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The essays in this book explore the relationship between films and some of the liberal arts. The first set of essays revolves around the topic of films and rhetoric. They describe the special language of films and its unique mode of communication. A second group of essays deals with films and literature and includes discussions on writing for films and on transforming existing literary works into films. Two brief sections examine the elements films share with art and with music. In-depth examinations of such standard film characters as the gangster, the cowboy, and the negro servant are among the essays which explore film's response to, and presentation of, social styles and values. An interview with the director Antonioni, a statement by filmmaker Luis Bunuel, and a criticism of the film "It's A Mad, Mad, Mad, Mad World" are among the essays devoted to films and esthetics. A lengthy survey of the development of film into an art form concludes the collection. Each essay is followed by several suggested exercises. An annotated list of films that are related to each section topic and a list of the companies through which they may be obtained are appended. (JY)

When Charles Dickens and Wilkie Collins met in 1851, Dickens was already established as the most popular English novelist, whereas Collins was little more than an aspiring writer. Six years later, in 1857, Collins had written his first successful novels: Basil (1852), Hide and Seek (1854) and The Dead Secret (1856); he was a staff-member of Household Words, the magazine “conducted by Charles Dickens”, and as such a professional writer whose name Dickens had even agreed would appear in the mag...

This study focuses on transgender experiences in martial arts. Interviews with three Finnish and two British transgender martial artists were thematically analyzed, and findings were interpreted through the lens of queer theory. Two themes were identified related to the ways that transgender martial artists experience their sporting contexts, namely martial arts as an empowering and inclusive context and the challenges related to being transgender in martial arts. Two themes were also identified when it comes to participants’ strategies for coping with cis-/heteronormativity in martial arts. Whenever possible, participants employed social change strategies, whereas other times, they drew on self-care strategies. Following this, we suggest a need for context-specific, protective policies; nonbinary means of organizing sport; and gender diversity education for instructors to better cater for the specific needs of transgender people in sport.

We established the Creativity Everything lab at Ryerson University in 2018 as a place that would support and unlock “all kinds of creativity for all kinds of people.” In this article, we detail the transdisciplinary roots of our work and outline some of our activities and the thinking behind them. As a team of researchers developing projects and experiences that embrace a wide range of creators and creative practices, we are fashioning the lab to facilitate the actions of doing and making in a range of spheres: in everyday life, professional creative practice, and in learning and research. Three case studies – our ongoing efforts at supporting learning for students, a research project on platforms for creativity, and the community outreach of the 2019 Creativity Everything #FreeSchool – explore how teaching, research, events, and collaborations in multiple media intersect in a multifaceted system for relating to, and engaging with, creativity. Our studies suggest that creative practice as research helps people make connections that fuel curiosity and experimentation. We argue that engaging in multiple perspectives of the “everything” of creativity better equips our students, university, and public to reap its benefits and rewards.

This article offers a critical examination of creativity discourse at the intersection of two disciplinary fields: health and humanities. In contrast to creativity’s long-standing associations with making, imitation, or invention, we examine the relatively recent emergence of what we call creativity’s preparatory capacity, particularly within critical discussions of health-care and illness narratives. Working with fictional representations of the emergency room in physician-writer Jay Baruch’s short-story collection Fourteen Stories: Doctors, Patients, and Other Strangers (2007), we identify how particular narrative techniques are revealed in a range of emergency scenarios – both within and beyond the fictional setting – and what such deployments of creativity might signal for the future of literary studies more broadly.

Reacting to the symbolic features and historical artefacts that invite institutional self-reflection at the Royal Military College (RMC), I created a performance project leading to two storytelling events. Everyday campus life at RMC already offers opportunities for cultivating a meta-perspective – a higher-order awareness – of the institution, and the storytelling events called attention to such opportunities. I argue that, likewise, art-based projects in the humanities call attention to the creativity – the making – involved in the humanities more broadly. The first storytelling event, Tailor Made (2017), comprised stories focused on the uniform as a model and the body wearing it as an actual bearing out that model. Social and cultural life is made of the difference between models and actuals, and each story engaged the ways in which rules, systems, and practices meet with individuals in hurtful, inconvenient, funny, or messy ways. The second event, Skylarking (2018), included stories of the institutionally condoned pranks called “skylarks” and coincidentally occurred against the backdrop of a campus-wide punishment that elicited a skylark response. This event and its context showed that marking disruption with more disruption (marking failure with punishment and marking punishment with prank) is a recursion that invites higher-order thinking about existing orders.

