John Waters Research Papers - Academia.edu (original) (raw)

2025, in S. Giudice, A. Lebel (a cura di), Atti del convegno Poétique du kitsch - Université Paris Nanterre (2021), «Sylène. Littérature et poétiques comparées», pp. 63-72

2025

In the realm of cinema, few fi lmmakers have stirred as much controversy and admiration as John Waters, hailed as the “king of trash”, or the “Orson Welles of bad taste” (Holmlund 23). His 1974 fi lm Female Trouble, stands not only as an example of his interests in Hollywood melodramas, exploitation fi lms, and horror fl icks he watched growing up, but also as a testament to his unique approach to storytelling, which lends itself to grotesque satire. This essay thus aims to delve into the depths of Waters' cinematic world, analyzing the portrayal and signifi cance of bodies in Female Trouble. These bodies, depicted in their most raw and unapologetic form, serve as a canvas for Waters to challenge and satirize societal norms, but also nuance the understanding of queerness, queer bodies and queer lives.
Karl Schoonover's “Wastrels of Time: Slow Cinema's Laboring Body, the Political Spectator, and the Queer” forms the basis of this essay. The essay delves into the body within the context of Waters' Female Trouble, which becomes not just a physical entity, but a battleground for subverting heteronormativity1, resisting labor, and mocking the very notions of production and reproduction.
The fi rst section aims to defi ne queerness in the context of Female Trouble. As aforementioned, the following part provides a theoretical overview of Schoonover’s “Wastrels of Time”. Ultimately, the last section of the essay will be dedicated to the counterproductive characters and diegetic world of Female Trouble.

2025, The Routledge Companion to American Film History

Director John Waters releases an annual "Top 10" list of what he thinks are the best films released in a given year. First published in Artforum and, more recently, released in the online magazine Vulture, Waters' lists are notable for their heterogeneity, surprise inclusions, and notable omissions. In the two decades he has been doing the lists, they have featured the directorial work of arthouse and critical darlings like Lars von Trier, Guy Maddin, and Catherine Breillat alongside more pointedly mainstream fare. One year, Waters applauded the comic book movie Joker (2019) for being "the first big-budget Hollywood movie to gleefully inspire anarchy." 1 Another year, he championed Blackfish (2013), the activistminded documentary about animal abuse in theme parks, as being "a whale snuff-film documentary that'll make you root for the kidnapped killer mammal and wish he had eaten alive Sea World's evil owners." 2 Moreover, in keeping with his reputation as the "Pope of Trash," other lists champion gross-out movies from the Jackass series, the stoner comedy Jay and Silent Bob Strike Back (2001), and the mockumentary Brüno (2009), wherein star Sacha Baron Cohen plays the role of a gay Austrian fashion journalist who, among other things, interviews the families of child models to ask them if their toddlers need liposuction and gets whipped by a dominatrix at a swinger's party. Waters' "Top 10" lists participate in cultural conversations regarding questions of value, aesthetics, and power at work in cinema culture in much the same way that his movies do. I see the lists re-conceptualizing cinema history in a manner that questions conventional notions of good taste. In the process, they reimagine film canons by denaturalizing aesthetic hierarchies. In doing so, Waters offers provocative methods for theorizing and writing cinema history differently than it is typically theorized and written. As many scholars have noted, Waters' investments in cinema history can be seen in all of his work. 3 This essay looks to his recent museum exhibition Indecent Exposure to consider how the visual media he produces for exhibition in museums-specifically his photography and installation art-provides new ways of thinking about film history. Waters "Top 10" lists distill the historical purview seen in his other work rather neatly: droll hostility toward the opinions of the traditional arbiters of good taste, devotion to his own beloved objects from cinema history no matter their place in conventional film canons, and, perhaps above all else, genuine affection for the cultural margins and the people who feel most at home

2024, What Sleeps Beneath

How can The Tingler—a post-atomic horror film about a lobster-like creature that manifests on your spine whenever you are afraid—possibly be compared to something as life-affirming and fancy-free as a musical? If we set aside genre and... more

