Doctoral Thesis / Dissertation from the year 2008 in the subject Art - Photography and Film, grade: cum laude, University of Edinburgh, language: English, abstract: Photomontage has more to do with film than with any other art form - they have in common the technique of montage. (Sergei Tretyakov) By considering that photomontage and film use the technique of cutting and gluing as dominant artistic device, and that montage, a technique unifying art and technology for the first time, emerged as a dominant artistic feature of the avant-garde, this thesis will explore the ideological and perceptual implications of its advent in avant-garde art and film. The technological advances of the beginning of the twentieth century, and particularly the advent of photography, allowed avant-garde artists to break free from traditional concepts of artistic production - they dispensed with the old criteria of uniqueness, originality, handicraft and personal style. At a time when many avant-garde artists abruptly ceased to paint, photomontage emerged as the privileged locus for a caesura with traditional art forms. Photomontage envisioned film aesthetics insofar as it combines and juxtaposes images of various perspectival planes and angles (Raoul Hausmann described his early photomontages as "motionless moving pictures"). A corresponding observation can be made on the use of montage in cinema, a technique which crucially underpins the illusion of movement created through the succession of photographic stills. The present thesis will investigate photomontage and film in order to examine the effect technological reproduction played in revolutionising artistic production, perception and ideology - where the technique and philosophy of montage was key.
Doctoral Thesis / Dissertation from the year 2008 in the subject Art - Photography and Film, grade: cum laude, University of Edinburgh, language: English, abstract: Photomontage has more to do with film than with any other art form - they have in common the technique of montage. (Sergei Tretyakov) By considering that photomontage and film use the technique of cutting and gluing as dominant artistic device, and that montage, a technique unifying art and technology for the first time, emerged as a dominant artistic feature of the avant-garde, this thesis will explore the ideological and perceptual implications of its advent in avant-garde art and film. The technological advances of the beginning of the twentieth century, and particularly the advent of photography, allowed avant-garde artists to break free from traditional concepts of artistic production – they dispensed with the old criteria of uniqueness, originality, handicraft and personal style. At a time when many avant-garde artists abruptly ceased to paint, photomontage emerged as the privileged locus for a caesura with traditional art forms. Photomontage envisioned film aesthetics insofar as it combines and juxtaposes images of various perspectival planes and angles (Raoul Hausmann described his early photomontages as “motionless moving pictures”). A corresponding observation can be made on the use of montage in cinema, a technique which crucially underpins the illusion of movement created through the succession of photographic stills. The present thesis will investigate photomontage and film in order to examine the effect technological reproduction played in revolutionising artistic production, perception and ideology – where the technique and philosophy of montage was key.
When we read that Qatar is sending troops or arms to support "democratic movements" to overthrow foreign regimes, few of us have any idea what Qatar is or how it is run. As of 2007, this tiny sheikdom was being flooded with cash as the magnitude of its gas and oil resources became known. Foreigners, from American executives to servants and laborers from Third World countries, were enticed to take exciting new job opportunities ahdn help build and diversity the Qatari economy. However, under Qatari labor law, "foreign workers" are for all practical purposes owned by their Qatari sponsors in a system akin to slavery, and even to leave the country, an exit permit is needed. All foreign businesses are required to give a 51% stake to the Qataris, and nearly everything significant is controlled by the "royal" family. This book chronicles the experience of an American executive working in Qatar and delves into Qatar's feudal work-sponsorship system, showing that an economic great leap forward is not necessarily accompanied by modernization, despite superficial emblems; that prosperity and democracy need not go hand in hand; and that being a US ally may be totally unrelated to any notion of human rights or personal liberties. There are other Western expats still trapped in Qatar. Yet American workers, students and others blithely interact with Qatar as if it were a U+0032normalU+0033 (i.e., Westernized) nation where one may navigate with confidence." -- cover p.[4].
Introduction to Education provides pre-service teachers with an overview of the context, craft and practice of teaching in Australian schools as they commence the journey from learner to classroom teacher. Each chapter poses questions about the nature of teaching students, and guides readers though the Australian Professional Standards for Teachers. Incorporating recent research and theoretical literature, Introduction to Education presents a critical consideration of the professional, policy and curriculum contexts of teaching in Australia. The book covers theoretical topics in chapters addressing assessment, planning, safe learning environments, and working with colleagues, families, carers and communities. More practical chapters discuss professional experience and building a career after graduation. Rigorous in conception and practical in scope, Introduction to Education welcomes new educators to the theory and practical elements of teaching, learning, and professional practice.
The first monograph on a groundbreaking Surrealist masterpiece, Reading Claude Cahun's Disavowals offers a comprehensive account of Cahun's most important published work, Aveux non avenus (Disavowals). This study pays careful attention to the complex interrelationship between the photomontages and writings of Aveux non avenus, and explores how Cahun's work calls into question both the dominant culture of interwar France and the avant-garde of the era.
The crucial role of feedback in the learning process is undisputed. But how can feedback be exchanged in the digital age? This book equips teachers and learners with a research-based overview of digital feedback methods. This includes, for instance, feedback in text editors, cloud documents, chats, forums, wikis, surveys, mails as well as multimodal feedback in video conferences and recorded audio, video and screencast feedback. The book discusses the advantages and limitations of each digital feedback method and offers suggestions for their practical application in the classroom. They can be utilized in online teaching as well as to enrich on-site teaching. The book also provides ideas for combining different feedback methods synergistically and closes with recommendations for developing dynamic digital feedback literacies among teachers and students.
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