The purpose of this study was to analyse journalists’ routines and decision-making in gathering and publishing death-related visuals. Empirical data were collected by analysing visuals published in two cases: the death of a teen, and a person who had a mental illness. We conducted eight in-depth interviews with people involved in publishing the visuals. The data showed no guidelines in the newsroom of how journalists should act when covering sensitive topics. Although producing or publishing the visuals depended on various beliefs and professional norms of people involved, the reporter as the last link in the chain had to take responsibility for the visuals. Yet, reporters usually did not get to choose how the visuals were produced. The lack of instructions and internal agreements led to relying on routines that did not consider the ethical aspects of covering sensitive topics.

The COVID-19 pandemic affects all aspects, including cultural arts. Cultural arts have an important role in human civilization as a result of thoughts and traditions from ancestors. The existence of the cultural arts of Malay Riau is decreased during the pandemic. All cultural arts activities have been shifted from the offline stage to the online stage so that the efforts to inherit and develop the cultural arts of Malay Riau are hampered. This research aims to determine the differences in the existence of Malay Riau cultural arts before and after the pandemic in Riau students at the Malay Riau Cultural Unit, Bandung Institute of Technology (UKMR ITB) and in Riau people in general. This research also aims to gather the opinions from Riau students and Riau people about innovations to inherit the Malay Riau cultural arts during the pandemic. The methods which are used in this research to gather the data: study literature, interviews, and questionnaires. Based on this research, Malay Riau Cultural Unit has made an innovation to inherit the values of Malay Riau cultural arts through making cultural archives so that the inheritance of traditions can be carried out, even though the pandemic is still undergoing. Through this research, we hope that the existence of Malay Riau cultural arts can be maintained through continuous innovation, especially in Riau students at the Malay Riau Cultural Unit and in the Riau people.Keywords: Cultural arts; Malay Riau; Existence, pandemic; Innovation

This study determined the issues and challenges encountered by the parents who facilitated learning at home. This research was a Qualitative-Phenomenological study that utilized the Narrative Form using the responses of the parent-participants in the Key Informant Interview conducted by the researcher. Creswell Method applied in qualitative analysis of these reactions to explore the lived experience of parents who served as Learning Facilitators in Modular Distance Learning. From the responses of the participants in the Key Informant Interview conducted, the researcher was able to extract the following themes that describe their overall ability in painting the portrait of their children: FB: Keeping You Informed, Education Must Continue, Education Cannot Wait, MDL Finds a Way, Painting a Portrait as Consecrated Responsibility, Race Against Time, and Time Works Wonders. The researcher was able to draw out issues with implications of the findings on the lived experiences of the parents in painting the portrait of their children as not just a simple task. Their ability to paint the picture and helping their children with their studies were perceived as challenging but added colors in making their future even more meaningful. Keywords: Paint a Portrait, Modular Distance Learning, Learning Facilitator

This article proposes ways to authentically amplify writer’s workshop for emergent bilinguals. Through the study of one bilingual teacher’s mediation in teaching, we examined the affordances that translanguaging and transmodal practices have for emergent bilingual students’ writing processes. In this case study, we focused on a writing sequence associated with the well-known Latin American holiday of the Day of the Dead, in which 3rd grade emergent bilinguals wrote “calaveras,” or literary poems, as part of an interdisciplinary language arts and social studies lesson. Our work is framed by sociocultural theories of mediation, literacy, and language. Under a multiliteracies pedagogy, we observed how a bilingual teacher and emergent bilinguals negotiate meaning through a variety of linguistic and multimodal resources. In our interactional analysis of talk, we found how the teacher mediated background knowledge and vocabulary as a part of the writing process; we also identified ways in which her mediation included extensive scaffolding as she provided linguistic and disciplinary knowledge needed to write calaveras. Through integrating the tenets of mediation with biliteracy, multiliteracies, and translanguaging pedagogies, this study offers a promising example of how teachers can build a culturally-sustaining writers’ workshop to support emergent bilingual learners’ language development and writing practices.