2024, Tête à Tête: Journal of Francophone Studies: Vol. 3, Article 4

Simon Johannin's debut novel, "L'Été des charognes," published in 2017, offers a vivid portrayal of life in La Fourrière, an isolated village located in the Vosges. This area falls within what the French sociologist Christophe Guilluy... more

2024

Multitudes 2023/1 (n° 90), pages 168 à 174
Éditions Association Multitudes

2024, Revista Insólita

Este trabalho analisa o primeiro longa-metragem da série cinematográfica de horror infanto-juvenil Gremlins (Joe Dante, EUA, 1984). O objetivo é discutir como o filme, produzido pela Amblin Entertainment-uma das principais produtoras do cinema comercial dos anos 1980-constrói uma narrativa que utiliza princípios do "bio-horror" (Morgan, 2000) para desafiar a tendência predominantemente conservadora do 'suburbanismo fantástico' (McFadzean, 2019) da qual Gremlins é um dos mais notáveis representantes. Palavras-chave: horror, humor, suburbanismo fantástico, Joe Dante, Gremlins.

2024

Pedro Almodóvar é um argumentista e realizador espanhol. Nasceu em La Mancha, na pequena cidade de Cazada de Calatrava, nos anos 50. De origens humildes, nunca conseguiu estudar cinema mas isso não o impediu de seguir a sua paixão vendo e aprendendo com os filmes que via no pequeno cinema da aldeia ou que eram projectados no verão contra uma parede de cal. As canções que tocavam no rádio do padre local falavam de amor que ele ainda não entendia, mas as vozes sofridas ficariam com ele.

2024

http://www.res-per-nomen.org « Nous possédons en nous toute une réserve de formules, de dénominations, de locutions toutes prêtes, qui sont de pure imitation, qui nous délivrent du soin de penser, et que nous avons tendance à prendre pour des solutions valables et appropriées ». (Le bilan de l'intelligence-Paul Valéry) 3 La conception référentielle et anthropologique que nous résumons ici s'inspire des travaux de Georges Kleiber (notamment Kleiber 2003, 2001, 1984) et de la philosophie de Ludwig Wittgenstein (essentiellement Wittgenstein 1961). Voir les publications de Pierre Frath sur http://www.res-per-nomen.org, notamment Frath 2014, 2011, 2010), et aussi l'ouvrage à paraître Une sémantique de la dénomination référentielle de P. Frath et G. Kleiber. 4 Ces listes hétéroclites et ad hoc d'éléments sémantiques ressemblent beaucoup à un inventaire à la Prévert. C'est sans doute pour cette raison que la plupart des auteurs se contentent de les regrouper en grandes catégories, comme J. Pustejovsky dans ses quatre qualia (1995), ou en grandes oppositions, comme F. Rastier avec sa distinction entre sèmes inhérents et afférents (Rastier 1991). 5 Relevée dans le Larousse 2008.

