voltage inspiration? Then come listen to the master's voice." —Eric Maisel, A Life in the Arts "The best bunch of advice I've ever seen for someone who is serious about this crazy addiction called art." —Barnaby Conrad, artist and best-selling author.
Author : David S. Shields Publisher : University of Chicago Press Page : 416 pages File Size : 23,25 MB Release : 2013-06-18 Category : Performing Arts ISBN : 022601343X
The success of movies like The Artist and Hugo recreated the wonder and magic of silent film for modern audiences, many of whom might never have experienced a movie without sound. But while the American silent movie was one of the most significant popular art forms of the modern age, it is also one that is largely lost to us, as more than eighty percent of silent films have disappeared, the victims of age, disaster, and neglect. We now know about many of these cinematic masterpieces only from the collections of still portraits and production photographs that were originally created for publicity and reference. Capturing the beauty, horror, and moodiness of silent motion pictures, these images are remarkable pieces of art in their own right. In the first history of still camera work generated by the American silent motion picture industry, David S. Shields chronicles the evolution of silent film aesthetics, glamour, and publicity, and provides unparalleled insight into this influential body of popular imagery. Exploring the work of over sixty camera artists, Still recovers the stories of the photographers who descended on early Hollywood and the stars and starlets who sat for them between 1908 and 1928. Focusing on the most culturally influential types of photographs—the performer portrait and the scene still—Shields follows photographers such as Albert Witzel and W. F. Seely as they devised the poses that newspapers and magazines would bring to Americans, who mimicked the sultry stares and dangerous glances of silent stars. He uncovers scene shots of unprecedented splendor—visions that would ignite the popular imagination. And he details how still photographs changed the film industry, whose growing preoccupation with artistry in imagery caused directors and stars to hire celebrated stage photographers and transformed cameramen into bankable names. Reproducing over one hundred and fifty of these gorgeous black-and-white photographs, Still brings to life an entire long-lost visual culture that a century later still has the power to enchant.
Rich Shull like many of his counterparts worldwide grew up in an era before Autism was diagnosable and as such we have figured out Autism from end-to-end. With our Personal experience in Autism thinking and real life we blend together Autism (Picture Thinking) and normal thought to achieve a normal life. We drive hold normal jobs and are not the stereotypical Rain Man or anti-social genius, the world knows so well, as Autism. We can see the OBVIOUS errors and myths the current Autism thinking has created and thank our lucky stars we were never diagnosed, or we would all be in a group home. Modern Autism Education is two Steps backwards. Our success in real life needs to be studied and accounted for. It is Autism's success bottled and waiting to be tapped. What Current Autism Expert can claim first had knowledge with Autistic thought and our super active senses and even our Pain free injuries? Pre Rain Man Autism has ignored us for years now, Perhaps it has missed a few points that we have discovered and cured?