Folklore needs to be preserved and developed to improve the nation's emotional intelligence, especially the emotional intelligence of elementary school students who are the nation's next generation. With current technological advances, it is possible to develop an ordinary folklore book into a more interesting folklore book with the addition of Augmented Reality technology in it. By using the System Development Life Cycle (SDLC) method, an Augmented Reality-based application can be created to be able to make Lutung Kasarung children's folklore books can be enjoyed by getting experience that is more than just reading ordinary physical books because there is Augmented Reality technology inside. This Augmented Reality technology has 100% accuracy if it meets the specified requirements, namely a distance of 45 centimeters and a height of 30 centimeters, and in testing at a distance of 50 centimeters, 55 centimeters, 60 centimeters, 65 centimeters with a height of 25 centimeters and 30 centimeters. In addition, with the AR Book, it is also expected to be able to introduce AR technology to both parents and children as an alternative to children's fairy tale books.

Interactive, transmedia and immersive nonfiction creations gain projection in Brazil from 2018 on, with the academy as a great ally. Universities, as spaces for innovation, manage to foster projects of excellence, despite the scarce and high investments required, bringing together people, technological resources and strategic partnerships. In the XR (extended realities) ecosystem of the Brazilian creative industry, the Federal University of Rio de Janeiro, one of the most prized, largest and oldest public institutions of higher education in the country, through its Post Graduate Program in Creative Media (PPGMC) becomes a reference center. The institution launches innovative and experimental creations, which would hardly receive private funding, due to the adverse economic situation that the creative sectors are currently facing. This article presents and analyzes recent productions in terms of thematic approaches, technologies and languages. Applied methodologies for the creation of interactive and immersive works are also discussed, from the perspective of how these creative methods have been fostering the practice-based research output at PPGMC, and the currently achieved results.

The presented article analyzes the solemn ceremony of opening a girls’ school in the village of Karakashly, Aktanysh district in 1915, which was founded in honour of enlightener, the first jourmalist among Tatar women Fatima-Farida Nauruzova. The article describes a brief biography of F.-F. Nauruzova, touches upon the vital issues of that era raised by her on the pages of the “Sibiria” newspaper, including women’s status in the family and society, all-girls schools for Tatars, the status of female teachers etc., mentions the names of many individuals who contributed to the construction of the school.

This document records and reflects on the process of building an innovative format, a performative archive on Instagram, the UBUmaterial, by Papalangki theatre company (Greece). It exhibits the occ...

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Performing arts are not created by accident, but they are made based on the values, world views, and beliefs of artists and their publics as part of a socio-cultural activity of society. Artists create, package, and create performing arts as part of creative efforts carried out by a constructive spirit through symbolic actions. This study aims to determine the implementation of one of the Sunda Reak arts in creating a peaceful society following the values of Indonesian multiculturalism. This research method uses a descriptive qualitative approach to describe Reak's artistic values in creating a quiet life in society. In ancient times, ancient ancestors implemented peacebuilding in future generations through activities cultured as traditions in the community. The findings of this study indicate that Reak art is not just an entertainment show because some sources say that tradition is an ancestral heritage that is so sacred and becomes a necessity for social beings in living life.

This article will investigate a general concern with the practical implementation of inclusion as recommended in policy documents in art education in general and the Nordic Community School of Music and Arts (NCSMA) specifically. We ask: What do policy documents mean by inclusion? In what way can or do art educators practice inclusionary strategies? We consider homogeneity in this field and the need for pluralism in this institutional framework. We will diffract discourses through words and images in threads from a post-colonial perspective, critical race and Whiteness studies. Struggling through our blind spots in knowledge production, we seek to understand how Other perspectives received in the NCSMA can emerge. The three research scholars from the field of education and art embody different educational and geographical starting points and differing but shifting power positions in various contexts. This triangle of embodied knowledge allows us to investigate these conflicting positions and perform intentional antiracist response-ability in research related to the NCSMA as an educational institution. Our analysis shows a discrepancy between general intentions of inclusion and practical outcomes.

Strip woven fabrics such as kente, kete and smock have continued to be precious cloths that promote the cultural heritage of the people in Ghana. These fabrics were originally woven for the royals,...