2024, Revista Rosa

Uma cinefilia toda minha Dizem que Eva foi expulsa do paraíso quando tentou provar da árvore do conhecimento. Nunca entendi por que o conhecimento levaria à punição. Nesse mito de origem de nossa danação, sempre me encantou que os frutos de uma árvore têm sabor de saber. Perdi um pouco do paraíso quando tentei apreender e dominar o seu segredo, quando dissociei o sabor do saber, quanto tentei decifrar, justificar ou julgar. Recentemente submeti um texto a uma revista acadêmica. Há tempos não o fazia. Não que não escreva, não que não publique. Mas publico pouco em revistas acadêmicas, em parte por preguiça, em parte porque não as leio. Mas há tempos me pegava, sempre durante a insônia, dizendo-me que deveria produzir mais, publicar mais, pontuar no lattes. Entre 3h e 6h da manhã, depois de revisitar os fracassos passados e os futuros, acabava por concluir que era melhor não fechar portas; era preciso abandonar minha soberba; entender e respeitar o qualis; fazer resumos, abstracts, introduções, conclusões, citações; listar palavras-chaves, pesquisar de novo de novo e de novo se se deve usar vírgula, ponto ou dois pontos entre autor, ano e página ao creditar uma frase; fazer vista grossa para aquela intumescência em caixa-alta poluindo a página, interrompendo a frase, o fluxo e o ritmo, como se os parênteses fossem suficientes para tornar invisível aquele código de barras da autoria. Pois recentemente, depois de passar alguns dias no hospital sentindo dores lancinantes, excruciantes, agoniantes no que em Portugal chamam rabinho e aqui de fiofó, cu, cuzinho, aquilo que a bailarina do Chico não tem, decidi que não havia nada melhor para despistar a dor e o tédio de uma recuperação cirúrgica do que formatar um artigo para uma revista qualis A. A cirurgia me roubara o Carnaval depois do primeiro dia de festa. Arrastava-me pela casa penalizada pelo meu estado, sem conseguir evitar a sensação de que era a punição merecida pelo que eu sentia como uma enorme degradação moral. Para contornar a vergonha, voltei-me para todos os textos que escrevi e abandonei por constrangimento. Tenho no computador um sem-número de textos em estado de espera. Esperam que eu os termine, que eu entenda o que são e a que vieram, que eu passe a gostar deles. Muitos são textos pessoais, relatos 6 P a tr íc ia M o u rã o d e A n d ra d e

2024

This lecture offers an overview of film production in Portugal throughout the revolutionary period of two years, that is, between April 25th of 1974 (the date of the coup organized by the Armed Forces Movement and popular uprising) and April 25th of 1976 (the date of the entry into force of the new Constitution of the Portuguese Republic). My focus will be on the films, filmmakers, and groups or organizations that tried to engage with the ongoing political and social transformation of the country, whose art practices have to be contextualized.

2024, Quaderni D Italianistica

Pier Vittorio Tondelli's second novel, Pao Pao (1982), has often been considered as an example of hedonism and lack of structural criticism against the military institution. This study contradicts the vulgate by demonstrating its full readability through the lenses of queer theory via an explicit adoption of a camp point of view. Tondelli used camp as an aesthetics that also includes political intentionality, clearly visible in the novel's proud-and yet amused-stance against the homophobic and heteronormative core of the army. Pao Pao's camp, and its framing of military uniforms and plain clothes under the umbrella of just another (deeply queer) drag experiment, aim to the production of a new rainbow-queer-social-visibility-tesserae within and against the larger mosaic of a highly heteronormative society: the Italy of the Eighties.

2024, Quaderni d'Italianistica

2024, Theatre Journal

The Tramp's Seduction What, exactly, does it mean to be a tramp? We need look no further than the dictionary to know that the two cultural types most commonly and routinely designated as tramps are the "sexually promiscuous woman" and the man "who travels from place to place on foot, in search of employment, or as a vagrant." 1 Yet such perfunctory definitions tell us little about the behaviors, motivations, and dispositions imputed to these conjoined, "deviant" figures. Among the many historical representations of wanton women and besmirched bums that we might conjure, the one that resonates most powerfully for me is Linda Fiorentino's wickedly extravagant performance as Bridget Gregory in the cult hit The Last Seduction (1994). 2 To my mind (and not in some small measure because I am enthralled by B-movies), Bridget typifies the four related qualities that are most consistently attributed to tramps of one or the other stripe (or sometimes both)-and from which we can infer a "tramp sensibility":

2024, Projections

Lars von Trier on Antichrist This interview with Lars von Trier took place at the Seventh International Conference of the Society for the Cognitive Studies of the Moving Image (SCSMI) on 26 June 2009 in Copenhagen. The interview is informative about von Trier's recently released and controversial Antichrist as well as about the director himself and the art of filmmaking. The first part features an interview with Peter Schepelern, a Trier scholar, and the second part is a Q&A with the conference participants. Conversation with Peter Schepelern PS: Lars, maybe you could, as you have done several times before, tell the story about how this film was formed out of your depression? LT: Well, actually I started some years ago, and then the whole point of the film was that it was Satan, who had created. .. PS: Created us. LT: Yes. And I told that idea to Peter Aalbaek [Jensen], who was the producer of the film, and he told it to a journalist straight away. Which would be like saying: "The butler did it." And of course, I canceled the film straight away.

