Goldsmiths, University of London: Journals Online
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Exhibition Review. Studio Upstairs – 30th Anniversary Exhibition
No full textThirty years! That’s quite an achievement for a small organisation dependant upon a variety of funding streams, which are often precarious, that continues to occupy a central position in providing an alternative approach to the support of individuals with mental health issues – a phrase that gives rise to some tension within the organisation – and indeed, the exhibition itself
‘All Pretty Well Fed Up and Worn Out’? Morale, Combat Motivation, and the ‘Marshall Effect’ in VIII Corps at Gallipoli
Get PDFThis article explores the morale of the troops of British VIII Corps on Gallipoli in 1915-16, using Anthony King’s recent work on combat motivation in infantry platoons as a tool of analysis. King, partially rehabilitating the controversial work of S.L.A. Marshall, argues that left to themselves, the citizen armies of the early twentieth century tended to passivity. Officers resorted to a range of strategies to overcome this ‘Marshall Effect’, including appeals to patriotism and masculinity, mass tactics, and heroic leadership. It is contended that King’s model works well when applied to this case study – such methods were indeed employed by officers of VIII Corps - but the jury is out on its wider applicability, pending detailed case studies of other campaigns. As this article demonstrates, the morale of the troops of VIII Corps was severely tested throughout the Gallipoli campaign, as a rash of short-lived ‘panics’ demonstrated. There was a distinct downturn in August 1915, which was marked by an increase in rates of sickness and self-inflicted wounds, and a ‘strike’, when a sub-unit simply refused to carry out an attack. Despite this, there was no general and permanent breakdown of morale, in the sense of unwillingness to obey the orders of higher command. VIII Corps’ morale was characterised by stoicism and resilience in the face of adverse conditions
Benjamin A. Cowan, Securing Sex: Morality and Repression in the Making of Cold War Brazil
Get PDFBenjamin A. Cowan. Securing Sex: Morality and Repression in the Making of Cold War Brazil. Chapel Hill: University of North Carolina Press, 2016. 340pp. ISBN:978-1-4696-2750-2 (paperback). Price £36.95
Necrocinephilia, or, The Death of Cinema and the Love of Film: An Introduction by the Guest Editor
Get PDFIn 1995, at the centenary of the brothers Auguste and Louis Lumière’s invention of the cinématographe, the device that made public viewing of moving pictures possible, Susan Sontag assessed 100 years of film history thus: ‘Cinema, once heralded as the art of the 20th century, seems now, as the century closes […], to be a decadent art’. Perhaps unsurprisingly, she thought capitalism was the culprit, finding ‘movie making everywhere in the capitalist and would-be capitalist world’ devoted to the production of ‘films made purely for entertainment (that is, commercial) purposes’ that were ‘astonishingly witless’ – a form of ‘derivative film-making, a brazen combinatory or recombinatory art’ capable only of ‘reproducing past successes’. Sontag died in 2004, so she did not have the pleasure of seeing Avengers: Endgame (2019), the fourth film in the Avengers series and the twenty-third feature in the Marvel Comics franchise (now owned by Walt Disney productions), nor did she have the satisfaction of knowing that it is now the highest grossing film in cinema history, having banked almost $2.8 billion in box-office gross to date. Ever the cosmopolitan internationalist, Sontag would likely have found scant solace in knowing that just shy of 70% of that enormous haul came from foreign distribution. Not to put too fine a point on it, but if Sontag were alive today she might well look back to the decadent year of 1995 as the golden age of cinema (the year, after all, of Amy Heckerling’s Clueless, Brian Singer’s The Usual Suspects, and Todd Solondz’s Welcome to the Dollhouse).
 
The Powerful Man: Young-Poland Decadence in a Film by Henryk Szaro
Get PDFIn the Polish cinema of the interwar period, especially in the 1920s, it is difficult to find any depictions of the decadent worldview, although authors affiliated with decadence once dominated the artistic imagination prior to the First World War. To some extent, the disappearance of decadence was a result of Poland regaining national independence in 1918 after having been partitioned by three neighbouring countries for over one hundred years. Such films as Dla Ciebie, Polsko [For You, Poland] (dir. Antoni Bednarczyk, 1920) or Cud nad Wisłą [The Miracle at the Vistula] (dir. Ryszard Bolesławski, 1921) concentrate on a propagandist reconstruction of Polish identity by presenting a cohesive narrative of Polish history. Moreover, popular melodramas, often period pieces, referred to subjects previously barred by censorship. For example, a novel by Stefan Żeromski about one of the most tragically unsuccessful Polish uprisings, Wierna rzeka [The Faithful River] (1912), was adapted for the screen in 1922 as Rok 1863 [The Year 1863] (dir. Edward Puchalski), while the Polish national epic poem Pan Tadeusz by Adam Mickiewicz (1834) was filmed in 1928 (dir. Ryszard Ordyński). Commercial filmmakers also produced entertaining films inspired by Hollywood
Review: Kate Hext and Alex Murray (eds), Decadence in the Age of Modernism (Baltimore: Johns Hopkins University Press, 2019)
Get PDFThe broad premise of Decadence in the Age of Modernism – that the relationship between decadence and modernism is not so much contiguous as continuous – is one that has been steadily gaining traction in recent years. This collection of essays offers a series of fascinating examples that illuminate the nuances of this relationship and, crucially, collectively draw attention to the plurality of both traditions in a period too often dominated by the high modernist canon
Editorial
Get PDFWhat stands out in the articles in this issue, for us, is the depth of thinking. Thinking is sorely needed at a time when neo-liberalist agendas push the art therapy profession further and further into a realm which favours simplistic methods and narrow goals, where the subversive, anarchic aspects of art, and the freedom involved in bringing ‘whatever’ into open-ended therapeutic relationships, is seen as a luxury of the past, even perhaps, as transgressive. There is a split between theory and practice involved here and we need to start thinking of theory making itself as a practice and to recognise that all that we say and do is inseparable from it, and is political. This understanding is behind the papers published in this issue
Can Exhibiting Art Works from Therapy be Considered a Therapeutic Process?
Get PDFThis article considers issues relating to the exhibiting of art work that has been made within art therapy. It looks at the marginalisation of exhibiting in the development of the profession in Britain and its wider use outside of the UK. It reviews the arguments which support it whilst considering contentious issues, such as patient permission and the exchange of money, within the context of neo-liberalism and austerity. Drawing from experiences of facilitating a therapeutic art studio for refugees and asylum seekers, the paper goes on to propose an approach which takes into account the criticisms made of exhibiting patient art work and utilises a psychodynamic approach to the exhibition as a therapeutic process. Keywords: asylum seekers, refugees, exhibitions, social art therapy, neo-liberalism, austerity
Mark Edele, Stalin’s Defectors: How Red Army Soldiers became Hitler’s Collaborators, 1941-1945
Get PDFMark Edele, Stalin’s Defectors: How Red Army Soldiers became Hitler’s Collaborators, 1941-1945. Oxford: Oxford University Press, 2017. ISBN: 978-0198798156 (hardback). 224pp. Price £60.00
Two Battles at Le Cateau, 1914 and 1918: The Transformation of War
Get PDFThis article compares two battles for the town of Le Cateau, in August 1914 and October 1918, to highlight the changes in the character of war which had occurred over the four years of the First World War. These changes, it argues, extended beyond the technological, tactical, and operational ones often discussed by military historians. For instance, the kind of men doing the fighting, and the objectives for which they contended, were both radically different by 1918, with important consequences for the way the war was fought