Details
Performing Memory
Corporeality, Visuality, and Mobility after 1968Making Sense of History, Band 47 1. Aufl.
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37,99 € |
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| Verlag: | Berghahn Books |
| Format: | EPUB |
| Veröffentl.: | 09.06.2023 |
| ISBN/EAN: | 9781800739970 |
| Sprache: | englisch |
| Anzahl Seiten: | 216 |
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Beschreibungen
<p> Through a post-1968 perspective on the past 50 years, <em>Performing Memor</em>y brings together case studies on new developments in the relationship between politics and visual representation—including the histories of dance, theatre, political performance and cinema—and investigates how they relate to the interlinked concepts of visuality, corporeality and mobility. Using a collective transdisciplinary attitude from within historical disciplines, and looking across to artistic fields, this volume demonstrates that memory is not merely a recollection of experience but an interactive process, in which the body, mobile and constrained, is both a point of departure and reference.</p>
<p> List of Illustrations<br> Acknowledgements</p>
<p> <a><strong>Introduction</strong></a><br> <em>Luisa Passerini & Dieter Reinisch</em></p>
<p> <strong>Part I: Body in Movement/Body in Constrain</strong></p>
<p> <strong>Chapter 1.</strong> Bodily Ways of Knowing and Remembering: Movement, Kinaesthesia, and Mobility<br> <em>Marina Nordera</em></p>
<p> <strong>Chapter 2.</strong> Corporeality and Militant Performance during Northern Irish Prisons Protests, 1971-1983<br> <em>Dieter Reinisch</em></p>
<p> <strong>Part II: Spectacle and Activism</strong></p>
<p> <strong>Chapter 3.</strong> Soviet Media Spectacle: Visuality, Corporeality, and Identity in the Late 1960s and Early 1970s<br> <em>Bohdan Shumylovych</em></p>
<p> <strong>Chapter 4.</strong> Bartering and Cross-Border Embodied Performances<br> <em>Annelies Kuhlmann</em></p>
<p> <strong>Chapter 5.</strong> The Filmmaker as Saboteur: Found Footage and Détournement in Llorenç Soler’s Militant Films<br> <em>Pablo La Parra Pérez:</em></p>
<p> <strong>Part III: Reports from the Field</strong></p>
<p> <strong>Chapter 6.</strong> A Letter to the Future: Autumn Knight's <em>WALL</em> (2014) and the Studio Museum in Harlem<br> <em>Cori Olinghouse</em></p>
<p> <strong>Chapter 7.</strong> Philadelphia Immigration Stories: Making the Aural Visual<br> <em>Janneken Smucker</em></p>
<p> <strong>Afterword</strong><br> <em>Alexander Etkind</em></p>
<p> Bibliography<br> Index</p>
<p> <a><strong>Introduction</strong></a><br> <em>Luisa Passerini & Dieter Reinisch</em></p>
<p> <strong>Part I: Body in Movement/Body in Constrain</strong></p>
<p> <strong>Chapter 1.</strong> Bodily Ways of Knowing and Remembering: Movement, Kinaesthesia, and Mobility<br> <em>Marina Nordera</em></p>
<p> <strong>Chapter 2.</strong> Corporeality and Militant Performance during Northern Irish Prisons Protests, 1971-1983<br> <em>Dieter Reinisch</em></p>
<p> <strong>Part II: Spectacle and Activism</strong></p>
<p> <strong>Chapter 3.</strong> Soviet Media Spectacle: Visuality, Corporeality, and Identity in the Late 1960s and Early 1970s<br> <em>Bohdan Shumylovych</em></p>
<p> <strong>Chapter 4.</strong> Bartering and Cross-Border Embodied Performances<br> <em>Annelies Kuhlmann</em></p>
<p> <strong>Chapter 5.</strong> The Filmmaker as Saboteur: Found Footage and Détournement in Llorenç Soler’s Militant Films<br> <em>Pablo La Parra Pérez:</em></p>
<p> <strong>Part III: Reports from the Field</strong></p>
<p> <strong>Chapter 6.</strong> A Letter to the Future: Autumn Knight's <em>WALL</em> (2014) and the Studio Museum in Harlem<br> <em>Cori Olinghouse</em></p>
<p> <strong>Chapter 7.</strong> Philadelphia Immigration Stories: Making the Aural Visual<br> <em>Janneken Smucker</em></p>
<p> <strong>Afterword</strong><br> <em>Alexander Etkind</em></p>
<p> Bibliography<br> Index</p>
<p> <strong>Luisa Passerini</strong> is Professor Emerita at the European University Institute, Florence, and was Principal Investigator of the European Research Council Project ‘Bodies Across Borders: Oral and Visual Memory in Europe and Beyond’ 2013-2018. She received the first All European Academies Madame de Staël Prize for Cultural Values in 2014 and she is a member of the Scientific Committee of the House of European History, Brussels.</p>
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