2023

Relato aqui meu processo criativo como maquiador da Comissao de Frente do Auto do Cirio de 2016 e 2017, pratica espetacular que acontece anualmente em Belem do Para, em outubro no periodo do Cirio de Nazare. Parto de minha vivencia como maquiador cenico e emprego uma metodologia de cunho etnografico, inspirada nos preceitos da Etnocenologia, para pensar minha pratica como exercicio de “alteridade” (BIAO, 2009), considerando que a maquiagem e elemento primordial para a atuacao dos dancarinos participantes da Comissao de Frente. A maquiagem compoe o conjunto de elementos constituintes da cena no processo de “conversao semiotica” (LOUREIRO, 2007) da dominante magico-religiosa em dominante estetica na espetacularidade que e o Auto do Cirio. O presente texto faz parte da minha pesquisa de mestrado em andamento que dialoga com os teoricos Santa Brigida (2014) e Verger (1997).

2023, Anais ABRACE

RESUMO: Relato aqui meu processo criativo como maquiador da Comissão de Frente do Auto do Círio de 2016 e 2017, prática espetacular que acontece anualmente em Belém do Pará, em outubro no período do Círio de Nazaré. Parto de minha vivência como maquiador cênico e emprego uma metodologia de cunho etnográfico, inspirada nos preceitos da Etnocenologia, para pensar minha prática como exercício de "alteridade" (BIÃO, 2009), considerando que a maquiagem é elemento primordial para a atuação dos dançarinos participantes da Comissão de Frente. A maquiagem compõe o conjunto de elementos constituintes da cena no processo de "conversão semiótica" (LOUREIRO, 2007) da dominante mágico-religiosa em dominante estética na espetacularidade que é o Auto do Círio. O presente texto faz parte da minha pesquisa de mestrado em andamento que dialoga com os teóricos Santa Brigida (2014) e Verger (1997).

2023, Camera Obscura: Feminism, Culture, and Media Studies

2023

This paper presents the report of the creative process of the author and fashion
designer Mariana “Annie” Ruaro for the creation of a costume design inspired by the
character of Imperatrix Furiosa, displacing the character from the original time and space proposed by the movie Mad Max: Fury Road (2015) to the universe of the urban tribe called sukeban, female gangs that had their peak in the 70's in Japan. The objective is understanding how the striking features of the character remain intact
within a new time and space, presenting the character in two universes: the first one,
in the original (fictional dystopian future created for a contemporary movie) and the
second one, in the contemporary universe of 70’s Tokyo watching by the author from
2020. The result is the redesign of the original character’s costume, whose elements
undergo a modification to belong to the new reality. The method developed for the
creative process was based on methodologics linked to three different areas, which
in this study are interconnected: Pamela Howard (2015), theorist of scenographic
design; Bruno Munari (1981) and Martine Joly (2007), theorists in the field of design;
Simon Seivewrigh (2015) and Doris Treptow (2015), theorist linked to fashion design.
As a final solution to the creative process a sketch is presented that represents the
costume of Furiosa Sukeban and demonstrates the readjustment of the elements
that were detailed in this article and created for the redesign.

