Danish Modern explores the development of mid-century modernist design in Denmark from historical, analytical and theoretical perspectives. Mark Mussari explores the relationship between Danish ...design aesthetics and the theoretical and cultural impact of Modernism, particularly between 1930 and 1960. He considers how Danish designers responded to early Modernist currents: the Stockholm Exhibition of 1930, their rejection of Bauhaus aesthetic demands, their early fealty to wood and materials, and the tension between cabinetmaker craft and industrial production as it challenged and altered their aesthetic approach. Tracing the theoretical foundations for these developments, Mussari discusses the writings and works of such figures as Poul Henningsen, Arne Jacobsen, Hans Wegner, Nanna Ditzel, and Finn Juhl.
This paper examines the institutionalization of memory institutions in the 1950s and the 1950s in the Rožňava region as an example of the preparation and implementation of government regional ...cultural policy in Slovakia. During this period, the government succeeded for the first time to lay the fundaments of memory institutions such as libraries, archives and museums. This, however, was achieved with distinct political and ideological goals in mind which was reflected not only in cultural and educational activities of these institutions, but also in their collections. Additionally, the neglect that cultural issues had suffered in the previous decades resulted in the lack of qualified staff and location-related issues.
Born in the late 19th century, jazz gained mainstream popularity during a volatile period of racial segregation and gender inequality. It was in these adverse conditions that jazz performers ...discovered the power of dress as a visual tool used to defy mainstream societal constructs, shaping a new fashion and style aesthetic. Fashion and Jazz is the first study to identify the behaviours, signs and meanings that defined this newly evolving subculture. Drawing on fashion studies and cultural theory, the book provides an in-depth analysis of the social and political entanglements of jazz and dress, with individual chapters exploring key themes such as race, class and gender. Including a wide variety of case studies, ranging from Billie Holiday and Ella Fitzgerald to Louis Armstrong and Chet Baker, it presents a critical and cultural analysis of jazz performers as modern icons of fashion and popular style. Addressing a number of previously underexplored areas of jazz culture, such as modern dandyism and the link between drug use and glamorous dress, Fashion and Jazz provides a fascinating history of fashion's dialogue with African-American art and style. It is essential reading for students of fashion, cultural studies, African-American studies and history.
Cet article explore certains des problèmes récurrents au sein du système de la coproduction cinématographique franco-italienne dans les années 1950-1960, du point de vue français. Les coproductions ...ont été un puissant instrument de transfert culturel international et une pratique industrielle et commerciale moderne, mais, comme le met en évidence l'article, l'idée reçue d'une collaboration idyllique entre la France et l'Italie doit être repensée et nuancée. Cette analyse est fondée sur l'examen des accords officiels bilatéraux et de la presse corporative française.
The essay’s aim is to analyze the public use that the Italian cinema made of history trying to unveil the mechanism of memory and oblivion and the reasons behind them in crucial occasion: the ...celebrations for the centenary of Italian unity. The focus is obviously on the movies about the Risorgimento. Not only history, but also gender roles are at the basis of the patriotic discourse. Therefore the essay tries also to understand how they were represented in history movies. Four films are taken into account: La pattuglia sperduta (1952), Senso (1954), Viva l’Italia! (1961) and Il Gattopardo (1963).
The essay's aim is to analyze the public use that the Italian cinema made of history trying to unveil the mechanism of memory and oblivion and the reasons behind them in crucial occasion: the ...celebrations for the centenary of Italian unity. The focus is obviously on the movies about the Risorgimento. Not only history, but also gender roles are at the basis of the patriotic discourse. Therefore the essay tries also to understand how they were represented in history movies. Four films are taken into account: La pattuglia sperduta (1952), Senso (1954), Viva l'Italia! (1961) and Il Gattopardo (1963).
The 1950s marked a radical transformation in American popular music as the nation drifted away from its love affair with big band swing to embrace the unschooled and unruly new sounds of rock 'n' ...roll. The sudden flood of records from the margins of the music industry left impressions on the pop soundscape that would eventually reshape long-established listening habits and expectations, as well as conventions of songwriting, performance, and recording. When Elvis Presley claimed, "I don't sound like nobody," a year before he made his first commercial record, he unwittingly articulated the era's musical Zeitgeist. The central story line of I Don't Sound Like Nobody is change itself. The book's characters include not just performers but engineers, producers, songwriters, label owners, radio personalities, and fans—all of them key players in the decade's musical transformation. Written in engaging, accessible prose, Albin Zak's I Don't Sound Like Nobody approaches musical and historical issues of the 1950s through the lens of recordings and fashions a compelling story of the birth of a new musical language. The book belongs on the shelf of every modern music aficionado and every scholar of rock 'n' roll.
The Beat Generation was a group of writers who rejected cultural standards, experimented with drugs, and celebrated sexual liberation. Starting in the 1950s with works such as Jack Kerouac'sOn the ...Road,Allen Ginsberg'sHowl,and William S. Burroughs'sNaked Lunch,the Beat Generation defined an experimental zeitgeist that endures to today. Yet left out of this picture are the Beat women, who produced a large body of writing from the 1950s through the 1970s and beyond.
InWomen Writers of the Beat Era,Mary Paniccia Carden gives voice to these female writers and demonstrates how their work redefines our understanding of "Beat." The first single-authored study on female writers of this generation, the book offers vital analysis of autobiographical works by Diane di Prima, ruth weiss, Hettie Jones, Joanne Kyger, and others, introducing the reader to new voices that interact with and reconfigure the better-known narratives of the male Beat writers. In doing so, Carden demonstrates the significant role women played in this influential and dynamic literary movement.
The first scholarly book on the women writers of the Beat Generation.
Derided for its conformity and consumerism, 1950s America paid a price in anxiety. Prosperity existed under the shadow of a mushroom cloud. Optimism wore a Bucky Beaver smile that masked worry over ...threats at home and abroad. But even dread could not quell the revolutionary changes taking place in virtually every form of mainstream music. Music historian James Wierzbicki sheds light on how the Fifties' pervasive moods affected its sounds. Moving across genres established--pop, country, opera--and transfigured--experimental, rock, jazz--Wierzbicki delves into the social dynamics that caused forms to emerge or recede, thrive or fade away. Red scares and white flight, sexual politics and racial tensions, technological progress and demographic upheaval--the influence of each rooted the music of this volatile period to its specific place and time. Yet Wierzbicki also reveals the host of underlying connections linking that most apprehensive of times to our own uneasy present.