Search Results

Now showing 1 - 3 of 3

Some of the metrics are blocked by your
consent settings
Documentary Practice as Praxis: A Direct Appeal to the Realization of the Social Act
(Faculty of Media and Communication, 2024-10-15)
Rajchinovska-Pavleska, Natali
The essential preoccupation of this paper is documentary practice as (social) praxis, the voice of the photography аs a direct mode of transmission and not only the discovery or mediation of reality. Allan Sekula’s photographic discourse is taken as a case study, a practice that directly engages the subject – the position of the worker within the working class, critically representing the reality that is usually masked by spectacle. The hypotheses assume that the methodology of contextualization and discursivization of documentary photography (Untitled Slide Sequence, 1972) leads to a conscious perception of a historical and social reality. Using a cross-methodology of the author’s theory and practice, referring to the author’s critical point of view, Marxist and post-Marxist theories, this paper indicates that Sekula develops a specific photo-graphology concerned with the directness of expression, the literalness of meaning, and the unmasking of iconic signs captured by capitalist signifiers. The arguments underline that the use of documentary photography as a direct appeal can encourage the realization of a social act. The conclusion implies that the use of the author’s voice in the direction of changing the movement of aesthetic production and reception leads to actualization, towards awakening of the passive component – confrontation with social stratification under capitalist order.
Some of the metrics are blocked by your
consent settings
The Cross-media Dialectics of the Close-up
(Institute of Macedonian Literature at Ss. Cyril and Methodius University in Skopje, 2023)
Natali Rajchinovska Pavleska
Theoretical discussions about the origins of the close-up methods as a specific cinematic means of expression, suggest that close-up presentation has a wider application than that in film produc¬tion. According to the American director with Ser-bian background, expert in the area of the “creative editing”, painter by profession, Slavko Vorka¬pich (Славко Воркапић), the approaching, the ap¬proximation and consequently – the zooming, do not have the same or equal role with the dialec¬tic potential of the close-up framing. The meth¬ods of the close-up are rooted in the traditional forms of artistic expression, such as photography and painting, while their genealogy can be traced to the “dramatic”, i.e., theatrical techniques. Ac¬cording to the film theoretician Sergey Eisenstein (Сергей Михайлович Эйзенштейн) the individu-al arts “converge” in the cinematography through the “method of the magnifying glass”, which gives expression to each individual characteristics of the different artistic disciplines, whereas the com¬mon method, as a common characteristic is consid¬ered as fundamental in all arts (1988: 3). The use of the close-up in different creative contexts notes a cross-media nature of the procedure, through which the ontological structure of each artistic me¬dium is being changed respectively. The analyti¬cal foundation of this research includes mapping the dialectical crossmediality of close-up methods through the elaboration of theoretical analyzes and examples from practical manifestations in various creative fields.
Some of the metrics are blocked by your
consent settings
The Poetic Act as an Act of Resistance in the Feminist Practice of Ana Mendieta
(Bulletin of the Institute of Ethnography SASA 69 (2), 2021-09-24)
Natali Rajčinovska Pavleska
Between the potential to and the potential not to, according to Giorgio Agamben, there is a process of a creative (poetic) act, as an act of resistance towards the end of one's own completion, in this context analyzed through the work of feminist artist Ana Mendieta. Regarding the (in)completeness, Mendieta’s oeuvre exemplifies a perfect illustration that the disappearance of her art work is a way of communication that resists production of any formal finality, as a process within which the traces of the media used (her own body) also disappear because of the time and circumstances left to nature. The dematerialization of artwork in Mendieta’s case epitomized one of possible aspects of exposing the act of resistance as a realization of a quantum of potential through the event, appearing as a poetics of inoperativity as defined by Agamben and erasing boundaries between the inception and the performativity of the poetic time, a duration that is not limited to one existence or aesthetic phenomenon. In the intersection between early feminist art practices (based on essentialism) and the second wave that relied on anti-essentialism as a new conception, Mendieta's work positioned its own dialectic among the separated feminist views about the use of the female body as a medium

Faculty of Fine Arts

Browse

Filters

Settings

Sort By

Results per page

Search Results