2023, Quarterly Review of Film and Video

A drag queen looks at the camera, scoops the dog excrement from the floor and puts it in her mouth, smiling. She chews and shallows it. This is the final scene in the movie Pink Flamingos. 1 The eating-shit scene became an overnight sensation that propelled the career of John Waters, the director, and Divine, the performer, into Midnight Movie cult stardom. Indeed, the celebration of such an epic act of filth could never be disassociated with their perpetrators: the closing scene of Pink Flamingos 2 casts such a large shadow that Waters, by his own admission, 'could never live up to it'. 3 After the dog-shit-eating gimmick, the manufacture of transgression would never be so immediate, as the horizon of expectations had been forever altered. Because of the impossibility to top Pink Flamingo's shock value, Waters' career has been traditionally understood as a process of domestication or assimilation into the mainstream. 4 The domestication discourse explains why Waters' career during the 1990spost-Hairspray 5falls outside the scope of most scholarly studies. Known as 'the Pope of Trash' 6 and 'the Prince of Puke', 7 Waters presents a fascinating case of ambivalent cult authorship. His cinema, an intersection of cult and queer cinema, plays with comedy, transgression and shock value; it invokes the Midnight Movie ethos and the myth of the underground. Yet, at the same time, Waters' self-promotion and showmanship skillsas well as the steady rise in the films' budget and production size, even in the underground years, demonstrate a drive to reach a bigger audience, somehow betraying the exclusivity of cult reception. This article explores Waters' paradoxical operations of authorship and taste through the analysis of Pecker, 8 a film that comments on the commercialization of underground art, fame and recognition, and the perils of selling out. Elisa Padilla teaches Film Studies at the University of Sussex where she has recently completed her PhD with the thesis 'Bodies, Taste & Pleasures: The Cinema of John Waters'. This article has been republished with minor changes. These changes do not impact the academic content of the article.

2023, Cadernos de Estudos Lingüísticos

Dans Le Journal d'une femme de chambre, Célestine nourrit un projet de démystification de la morale bourgeoise mais en même temps elle nous rapporte ses expériences et ses relations amoureuses. Son corps s'avère donc l'opérateur principal autour duquel le journal se construit car la diariste tend à y enregistrer ses expériences les plus marquantes. A étudier sémiotiquement les empreintes qui ont affecté le corps de la femme de chambre tout au long de son parcours discursif , nous pourrions alors explorer à fond le processus énonciatif qui a donné naissance au journal conçu alors comme l'itinéraire de ces empreintes corporelles. Mots-clés : sémiotique ; corps ; empreintes ; énonciation. Resumo : No Le Journal d'un chambrewoman, Celestin alimenta um projeto para desmistificar a moral burguês, mas ao mesmo tempo ela nos conta sobre suas experiências e relacionamentos românticos. Seu corpo é, portanto, o principal operador em torno do qual o jornal é construído porque o diarista tende a registrar suas experiências mais marcantes. Para estudar semiooticamente as pegadas que afetaram o corpo da empregada durante sua jornada discursiva, poderíamos então explorar em profundidade o processo enunciativo que deu origem ao diário concebido então como o caminho dessas impressões corporais.

2023, RUA

Perfect Blue é um drama, com elementos surreais, que servem não só para criar uma imagem interessante mas também para transmitir ao espectador os sentimentos da personagem.

2023, ASTASA

Cet article s’intéresse à une sélection d’œuvres olfactives conçues comme des interfaces sensorielles permettant aux êtres humains de penser autrement leurs relations avec divers agents autre-qu'humains : d’autres animaux, des végétaux et... more

2023, Revista de Estudos Anglo-Americanos

2023, Taboo: The Journal of Culture and Education

2023, Robert Storr. Writings on Art, 2006-2021

Introductory text to the collected writings of art historian and critic Robert Storr (Writings on Art, 2006-2021, Heni, London, 2021)

2023, Film Reviews

A brief observation on the Russian film Solaris (1972)

2023, Revista Crítica Cultural

Este ensaio traz uma análise do filme Crimes e Pecados (1989) do cineasta Woody Allen que enfatiza suas reflexões tanto sobre a situação do cinema independente no final dos anos 80 nos Estados Unidos quanto sobre as condições de... more

2023, ALTRALANG Journal

Futuristic Advertising, A New Aesthetic Domain ABSTRACT: Marinetti conceives his activity in the futurist movement as a global, living aesthetic practice, encompassing all artistic disciplines: poetry, theater, cinema, music, painting, sculpture, fashion, cooking, advertising, are the fields in which he gives free rein to his endless creativity. Among the different fields of action of the futurists, the one related to the art of advertising is one of the most interesting, since it is related to productive processes, to competition, to the dynamism of the economy. For the futurists, to participate in the activity of advertising means to act on society and influence its progress. Marinetti sees in the colorful manifestos a fundamental element of the futuristic transformation of the landscape. Advertising becomes one of the symbols of the new industrial and metropolitan reality, intended to promote artistic products in ways comparable to those of a commodity. Advertising becomes a fund...