This paper explores the cultivation of STEAM literacy through the employment of practices derived from traditional reading strategies. This teaching and learning framework focuses on utilizing multimodal texts to increase exposure and opportunities for students to creatively explore diverse realms of STEM through the arts. Featuring student-centered endeavors through self-selected texts and in-class reading practices followed by tiered scaffolded discourse engagements, this framework initiates greater interest, autonomy, and culturally and linguistically authentic practices enhancing STEAM literacy. Embedded in the implications is the deconstruction of frequently aggregated STEM data that “overrepresents” the Asian demographic. Using the lens of the model minority myth, this paper attempts to disaggregate the Asian category, illuminating the actual diaspora that makes up the Asian and Asian American communities, many of which are not represented in STEM fields. Through more reading opportunities and fostering discourse practices, the arts contribute greater inclusion, cultivating STEAM literacy for all students.

Engaging along with music during lockdown is a kind of common behavior of human beings. This article mirrors the mass perception of music during the specific situation of lockdown in Nepal. The descriptive online survey design was used by taking 136 participants from Fine Arts Campus by purposive sampling technique. Frequency, percentage, and presentation of chars were major statistical techniques used in this research. The finding indicates that most of the participants were enjoying by listening and participating in musical activities during the pandemic. Whatever the purpose of listening, singing, dancing, composing, recording, playing the musical patterns, mass people knowingly-unknowingly connected with music during a lockdown. So, concluded that almost all respondents voted for the need for musical activities and varieties of music for managing their stress.

Creative placemaking is a process involving different sectors of society as they collaborate in cultural activities, deepening their relations with each other and the place in which they live and w...

The relevance of the research is due both to the lack of research that would comprehend a graphic novel as an independent phenomenon and subject of art history, the youth of the genre, and its relative non-proliferation in the Ukrainian literary space. The vast majority of Russian publications touch on the analysis of specific graphic novels in the context of modern literary studies, which focuses on the narrative and ideological components of individual works without taking into account the role of the visual component for the genre as a whole. In this regard, the article is aimed at identifying the essence of the graphic novel, its differences from the classic for book design relationships of illustration and text, clarifying the nature and role of its communication and semantic saturation taking into account the functions of design as a form of communication, highlighting the unique characteristics of the genre against the background of the traditional genre means and searching for the information and aesthetic potential of the graphic novel in the practice of Ukrainian book design.

There was a time when Africa was thought to have no history, no philosophy, no civilizational culture and no artistic creativity or aesthetic sensibilities. This new book, African Art Reframed: Reflections and Dialogues on Museum Cultures by Bennetta Jules-Rosette and J.R. Osborn, re-evaluates this perception and argues that African art has come a long way in the last few decades, taking the reader through the transformational process that African art has undergone in that period, including the role of the museums and the collaborative work of agents across different sectors in the reframing of African art.

In this article I intend to debate the place that images occupy in ethnographic research and their methodological interest, which characterizes the conditions for the insertion of a visual character in the ethnographic narrative. According to Novaes (2014), images communicate and, even in silence, it is necessary to take into account what they have to say, especially in empirical work. In this way, the article will focus on photography as an instrument that opens in gestures and expressions for field research, to think about its use as a production technology for the construction of a visual ethnographic narrative, such as the experience of ethnographic cinema, which will be presented shortly. The hypothesis to be developed here is whether photography can operate as a translation of knowledge gathered in the field. For this, it is important to highlight the methodological interest in the use of the image from the researcher-photographer to the researcher-filmmaker and, as an example, the ethnographic film Les Maîtres fous (The Crazy Teachers), by Jean Rouch (1954) is analyzed.

This article discusses the culture-making and place-making initiatives created at the intersection of ethnology and cultural anthropology, art and cultural politics. The focus is on the ways in which joint ethnological and artistic involvement can change the dynamics within the local community. As a case study the authors use the project Art in the Community: Redefining Heritage of the Association of Artists ‘Zemlja’ (Croatia, 2018 – 2020). The project was based on one of the most important episodes of socially and politically engaged artistic practices in Central Europe and Western Balkans: the legacy of the Association of Artists Zemlja (1929 – 1935), and naïve art and educational work of renowned painter Krsto Hegedušić. In the locality where they had worked and found inspiration – Hlebine – contemporary artists rethought their heritage and brought it to life through this project. The project was based on participatory approaches, artistic and community-empowering process that included local naïve artists from Hlebine and students of Visual Arts and Ethnology and Cultural Anthropology from Zagreb. The text analyses the potentials and challenges in working with different stakeholders on the region’s cultural scene who take part in the project in order to affirm, negotiate or redefine their culture-building strategies.