Santilli suggests that metaphysical and spiritual depths infuse the films of Krzysztof Kieslowski. A study of three of Kieslowki's films, Decalogue 1, La Double Vie de Veronique, and Bleu, that the ...director provides a powerful testimony or even an argument for, the reality of the human soul.
Puppetry captures the imagination and interest of young students. Stories are told and retold to children through pictures, puppets, stuffed animals, toys, dolls, gestures, dramatic voices, and ...theatrical effects. Many of the stories involve some moral decision or event, such as fairy tales in which the characters "live happily ever after" after overcoming some moral dilemma (Flower & Fortney, 1983). The relationship between puppetry, children's literature, and character education provides the impetus for an elementary level unit. In this article, the author addresses character education's place and relationship to school reform and art education. An example of an elementary level unit is described to further explain how character education fits into the visual art curriculum. (Contains 3 figures.)
Describes how finger puppets can be a safe, creative way for young children to express feelings, act out roles, create play scenarios, and reenact stories as one step toward reading readiness. ...Details a finger puppetry workshop for early childhood education students; notes that the preservice teachers could produce inexpensive, usable teaching resources. Lists suggestions for classroom use of puppets. (KB)
Amateur film: scenes with puppets; a 9,5mm film projector in action; model car with a magnet; scenes of tamed jays while eating, drinking water from the edge of a tub and being carried around on the ...handlebars of a bicycle. The video is a copy from the film print held by the Museo Nazionale del Cinema: 9,5mm, positive, acetate, 17 m, 3’ at 18 fps, black and white, silent.
Immagini amatoriali: scene con marionette; un proiettore 9,5mm in azione; modellino di automobile con magnete; scene di ghiandaie ammaestrate che mangiano, che bevono dell’acqua dal bordo di una tinozza e che vengono portate in giro sul manubrio di una bicicletta. Il video è un riversamento della copia in pellicola preservata dal Museo Nazionale del Cinema: 9,5mm, positivo, acetato, 17 m, 3’ a 18 fps, bianco e nero, muto.
The Bread and Puppet's "Domestic Resurrection Circus" emerged within the counterculture of the 1960s and '70s and continued through 1998. Bell places this long-running event within the cultural ...ecology of Vermont and the U. S. A.
Puzzling about Virtue Starnes, Bobby Ann
Phi Delta Kappan,
06/2006, Letnik:
87, Številka:
10
Journal Article
Starness reflects on the real meaning of character education. She also shares her experiences teaching in a school that had adopted character education program.
This paper examines two aspects of subjectivity-sexuality and singularity-that are considered fundamental to a modernist notion of the person. These aspects of subjectivity are under siege as new ...technologies of reproduction challenge our understanding of sexed bodies and as, simultaneously, a postmodern world-view brings forward the multiplicity of sexual subject positions and embodied hybridity that modernist thinking sought to control or dismiss. In this time of conceptual crisis regarding subjectivity and embodiment, the popular culture media of many advanced countries have produced increasing numbers of narratives about cyborgs, those embodied amalgams of the organic and the machinic. I begin by explaining why the concepts "sexuality" and "singularity" are so important in this context, and why Japanese popular culture is a particularly fruitful ground for exploration of cyborg subjectivities. Then I discuss two recent anime narratives-Shinseiki Evangelion (1995-96, Neon Genesis Evangelion) and Kôkaku kidôtai (1995, Ghost in the Shell)-in terms of their depictions of specific aspects of sexuality and as the nexus of contemporary fears or desires regarding subjectivity that is being negotiated through those depictions. I conclude with observations about what these narratives reveal about new, postmodern conceptions of subjectivity.
In the early postwar period, one man who sought to shake up the Japanese theatre world was renegade critic and director Takechi Tetsuji (1912-1988). Although Takechi worked in a number of theatrical ...idioms, in the early 1950s much of his energy was directed at revitalizing kabuki, both through his own productions known as Takechi Kabuki and through his writings. The present essay, representative of Takechi's work during the period, not only seeks to explain the goals of Takechi Kabuki but also includes Takechi's insightful views on kabuki history and what was wrong with the contemporary kabuki of the time. For Takechi the heart of the matter was artistic direction, which he claimed had been lost in modern kabuki and therefore had to be reintroduced in order to turn kabuki into a truly classical theatre. William Lee received his Ph. D. in comparative literature from McGill University, Montreal, with a dissertation on Genroku-period kabuki. He is currently an assistant professor of Japanese culture in the Asian Studies Centre, University of Manitoba. His translation of the kabuki play The Stone-Cutting Feat of Kajiwara recently appeared in Brilliance and Bravado, Volume 1 of Kabuki Plays on Stage, edited by James Brandon and Samuel L. Leiter. He has also published articles on the playwright Chikamatsu Monzaemon, kabuki criticism, and the Japanese folk performing arts.
Metamorphosis is the cornerstone of Disney animation. Princes are turned into beasts and lions into matinee idols. Accomplishing this filmic flexibility onstage is central to Disney's expansion into ...theatrical production. Broadway's Beauty and the Beast, and the productions that came after, show how the elasticity of film animation can be recreated live in the theatre.
