34464 research outputs found
Sort by
Hit the Wall
No full textCliff, the drifter, enters while passing Mika and Tano sitting on their stoop. It is a hot summer day and the lighting feels oppressive and over bright.https://ir.uiowa.edu/lighting_design/1167/thumbnail.jp
Faculty/Graduate Dance Concert 2020
No full textThe fifth movement of A Course in Rigor & Cheese: Disney in Abstraction, “The Gospel Truth” from Hercules. A trio emerges from upstage representing The Muses featured in the movie. I lit the trio in two shades of purple from opposing sides to convey that specific moment from the movie as well as to sculpt and define the dancers during their featured moment.https://ir.uiowa.edu/lighting_design/1125/thumbnail.jp
Marat\u27s Dead
No full textJohnny becomes angry with Char. As he defends himself, the image of a distorted American flag fades up on the screens signaling his belief in his own lie.https://ir.uiowa.edu/media_design/1008/thumbnail.jp
Marat\u27s Dead
No full textWater continues to run on the screens as Char talks to Johnny.https://ir.uiowa.edu/media_design/1004/thumbnail.jp
Marat\u27s Dead
No full textJohnny confronts Char as he circles the bath. An illuminated white textured curtain hangs from the ceiling while more white tiles are displayed on screens behind him.https://ir.uiowa.edu/media_design/1001/thumbnail.jp
Summary report of the surficial geologic map of the west point 7.5’ quadrangle, Lee County, Iowa
Full text linkhttps://ir.uiowa.edu/igs_ofm/1166/thumbnail.jp
Embodying Histories of Violence: Representations of Scarred Bodies of Sri Lankan Tamil Women in Sri Lankan Tamil Diasporic Women’s Writing in English
Full text linkThe paper seeks to explore embodied histories of violence through an insightful discussion on the representations of scarred bodies of Sri Lankan Tamil women in Sri Lankan Tamil diasporic women’s writing in English. The study employs a qualitative approach and conducts a content analysis of selected narratives in the primary texts: Shankari Chandran’s Song of the Sun God (2017), V.V. Ganeshananthan’s Love Marriage (2008), and Mary Anne Mohanraj’s Bodies in Motion (2005). The narratives selected for the study are approached as a body of literary work that portrays scarred bodies of Sri Lankan Tamil women both within and outside Sri Lanka against the backdrop of ethnic and communal violence. It posits that in a context of war, bodies of Sri Lankan Tamil women, as represented in the novels, are perceived as battle sites on which warring factions inscribe their authority. The study then examines the legacy of violence as a shared communal trait among Sri Lankan Tamils and argues for the alternative presented through the narratives of approaching the scarred bodies of Sri Lankan Tamil women as spaces of empowerment, as opposed to impure or sullied bodies that are incapable of representing their Sri Lankan Tamil families and communities
“Mapping Vietnamese Identities in Tran Anh Hung’s and Tony Bui’s Films: Femininity and Love”
Full text linkMany Vietnamese diasporic film directors have presented women as conveyors of Vietnamese culture, with their love symbolizing Vietnamese identity. This identity has been characterized by the virtues of sacrifice, endurance, and cohesion within a patriarchal family. On one hand, their femininity, as well as their female beauty, can be fully realized only when they are viewed through the perspective of a man and connected to his love. This remains true even if female love sometimes becomes overly patient or rebellious. On the other hand, women in diasporic films possess characteristics that resemble the image of a woman in a traditional environment, or more specifically, a Confucian space. Love keeps them alive. However, they sometimes break out, their love causing them to rebel. Inevitably, they will return to the original, traditional space. This paper argues that this interaction between love, femininity and tradition creates a mechanism for the resistance of violence. In particular, it examines two Vietnamese diasporic directors’ perspective on violence in Vietnam, a place where maintaining a state of harmony and non-violence lays at the core of Vietnamese identity. The two films examined are The Scent of Green Papaya (dir. Tran Anh Hung, 1993) and Three Seasons (dir. Tony Bui, 1999)