2023, cult.ufba.br

Este artigo tem como intuito apontar a predileção por personagens e representações da sociedade que causem identificação com a imagem eurocêntrica e heterossexual destacada como modelo ideal pelo cinema americano hegemônico. Fazendo contraponto a esta representação, será estudada a sensibilidade Camp, como descrita por Suzan Sontag, no filme Pink Flamingos (1972, direção: Jonh Waters), considerado, até os dias atuais, o mais bizarro do cinema.

2023

Au cours des cinquante dernières années, la présence de l'imagerie spatiale dans notre vie quotidienne a été sans précédent : une combinaison d'anniversaires d'événements historiques et de nouvelles découvertes extraordinaires. Nous sommes plus que jamais exposés à la beauté fascinante de ces images par la presse, les livres, l’école ou le loisir, la mode et, bien sur, l’art.
La production artistique contemporaine prend en compte, s’inspire et utilise une visualité produite par des instruments scientifique et technologiques hétérogènes : de la data-interpolation (traduction de don- nées non photographiques) à la lecture sonore de l’Espace, de signaux radio des grandes antennes terrestres (radiotélescope, interféromètre et gravitationnelle) aux caméras ioniques, jusqu’au dernier, époustouflant, télescope satellite (JamesWebb).
À cette frange artistique qui inclut, converse et/ou contrepointe la production iconographique scientifique se rajoute tout un panel de création de récits fictifs qui continue la tradition millénaire de l’astronoéique1 , indépendamment de l’astronautique et de la preoccupation de réalité.
Dans cette communication, on souhaite illustrer les potentialités de l’espace d’exposition en tant que non-lieu ou lieu d’abstraction de la preoccupation politique et societale, légitime et très actuelle, autour de la véridicité des images de l’Espace. Une zone, une surface de presentation curatoriale qui peut faire surgir un ressenti plus libre et donc, paradoxalement, la naissance d’un esprit critique plus affiné à propos de cette même iconographie spatiale.
Cette communication moins problématique de l’espace d’exposition est certainement soutenue par l’habitude à la non-congruence, en cette zone franche, des questions d’échelle et d’experiences, mais se nourrit aujourd’hui aussi de la possibilité d’evasion et de propagation de l’information des écrans et de la représentation visuelle (pourtant lieu physique et culturel de référence et d’appui nécessaire à cet élan même) vers une representation plus immersive.
Dans cette perspective, on souhaite traiter de démarches artistiques sur la multisensorialité de la perception de l’Espace, par exemple, entre autres, de l’articulation de la perception visuelle et de la perception auditive, en faisant appel à de nouveaux outils qui tentent de « révéler les ambiances sonores de l’espace » (sonification, visualisation, tactile, renderings).

2023, Images

Ce document est protégé par la loi sur le droit d'auteur. L'utilisation des services d'Érudit (y compris la reproduction) est assujettie à sa politique d'utilisation que vous pouvez consulter en ligne.

2023

The time when movie theaters screened Armando Bo’s and John Waters ‘s films evolutionized cinema. The lowering costs allowed independent films in which experimentation was the norm. nouvelle vague statement struck against conventions of art, marking a pattern of creative freedom in visual and narrative aesthetics: use of hand camera, absence of artificial lighting, recording in natural locations and stylistic innovation. It is not surprising that characters such as Isabel Sarli and mythical Divine, deeply revolutionary, were born.La época en la que las salas de cine proyectaron las películas de Armando Bo y de John Waters revolucionó el cine. El abaratamiento de costos, producto del progreso técnico, dio cabida a propuestas de cine independiente en las que la experimentación era la norma. La denominada nouvelle vague arremetió contra los convencionalismos del arte y marcó una pauta de libertad creativa en la estética visual y narrativa: el uso de la cámara al hombro, la ausencia de ...

2023, Film West

A report on a public interview with Wenders in Dublin in 1995 (co-written by Katherine Waugh).

