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Form and Ideology in Cinematic Propaganda about the Spanish Civil War
No full textLa guerra civil española fue la ocasión de un notable aumento en la producción de propaganda de guerra, particularmente en forma de cine. Los republicanos, los nacionales y sus respectivos aliados produjeron cientos de películas para buscar apoyos tanto enEspaña como internacionalmente. Después de la guerra, los regímenes fascistas de España, Italia y Alemania continuaron produciendo propaganda sobre la guerra civil para imponer su versión del conflicto. La mayoría de la crítica actual que ha estudiado estas películas (y que se ha centrado en las películas fascistas producidas en España) se ha interesado por su ideología sin tener en cuenta sus características cinematográficas y, por esa razón, nuestra comprensión de estas películas es incompleta. En esta tesis, estudio la interacción de forma e ideología en seis películas propagandísticas creadas entre 1936 y 1945, representativas de los diferentes orígenes nacionales y géneros del corpus disponible: ¡Nosotros somos así!(1937), Blockade(1938), TheSpanishEarth(1938), Romanceromarroquí(1939), SinnovedadenelAlcázar(1940) y Raza(1942). Identifico seis técnicas cinematográficas que dan forma a la retórica visual propagandística en este corpus: primer plano, travelling frontal, sobreimpresión, planos detalle de periódicos e inserción de metraje de archivo. Argumento que el uso de cada una de estas técnicas está más relacionado con el género cinematográfico, país de origen y objetivos específicos de cada película que con su ideología.
The Spanish Civil War saw a marked growth in the production of war propaganda, in particular in cinematic form. The republicanos, nacionales, and their respective allies produced hundreds of films in order to rally support both within Spain and internationally.After the war, the fascist regimes of Spain, Italy, and Germany continued to produce propaganda about the civil war to enforce their version of the conflict. Most current scholarship on these films (which focuses on fascist productions from Spain) concentrates on their ideology without accounting for their cinematic features, and therefore our understanding of these works remains incomplete. In this thesis, I study the interplay between form and ideology in six propaganda films from 1936 to 1945, representative of the different national origins and genres of the available body of works: ¡Nosotros somos así!(1937), Blockade(1938), TheSpanishEarth(1938), Romanceromarroquí(1939), SinnovedadenelAlcázar(1940), and Raza(1942). I identify five cinematic techniques that shape the visual rhetoric of propaganda in this corpus: close-ups, forward tracking shots, superimposition, extreme close ups of newspapers, and insertion of archival footage. I argue that the use of each of these techniques is more closely related to cinematic genre, country of origin, and the specific aims of each film than to ideology
China’s Alternative: Kang Youwei’s Confucian Reforms in the Late Qing Dynasty
No full textMy thesis draws heavily on existing literatures in the field of Chinese history, and many of my debts will be evident from my bibliography. To some I owe thanksin particular. I would like to express my gratitude to Professor Seok-Won Lee in the History department of Rhodes College. This thesis would not be finished without his challenging and informational instructions on the intellectual history. I cannot emphasize the role of Professor Michael Drompp in this project. His teachings on traditional China gave me a comprehensive understanding of the overall historical contexts, and his resourcefulness with secondary sources contributed as a vital part of my project. I would also like to thank Professor Wu Chia-rong for serving as part of the committee and reading my thesis. Thanks Bailey Choudbury (Class of 2018) for editing my work and correcting errors and mistakes. In the end, I thank all the faculty of the History department with their dedications on teaching history, which set the foundations for me and my current research.Finally, I want to say thanksto my peer students from China,Yu Nancun, Zhao Zhiyu, Zhou Jiaquan, Shi Yuxin, for constantly supporting, inspiring, and challenging me during this project
Spring Beginning Painting Project 1: Environment
No full textThis painting was digitized and uploaded to DLynx by the Visual Resources Center in Spring 2018.This is a painting created by Vishwesh Ravva. It was submitted as part of the first project assigned to the Beginning Painting class of Spring 2018 taught by Carl Moore. This assignment, titled "Environment," required students to complete 20 paintings on a 9 x 12 inch cold press illustration board and two color charts. The "Environment" subject could reference objects from everyday life or a still life that was set up in the studio
Spring Beginning Painting Project 1: Environment
No full textThis painting was digitized and uploaded to DLynx by the Visual Resources Center in Spring 2018.This is a painting created by Sean Mattheisen. It was submitted as part of the first project assigned to the Beginning Painting class of Spring 2018 taught by Carl Moore. This assignment, titled "Environment," required students to complete 20 paintings on a 9 x 12 inch cold press illustration board and two color charts. The "Environment" subject could reference objects from everyday life or a still life that was set up in the studio
Spring Beginning Painting Project 1: Environment
No full textThis painting was digitized and uploaded to DLynx by the Visual Resources Center in Spring 2018.This is a painting created by Jessica Shainker. It was submitted as part of the first project assigned to the Beginning Painting class of Spring 2018 taught by Carl Moore. This assignment, titled "Environment," required students to complete 20 paintings on a 9 x 12 inch cold press illustration board and two color charts. The "Environment" subject could reference objects from everyday life or a still life that was set up in the studio
Spring Beginning Painting Project 2: Human Figure
No full textThis painting was digitized and uploaded to DLynx by the Visual Resources Center in Spring 2018.This painting was created by Miriam Ellis. It was submitted as a part of the second project assigned to the Beginning Painting class of Spring 2018 taught by Carl Moore. This assignment was focused on "the human figure" and required students to complete 2 paintings on a 16 x 20 canvas panel. The "human figure" subject included portraitures and/or the human body
Eye
No full textThis digital image was taken by a member of the Memphis Art Project team. It was uploaded to DLynx during summer 2019.A dark eye with a furrowed eyebrow drips black paint over a yellow, orange, and red background. Underneath in Gothic font is the artist name, "PREACHER". This work was created as part of Paint Memphis 2018. It can be found off 711 Doctor Martin Luther King Jr Ave
Spring Beginning Painting Project 1: Environment
No full textThis painting was digitized and uploaded to DLynx by the Visual Resources Center in Spring 2018.This is a painting created by Prentiss Smith. It was submitted as part of the first project assigned to the Beginning Painting class of Spring 2018 taught by Carl Moore. This assignment, titled "Environment," required students to complete 20 paintings on a 9 x 12 inch cold press illustration board and two color charts. The "Environment" subject could reference objects from everyday life or a still life that was set up in the studio
Spring Beginning Painting Project 1: Environment
No full textThis painting was digitized and uploaded to DLynx by the Visual Resources Center in Spring 2018.This is a painting created by Eliza Lieberman. It was submitted as part of the first project assigned to the Beginning Painting class of Spring 2018 taught by Carl Moore. This assignment, titled "Environment," required students to complete 20 paintings on a 9 x 12 inch cold press illustration board and two color charts. The "Environment" subject could reference objects from everyday life or a still life that was set up in the studio
"Liberation" exhibition image
No full textThis digital image was taken by Chip Pankey and uploaded to DLynx by the Visual Resources Center in July 2022.This is an image documenting the "Liberation" exhibition, which was held in the Clough-Hanson Gallery from February 23 through March 24. The exhibition was presented by The Collective, a Memphis-based non-profit designed to uplift Black artists and art; the exhibition was curated by Lawrence Matthews. This collection includes painting, sculpture, photography, and installation by artists incluing Natalie Eddings, Nubia Yasin, Terry Lynn, and Desmond Lewis