1. Edward Said Out of Place

    30:13

    from One Democratic State Group / Added

    192 Plays / / 0 Comments

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    • Edward Said on Orientalism

      10:36

      from One Democratic State Group / Added

      212 Plays / / 0 Comments

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      • Synesthesia

        04:54

        from Denis Buckley / Added

        108 Plays / / 0 Comments

        Live Artist Denis Buckley’s 2012 performance for screen work questions hierarchy in broadcast information gathering. The film work uses 4 cameras, (Hi-Def, Mini DV, Video, Facetime) to cover the same subject. The accompanying text looks to the potential for propaganda in associating one method of dissemination with authority and another with vérité. The result suggests that a truth is variable only when a narrative is tied to power. The revelation to end echoes the late Robert Hughes when speaking of Rembrandt “A painter will reveal who he is in those very parts of the painting over which he takes the least conscious control”

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        • Constructing "The Enemy" in Popular culture Vietnam Films

          10:30

          from Philipp Ammon / Added

          366 Plays / / 0 Comments

          I have edited a compilation clip of excerpts and outtakes from a variety of popular culture Vietnam War films. I chose to explore these with a focus on the construction of the “Vietnamese enemy” by means of establishing a dichotomy between the Americans, “us”, and the Vietnamese, “them”. My aim is to reveal some of the mechanisms that build a discourse of power between the West over the East in these films, through repeating the language and images that establish a colonized “Vietnamese identity”. What is interesting to note about the war in Vietnam is the confusion that spun off from the United States troops having to distinguish between Vietnamese enemies, Vietnamese allies and plain civilians. In terms of Hollywood, this also poses an interesting challenge in the representation of “the bad guy”, because it is not simply down to race. So, who is “the enemy” in these films, and how is he depicted? Frantz Fanon argues, “Every Colonized people – in other words, every people in whose soul an inferiority complex has been created by the death and burial of its local cultural originality finds itself face to face with the language of the civilizing nation; that is, with the culture of the mother country. The colonized is elevated above his jungle status in proportion to his adoption of the mother country’s cultural standards. He becomes whiter as he renounces his blackness, his jungle.” (Fanon, 19) The war in Vietnam was an attempt by the United States to halt the spread of communism in South East Asia. In light of Fanon’s argument, the war also forced Western ideals upon the people of Vietnam, and those who resisted were seen as the enemy, or the threat to Western ideals. My compositional piece explores how language and image generate a racial “other” in the Vietnamese people, where their apparent “distance” from Western ideals can determine their status as enemy and their overall “threat level”. It is interesting to note, that in most cases all Vietnamese are by default represented as the “savage” that must be rescued from his own ways by means of Westernization. Those, who continue to resist, are “the bad guys”. One of the methods of representing the Vietnamese people in these films is often through the constant use of belittling or derogatory Terms such as “Charlie” “gook”, “dink”, “little bastard” “zipperhead" etc. by the Americans. Already, the audience is preconditioned to view the Vietnamese through the dominating Western gaze as insignificant, worthless and disposable. We begin to feel hatred towards the enemy, without even getting to understand a human side. The “other” becomes a dehumanized and alienated entity. As the Americans are the central characters with which we associate, despite the fact that they too often commit heinous acts of atrocity, most Vietnamese characters are denied any form of established character, which furthers their alienation from the United States forces. Instead, we come to understand their characters solely through the acts of atrocity they commit against Americans and harmless civilians, or their ability to remain unseen, sneak, set nasty traps and attack from behind. A further reoccurring representation of the Vietnamese people is by means of their “Orientalized” exoticism. By this I am referring to the constantly occurring images of ritual, mystery, sexualization, and even implied insanity. This form of representation builds on the dichotomy between West and East, civilized and savage, free and communist, good and evil. Despite the fact that these war films are all fictional, they have a tendency to convince us that they represent true events as the story is situated in a historical occurrence. Without having been there, one is able to piece together a “reality” of what it was like in Vietnam during the war, and it is important to comprehend the impact that these media images have on our concept of history. While many of these films are indeed a critique of the Vietnam war, the question remains: are they furthering our comprehension of the Vietnamese as “other” or simply commenting on what affects the invention of “the enemy” had on Western troops during the war? Works Cited: Texts: Fanon, Franz. 1967. Black Skin, White Masks. New York: Grove Press. Said, Edward William. Orientalism. London: Penguin, 2003. Films: Apocalypse Now. Dir. Francis Ford Coppola. Perf. Martin Sheen, Marlon Brando, Robert Duvall. Paramount Pictures, 1979. DVD. Forrest Gump. Dir. Robert Zemeckis. By Eric Roth. Perf. Tom Hanks, Robin Wright, Gary Sinise, Sally Field, and Mykelti Williamson. Paramount Pictures, 1994. DVD. Full Metal Jacket. Dir. Stanley Kubrick. Prod. Stanley Kubrick. By Stanley Kubrick, Michael Herr, and Gustav Hasford. Perf. Matthew Modine, Adam Baldwin, Vincent D'Onofrio, and Lee Ermey. Warner Bros., 1987. DVD. Hamburger Hill. Dir. John Irvin. By James Carabatsos. Paramount, 1987. Platoon. Dir. Oliver Stone. Perf. Charlie Sheen, Tom Berenger and Willem Dafoe. An Orion Pictures Release, 1986. DVD. Rambo, First Blood, Part II. Dir. George P. Cosmatos. Perf. Silvester Stalone. TriStar Pictures, 1985. DVD. Rescue Dawn. Dir. Werner Herzog. By Werner Herzog. Prod. Elton Brand, Steve Marlton, and Harry Knapp. Perf. Christian Bale, Steve Zahn, and Jeremy Davies. Metro-Goldwyn-Mayer, 2007. The Deer Hunter. Dir. Michael Cimino. Perf. Robert De Niro, Christopher Walken and John Cazale. Universal, 1978. DVD. We Were Soldiers. Dir. Randall Wallace. Perf. Mel Gibson, Madeleine Stowe and Greg Kinnear. Paramount Pictures, 2002. DVD.

