Jay Bauman Feeding Frenzy
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Das große Buch des kleinen Horrors
Dieser Horror geht durch Mark und bis zum Bein. Denn das Böse gibt's in allen Größen - auch in XXS. Sie sind unter dem Bett, hinter dem Sofa, im Kühlschrank, und sie stehen vielleicht sogar in diesem Moment neben Dir oder kriechen gar in Deinem Hintern herum: Fiese kleine Killer sind überall! Wenn Dich eine oder mehrere Killerpuppen angreifen, ist das eine "Toy Story" der schaurigen Art. Dazu kommen noch Horden an Gremlins, Critters, Ghoulies, Gnomen, Babies, Elfen, Lebkuchen, herrenlosen Händen und allerlei undefinierbaren kleinen Monstern, die unser Leben bedrohen, aber gleichzeitig zum Lachen und Staunen einladen. "Das große Buch des kleinen Horrors" versammelt ausnahmslos alle Filme, in denen kleine Fantasiewesen Terror verbreiten. Dabei wird vor nichts zurückgeschreckt, weder vor dem größten Trash und den tiefsten Untiefen der B- und C-Filme noch vor seelenraubend schlechten Amateurproduktionen. Es finden sich aber auch einige Kultfilme und viele hochqualitative "Tiny Terrors", die unter anderem von Hollywood-Größen wie Roland Emmerich, Spike Lee, Oliver Stone, Guillermo del Toro und Steven Spielberg produziert wurden. Und neben bekannten Filmreihen wie "Chucky", "Puppet Master" und "Leprechaun" gibt es allerlei noch viel obskurere Kleinode und wahre Schenkelklopfer zu entdecken.
Transfigurations
Author: Asbjørn Grønstad
language: en
Publisher: Amsterdam University Press
Release Date: 2008
In many senses, viewers have cut their teeth on the violence in American cinema: from Anthony Perkins slashing Janet Leigh in the most infamous of shower scenes; to the 1970s masterpieces of Martin Scorsese, Sam Peckinpah and Francis Ford Coppola; to our present-day undertakings in imagining global annihilations through terrorism, war, and alien grudges. Transfigurations brings our cultural obsession with film violence into a renewed dialogue with contemporary theory. Grønstad argues that the use of violence in Hollywood films should be understood semiotically rather than viewed realistically; Tranfigurations thus alters both our methodology of reading violence in films and the meanings we assign to them, depicting violence not as a self-contained incident, but as a convoluted network of our own cultural ideologies and beliefs.
Artificial Hells
The award-winning, highly acclaimed Artificial Hells is the first historical and theoretical overview of socially engaged participatory art, known in the US as "social practice." In recent decades, the art gallery and the museum have become a place for participatory art, where an audience is encouraged to take part in the artwork. This has been heralded as a revolutionary practise that can promote new emancipatory social relations. What was it is really? In this fully updated edition, Claire Bishop follows the trajectory of twentieth-century art and examines key moments in the development of a participatory aesthetic. This itinerary takes in Futurism and Dada; the Situationist International; Happenings in Eastern Europe, Argentina and Paris; the 1970s Community Arts Movement; and the Artists Placement Group. It concludes with a discussion of long-term educational projects by contemporary artists such as Thomas Hirschhorn, Tania Bruguera, Pawel Althamer and Paul Chan. Bishop challenges the political and aesthetic ambitions of participatory art this practise. She not only scrutinizes the emancipatory claims, but also provides an alternative to the ethical (rather than artistic) criteria invited by such artworks. In response Artificial Hells calls for a less prescriptive approach to art and politics, and for more compelling, troubling and bolder forms of participatory art and criticism.