2023, Revista Crítica Cultural

2023, Sinopse (São Paulo)

2023, L Actualite Chimique

Le parfum est un produit fascinant dont la création associe l'art, des connaissances empiriques et la science. Sa formule est issue du mélange de plusieurs dizaines de composés odorants et extraits naturels (le concentré de parfum) dans de l'éthanol. L'examen de l'histoire du parfum à travers les siècles montre le rôle capital joué par la chimie. L'obtention de solvants organiques purs mais surtout la mise à disposition de composés odorants synthétiques ont complètement bouleversé la parfumerie pour conduire aux parfums modernes, compagnons quotidiens de notre vie. Mots-clés Parfum, odeur, formulation, accord, extraits naturels, synthèse organique.

2022

2022, Signum: Estudos da Linguagem

Os efeitos de sentido engendrados pelos recursos musicais trazem e instigam emoção, ideias, sentimentos. A música tem o poder de embalar, tocar, envolver, contar histórias. Nesse sentido, o presente trabalho objetiva mostrar a importância da atuação da música no cinema para a recriação fílmica. Dizemos recriação por se tratar de uma adaptação de uma obra literária para um texto verbo-audiovisual. O estudo trata do transmutar de formas do romance O Primo Basílio, do escritor português Eça de Queirós (1878), para o filme produzido e dirigido por Daniel Filho (2007). Por meio da Teoria da Tradução, da Metodologia da Crítica Genética, bem como a análise das músicas utilizadas para a filmagem final do longa-metragem, é possível perceber a importância da atuação da música na obra cinematográfica no que diz respeito a contar histórias, sintetizar acontecimentos, contribuir com a impressão de veracidade, subsidiar a fidedignidade, reconstruir o enredo, enfim, efetivar a recriação cinematogr...

2022, Revista de Ensino em Artes, Moda e Design

A presente pesquisa busca compreender a narrativa de moda criada por Jeremy Scott para a coleção de primavera/verão + resort da irreverente e divertida grife MOSCHINO, e as implicações e mensagens nela presentes através do acionamento da ideologia do horror, proposta por Barry Grant (2010), que a permeia. Ainda, são acionados os filmes de terror e a celebração do halloween, juntamente com suas dinâmicas e status de cultura pop, que envolvem o espectador em uma experiência imersiva. Esses elementos dão suporte à análise do desfile, desde sua ambientação às peças apresentadas pelo designer Jeremy Scott. Ao final, é apresentada uma leitura da narrativa de moda analisada que compreende da MOSCHINO no mundo da moda enquanto uma grife criativa, lúdica, dotada de potencial subversivo que acena tanto à realidades socioculturais quanto à cultura pop.

2022

RESUMO O Art Nouveau, estilo artístico que teve início no final do século XIX e o artista Emile Gallé, que foi um representante expressivo do movimento na época são os temas escolhidos para nortear a criação de uma coleção de vestuário feminino. O trabalho de Gallè com suas formas orgânicas, vidro e ilustrações inspiradas na natureza e na botânica foi escolhido como narrativa por sua forte expressividade. Os elementos visuais utilizados para a representação dos conceitos do tema e da marca na peça final foram: a transparência, característica do tecido escolhido (organza); linhas orgânicas, presentes nos recortes e contornos da modelagem e estampa; assimetria, percebida na modelagem tulipa presente na saia do vestido e sobreposição, encontrada no sobrepor do vestido por uma espécie de blusa. A partir do estudo histórico da época e do artista em questão foi criada uma coleção de moda cujo objetivo é, além de projetar um produto coerente que transmita as características conceituais do ...

