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REPURPOSING THE MONUMENTS OF INDUSTRIAL ARCHITECTURE INTO MODERN PUBLIC SPACES OF ART DIRECTION
The article is devoted to the problems of repurposing historical industrial facilities for new functions. The main issues of such measures and the necessary conditions for their feasibility are identified. The existing experience of preserving industrial facilities with a change of function is analyzed and how it can be used in the post-war reconstruction of Ukraine. The main requirements are the location in the center of large cities with good transport accessibility and residential areas nearby. Examples are given of how new centers of public attraction with an artistic function arise on the site of industrial sites with the preservation of historical industrial buildings.
Journal Article
The Grierson effect : tracing documentary's international movement
This landmark collection of essays considers the global legacy of John Grierson, the father of British documentary. Exploring the influence of his ideas on documentary and educational film in a wide range of national contexts, this book foregrounds core issues and new perspectives in international documentary cinema cultures and histories.
BOOK
Revitalization and Reconstruction of the Tenement House at 48 Tuwima Street in Lodz and the Traditional Architecture of the City
The article is devoted to the problems of repurposing historical industrial facilities for new functions. The main issues of such measures and the necessary conditions for their feasibility are identified. The existing experience of preserving industrial facilities with a change of function is analyzed, and how it can be used in the post-war reconstruction of Ukraine. The main requirements are the location in the centre of large cities with good transport accessibility and residential areas nearby. Examples are given of how new centres of public attraction with an artistic function arise on the site of industrial sites with the preservation of historical industrial buildings.
Journal Article
Collective creation in contemporary performance
\"Seeking to broaden current understanding of collective creation, this edited volume situates its contemporary practice in the tradition which emerged at the beginning of the twentieth century. The contributors trace the aesthetic, social, and political shifts that have marked this mode of theatre making, from mid-century manifestations as a theatrical expression of the New Left to present-day devising practices. With emphasis on Russia, Europe, and North America, Collective Creation in Contemporary Performance examines collective and devised theatre practices internationally and demonstrates the prevalence, breadth, and significance of collective creation in modern times\"-- Provided by publisher.
Book
The people are not an image : vernacular video after the Arab Spring
The wave of uprisings and revolutions that swept the Middle East and North Africa between 2010 and 2012 were most vividly transmitted throughout the world not by television or even social media, but in short videos produced by the participants themselves and circulated anonymously on the internet. In The People Are Not An Image, Snowdon explores this radical shift in revolutionary self-representation, showing that the political consequences of these videos cannot be located without reference to their aesthetic form. Looking at videos from Tunisia, Bahrain, Syria, Libya, and Egypt, Snowdon attends closely to the circumstances of both their production and circulation, drawing on a wide range of historical and theoretical material, to discover what they can tell us about the potential for revolution in our time and the possibilities of video as a genuinely decentralized and vernacular medium.
Book
A Conversation with Annie Ryan
In this interview, recorded in October 2018, we discuss the challenges the adaptation posed, the new opportunities presented by Ryan's reorientation of the narrative, and the potential directions in which her work may go in the future. ciaran Leinster: Thank you for speaking with The Arthur Miller Journal. Isabelle tells her to make it up, that it's a court room not a quiz show; but I had to cut all that, because I didn't want a situation where we let the lousy husband off the hook. In the first act of the movie, Roslyn goes out in her drunken state and has a solo dance beside a tree, so we kept that, and what I didn't realize until we were in performance is that that was a foundation for movement later on. When I did Mud, I also did it three-sided, and it was about rural poverty, so Desire was a little like that, and when Willie (White, artistic director and chief executive of the Dublin Theatre Festival) offered me Smock Alley, I knew I could do it there, even though it's tiny and has no depth.
Journal Article