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          • Unsaid of the Undead part 1

            13:49

            from Emily Avera / Added

            44 Plays / / 0 Comments

            TransplantInformers held a panel about zombie-transplant connections and we lived to tell about it. I.e. we've recorded the discussion for your viewing pleasure. Stay tuned for part 2!

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            • Odaliske auf Tuchfühlung - eine Schleierfahndung

              12:09

              from deniz soezen / Added

              117 Plays / / 0 Comments

              Kalypso El Kader is analyzing the attributes of various cultures by comparing the headscarf- wearing-habits of her two grandmothers, one of Turkish, the other of German origin. Both women wear headscarfs, but the piece of cloth has a different implication in different cultures. The odalisque uses animated sequences, documentary footage and experimental film strategies to unveil her own position.

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              • My flying carpet - Uçan Halım

                14:15

                from deniz soezen / Added

                106 Plays / / 0 Comments

                This documentary-style video is part of an installation which consists of a handwoven carpet (wool carpet 135 cm x 190 cm) and the video (HDV; approx. 14 min, loop). The piece was commissioned by Herbert Manser and Lisa Palak-Otzoup to be displayed in the „niche“ of their living room in Basel, Switzerland. Deniz Soezen asked Turkish weavers in the small town of Gördes to translate the design of her own childhood drawing (1987/ Turkey) into a wool carpet. The artist documented this complex process which inevitably leads to questions regarding trade, globalisation and the weavers perspectives in a short documentary-style video-piece which is shown together with the carpet. Carpets can be seen as metaphors for migration. The title “Uçan Halım” – “My flying carpet” highlights the aspect of mobility, whilst echoing popular Orientalist cliches. The project can be considered as a homage to Italian conceptual artist Alighiero e Boetti who used to work with artisan embroiderers in Afghanistan and Pakistan in the 1970ies. The presentation of the handwoven carpet in the salon of a private home in Basel aims to enable visitors to explore the multiple connotations of this artefact and initiate further discussion about art.

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                • Oil on Canvas Fine Art Reproduction (Charlemont - The Moorish Chief)

                  07:49

                  from TOPofART.com / Added

                  Step by Step Hand-Painted Art Reproduction with Oil on Canvas Performer: http://www.TOPofART.com Art Reproductions Studio Painting Title: The Moorish Chief (1878) Artist: Eduard Charlemont Location: Philadelphia Museum of Art, USA Style: Realism / Orientalism The Artist from the video can create art reproduction of "The Moorish Chief" for you at the following URL: http://www.topofart.com/artists/Eduard_Charlemont/art_reproduction/13418/The_Moorish_Chief.php Music: "Mozart - Clarinet Concerto in A K. 622, II. Adagio" by Jason Weinberger & the WCFSO (http://www.jasonweinberger.com)

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                  • The Origin of the World, Redux

                    02:38

                    from Vanessa Hodgkinson / Added

                    402 Plays / / 0 Comments

                    The Origin of the World, Redux 2011 'Le célèbre tableau de Gustave Courbet, L’Origine du Monde, qui se trouve aujourd’hui au Musée d’Orsay, est une commande de Khalil Bey, l’ambassadeur ottoman à Paris dans les années 1860. Ce tableau est un sujet très intéressant pour l’exposition Modes ottomanes, est le contre-pied total de ces peintures commandées à Constantinople par des ambassadeurs français envoyés à la Sublime Porte. Cette œuvre n’était pas destinée à l’accrochage au vu et au su de tous les spectateurs, comme elle l’est aujourd’hui : elle fut dérobée à la vue des spectateurs derrière un rideau et plus tard, lorsque Jacques Lancan en fit l’acquisition, un paysage peint par André Masson. Dans cette vidéo, réinterprétation de l’œuvre de Courbet, l’artiste joue sur le point de vue, la suggestion et s’interroge sur la notion de voyeurisme dans l’œuvre. Des motifs arabisants dorés, incrustés sur une riche étoffe noire, recouvre le modèle. Vanessa Hodgkinson s’interroge sur la vision du corps à notre époque, ainsi que sur la vision des spectateurs : elle s’est rendue au Musée d’Orsay en 2011 et y a enregistré les commentaires choqués, admiratifs ou intrigués des spectateurs découvrant ou redécouvrant l’œuvre.' text from catalogue of Modes ottomanes : la gravure de l’Orient au Siècle des Lumières Biblioteque d'Amiens, 2011

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                    • The Shiekha of Araby

                      02:38

                      from Vanessa Hodgkinson / Added

                      2,398 Plays / / 1 Comment

                      The Shiekha of Araby 2011

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