2022, Signum: Estudos da Linguagem

2022, The Altering Eye

The Altering Eye is a book about the most fertile period of ilmmaking in the mid-twentieth century. This was a period of rediscovering cinema, of returning to zero (as Jean-Luc Godard proclaimed) and advancing beyond the conventions of the Hollywood style. Not merely advancing, but revolting against it. On the level of form and with a vital, largely let-wing political force, ilmmakers worldwide explored their art, pushed its limits, made it articulate, eloquent and complex. Audiences responded in kind, their curiosity and desire meeting the imagination of ilmmakers to form a nourishing ilm culture. Preface to the 1983 Edition Narrative ilm can set out to please its audience, soothe it, meet and reinforce its expectations. Or it can challenge, question and probe, inquire about itself, its audience, and the world they both inhabit and relect. This is the kind of ilm that is my subject ilm made in a spirit of resistance, rebellion, and refusal made with desire. These ilms are made all over the world; they were made in America at one time-in the forties, in the late sixties and early seventies-and I have spoken about them in another book. Here I am concerned with the same periods, but with ilms made in Europe and Latin "merica, made in reaction to "merican cinema, oten to "merica itself, yet dependent upon "merica, upon the conventions and atitudes of "merican ilm and culture, feeding upon them and sometimes spiting them out. These ilms are part of the modernist movement in twentieth-century art, a movement whose diversity has a common location in the desire to challenge atitudes about the work and place of art, to atack conventions and complacency, to reorder the relationship of the work and the spectator. The modernist endeavor as a whole does not follow a simple chronological path, but in commercial cinema it concentrates in the movement that started in postwar Italian neo-realism, climaxed in the work of the French New Wave, and extends into the ilms of the new German cinema. It is various in its manifestations, complex in its forms, and demanding upon its audience. It is, therefore, not very popular. These ilms run contrary to everything popular cinema has trained us to expect, and present the added diiculty of being spoken in foreign languages, translated with words printed on the screen that distract our atention. But popularity is a relative thing. In the sixties, when the movement was at its peak, it caused great excitement, much critical and even commercial atention. That atention has now dwindled, as the creative drive of cinema world wide has slackened. Therefore a central function The Altering Eye For the Eye altering alters all. William Blake, "The Mental Traveller" The screen's white eyelid would only need to be able to relect the light that is its own, and it would blow up the Universe.

2022

Objectifs de l'étude Dans le cadre de la mission "Réseau de contrôle des C.E.T. en Région wallonne" confiée à l'ISSeP par la DGRNE, il est notamment prévu d'évaluer de manière qualitative et quantitative les nuisances olfactives aux alentours des CET, et en particulier du CET de Monceau-sur-Sambre. C'est dans cet esprit que l'unité "Surveillance de l'Environnement" du Département en Sciences et Gestion de l'Environnement de l'Université de Liège (anciennement FUL) a réalisé une étude, en sous-traitance pour l'ISSeP. Cette étude fait suite à une première série de campagnes réalisées sur différents sites [1-16] et qui a permis notamment d'affiner la méthodologie d'évaluation des odeurs. En particulier, le présent rapport concerne une troisième campagne menée sur le site de Monceau-sur-Sambre, deux autres ayant déjà été menées sur ce site en Août 2002 et en Juin 2004 [3,7]. Cette série d'études est complémentaire à d'autres études menées sur la problématique des odeurs de CET. Elle ne prétend pas du tout les remettre en cause ou les invalider. La nuisance olfactive dans l'environnement est un thème particulièrement difficile à aborder, puisqu'il fait appel non seulement aux aspects physiques, chimiques et biologiques de l'émission et de la dispersion, mais également aux aspects psychologiques et sociologiques de la perception des odeurs. En conséquence, toute étude visant à apporter des informations complémentaires à des résultats existants est la bienvenue. C'est dans cet esprit que sont abordées les présentes campagnes de mesure. Méthodologie Plusieurs méthodes ont été utilisées dans le cadre de la présente étude. Enquêtes Comme il s'agit d'une troisième campagne de mesure sur le même site, nous avons tenté d'élargir les investigations en insistant davantage sur l'évaluation de la nuisance chez les riverains. Ainsi, nous avons récolté un certain nombre d'informations sur la manière dont l'exploitant mettait en oeuvre le suivi des nuisances dues aux odeurs dans le voisinage du site. Pour éviter d'interférer avec cette initiative, nous n'avons pas, nous-mêmes, mené une procédure d'enquête ou démarré un système de vigies. Ceci pourrait éventuellement être envisagé dans la suite, en fonction des résultats de la présente étude.