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Journal Article
Radical History Review (1 October 2018) 2018 (132): 47–67.
Published: 01 October 2018
... commodified nature, training viewers to associate abundance and national destiny with the resource-rich north through an aesthetic of “wilderness as surplus.” As a genre, landscape has meanings that are mutable and often contradictory that reflect shifting relationships to the natural world. This article will...
Journal Article
Radical History Review (1 May 2012) 2012 (113): 81–98.
Published: 01 May 2012
... District enabled these artists to address Latino viewers in the neighborhood and, through the projections of text from migrants' testimonies, to claim public space and challenge both city and federal agents' surveillance of Latinos. The artists occupied these spaces as a form of “counterspectacle,” a means...
Journal Article
Radical History Review (1 January 2010) 2010 (106): 27–45.
Published: 01 January 2010
... to literary and cultural studies, the study of photographs in texts of all genres has a long tradition. It has been argued that photographs, seen as evidentiary docu- ments, blur the lines between fiction and nonfiction, or that photographs reinforce the reader/viewer’s self-reflective awareness...
Journal Article
Radical History Review (1 January 1992) 1992 (52): 105–113.
Published: 01 January 1992
... "perverted Conventional wisdom might place these opposing camps within predictable political boundaries. But no easy analysis can account for the varied, articulate comments that viewers contributed to books the museum provided at the close of the exhibition. Any museum curator or historian...
Journal Article
Radical History Review (1 May 2011) 2011 (110): 155–160.
Published: 01 May 2011
... most of these films are fairly traditional in format, some, like the German filmOur Daily Bread, deliberately adopt a provocative style. This film oper- ates without voice-­over narration and interviews, a strategy that director Geyrhalter deployed to push viewers to form their own opinions. As...
Journal Article
Radical History Review (1 September 2011) 2011 (111): 131–137.
Published: 01 September 2011
... Photographs of the 9/11 Jumpers  133 In the face of this anonymity, viewers cannot offer sympathy or attribute anxiety to a specific individual subject and are instead abandoned to regard a body atom- ized into any number of possible victims — including the viewers themselves or their loved ones...
Journal Article
Radical History Review (1 January 1996) 1996 (64): 95–99.
Published: 01 January 1996
... scientific, commercial, and culturaI dis- plays from around the globe. Breitbart’s documentary offers the viewer an enjoyable trip to the 1904 fair, one that affords glimpses both of how the fair appeared to contemporaries and how it looks from our own perspective, some ninety years later. In...
Journal Article
Radical History Review (1 May 2003) 2003 (86): 183–192.
Published: 01 May 2003
... cross the boundary between the two separated worlds. The site that we inhabit constitutes a third space, the only shared space between the two screens, the space of sound. Positioning the viewer in this space in between adds a critical dimension to the...
Journal Article
Radical History Review (1 January 2004) 2004 (88): 139–162.
Published: 01 January 2004
... gave viewers what it advertised: a history of the garment industry sweatshop beginning in the nineteenth century and culminating in a study of the infamous El Monte shop, whose Thai workers were held in virtual slavery until the 1995 raid that liberated...
Journal Article
Radical History Review (1 May 1987) 1987 (38): 115–125.
Published: 01 May 1987
... to preserve what Natalie Zemon Davis has termed “the pastness of the past.” At times the viewer was reminded that images were interpretations mediated by historically-specific ideologies and perceptions (further mediated through the very process of nineteenth-century printing where the...
Journal Article
Radical History Review (1 October 2018) 2018 (132): 126–143.
Published: 01 October 2018
... undergoing fumigation as they entered the United States to work in the bracero program. In Nadel’s image, the DDT spray prevents a bracero from meeting the viewer’s gaze. The image invites viewers to witness his transformation into a dependent transnational laborer. The endless line of naked men behind him...
Journal Article
Radical History Review (1 October 2013) 2013 (117): 139–148.
Published: 01 October 2013
... days with a paintball gun that viewers could shoot at me by activating it over the Internet — a statement on the Iraqi situation of being constantly under siege and the remote, technological nature of modern warfare. For the performance’s entirety, I sequestered myself in the gallery space...
Journal Article
Radical History Review (1 May 1994) 1994 (59): 181–189.
Published: 01 May 1994
.... These experimental artists believed their mission was to educate society in a new aesthetic sensibility, even if viewers neither liked nor under- stood what they saw. The result was at times an overbearing arro- gance, as shown in Charlotte Douglas's fascinating article on textile design in...
Journal Article
Radical History Review (1 January 1991) 1991 (49): 109–115.
Published: 01 January 1991
... remarkably. One advantage it enjoys is that viewers enter by walk- ing through the Society's brilliant "We, the People" exhibit, which also encourages the idea that politics both grows out of and in- fluences everyday life. The Chicago Historical Society's rich collec- tion of Lincolniana and its...
Journal Article
Radical History Review (1 January 2002) 2002 (82): 91–109.
Published: 01 January 2002
... viewer has written, “Think of the personal engagement that such a rigorous, simultaneous structure evokes from all who participate [in the read- ing of names]. . . . At its end, I finally comprehend what the Names Project means, why names must be spoken.”14 The AIDS Quilt gives a voice to the...
Journal Article
Radical History Review (1 October 1996) 1996 (66): 146–162.
Published: 01 October 1996
... sought to do with peasant life in the Pagnol films7 Berri was not seeking to re-create a specific historical reality; he rejected out of hand the idea of bringing a historical consultant on board. Although the film is clearly set in the past, Berri went out of his way to assure that the viewer...
Journal Article
Radical History Review (1 October 1996) 1996 (66): 147–162.
Published: 01 October 1996
... sought to do with peasant life in the Pagnol films7 Berri was not seeking to re-create a specific historical reality; he rejected out of hand the idea of bringing a historical consultant on board. Although the film is clearly set in the past, Berri went out of his way to assure that the viewer...
Journal Article
Radical History Review (1 May 2002) 2002 (83): 175–179.
Published: 01 May 2002
... use of Ella’s silent footage—a film within a film— invites viewers to critically examine Ella’s filmmaking instead of experiencing it as historical fact. For example, when Lisa Lewenz uses her grandmother’s footage, she provides a voice-over that comments on her...
Journal Article
Radical History Review (1 October 1986) 1986 (36): 115–132.
Published: 01 October 1986
... attackers (U.S. marines) and the attacked (an old Vietnamese woman and a young man). By the end of the sequence it is quite clear that many villagers were killed after the Marines took the village. But whatever moral judgments the viewer will make about the actions of the Marines at Thuy Bo will...
Journal Article
Radical History Review (1 May 2007) 2007 (98): 179–190.
Published: 01 May 2007
... Lakonikon and the drawings, presented in a series of books, have the collective title Black Square. In the video, the viewer witnesses Lindman recre- ate the gesture taken from her tracing of the photograph. This process involves a series of movements and adjustments before the correct pose is...