The paper discusses selected works of Polish women artists and directors who employ various forms of audiovisual presentation： film, video art, and new media. The author wrote it from the perspective of a film schola...The paper discusses selected works of Polish women artists and directors who employ various forms of audiovisual presentation： film, video art, and new media. The author wrote it from the perspective of a film scholar whose interests focus on women directors and problems of cultural and gender identity in the contemporary cinema. Nevertheless, she decided to expand her research area to include works of Polish female artists who utilise the media and these means of expression that can be analysed in regard to modern film studies. She adopted the theoretical, feminist, and gender perspective, also applying the methodology of cultural studies in their broadest definition. This enables the author to situate the movies under discussion in diverse contexts and theoretical concepts. The purpose of the paper is thus not to offer a comprehensive or historical discussion of women＇s input into audiovisual arts of Central and East European Countries, but to emphasise complexity and demonstrate dynamics of their artistic creativity in Poland particularly. In her analysis, Radkiewicz considers four different research approaches： historical, theoretical （which refers to film and media studies）, artistic, and identity related ones. From this perspective, she investigates filmmakers＇ and artists＇ strategies of using the cinematic field, film conventions, and means of representations, which are the foundation of their narrative expression.展开更多
As a study in art history critical theory, this paper looks at the appreciation and usage of art amongst interest groups at the time of the Great War and the subsequent legacy of the work of Canada＇s resident war art...As a study in art history critical theory, this paper looks at the appreciation and usage of art amongst interest groups at the time of the Great War and the subsequent legacy of the work of Canada＇s resident war artist Richard Jack. The Canadian War Museum＇s recent web page described Jack＇s standing officer in The Second Battle of Ypres 22 April to 25 May 1915 as one who ＂exemplifies the courage and resolve of the inexperienced Canadians in their first major battle＂. This comment showed a marked contrast to the contemporary art critic Richard Cork who described the first of the Canadian war memorials paintings as ＂a clich6-ridden bandaged officer ... shamelessly catering to public sentiment＂. Given these disparate positions, the author attempts to explain the gulf between these points of view and subsequently make the case that art has a broad application that might make us cautious of viewing a given work without due consideration of the context of its making and future merits.展开更多
文摘The paper discusses selected works of Polish women artists and directors who employ various forms of audiovisual presentation： film, video art, and new media. The author wrote it from the perspective of a film scholar whose interests focus on women directors and problems of cultural and gender identity in the contemporary cinema. Nevertheless, she decided to expand her research area to include works of Polish female artists who utilise the media and these means of expression that can be analysed in regard to modern film studies. She adopted the theoretical, feminist, and gender perspective, also applying the methodology of cultural studies in their broadest definition. This enables the author to situate the movies under discussion in diverse contexts and theoretical concepts. The purpose of the paper is thus not to offer a comprehensive or historical discussion of women＇s input into audiovisual arts of Central and East European Countries, but to emphasise complexity and demonstrate dynamics of their artistic creativity in Poland particularly. In her analysis, Radkiewicz considers four different research approaches： historical, theoretical （which refers to film and media studies）, artistic, and identity related ones. From this perspective, she investigates filmmakers＇ and artists＇ strategies of using the cinematic field, film conventions, and means of representations, which are the foundation of their narrative expression.
文摘As a study in art history critical theory, this paper looks at the appreciation and usage of art amongst interest groups at the time of the Great War and the subsequent legacy of the work of Canada＇s resident war artist Richard Jack. The Canadian War Museum＇s recent web page described Jack＇s standing officer in The Second Battle of Ypres 22 April to 25 May 1915 as one who ＂exemplifies the courage and resolve of the inexperienced Canadians in their first major battle＂. This comment showed a marked contrast to the contemporary art critic Richard Cork who described the first of the Canadian war memorials paintings as ＂a clich6-ridden bandaged officer ... shamelessly catering to public sentiment＂. Given these disparate positions, the author attempts to explain the gulf between these points of view and subsequently make the case that art has a broad application that might make us cautious of viewing a given work without due consideration of the context of its making and future merits.
