1,721,210 research outputs found
Michelle Williams on Sociology and Truck Stop Employees
Get PDFIn this episode of Confluence, hear from Michelle Williams, a master’s student in the sociology department, about her interest in gender and inequality, her path to sociology, and her thesis about truck stop employees.https://scholarworks.umt.edu/confluence_podcast/1023/thumbnail.jp
Heath Ledger and Michelle Williams arriving at the 2005 (78th) Academy Awards ceremony
No full textNominees Heath Ledger and Michelle Williams arriving at the 2005 (78th) Academy Awards ceremony. Color photographic print
Madame B (Mieke Bal y Michelle Williams Gamaker, 2014)
No full textMadame B: Explorando el capitalismo emocional1 de Mieke Bal y Michelle Williams Gamaker es una adaptación narrativa en formato instalación, en 8 escenas y 16 pantallas, de Madame Bovary de Gustave Flaubert, en la que se plasman muchos de los principios teóricos y las concepciones visuales e históricas que Mieke Bal ha ido desarrollando en su obra escrita a partir de las coorde- nadas (interdisciplinares) de los estudios visuales, la narratología y la hermenéutica. 
The Switch
No full text"The Switch" by artist Michelle Williams explores the tension between documentary filmmaking and the subjective experience. While filming a spiritualist séance, Williams wrestles with the camera's role in shaping the narrative and the audience's perception of reality. The final work blurs the line between documentation and artistic manipulation, leaving viewers to question what they "see.
Framing Madame B: Quotation and Indistinction in Mieke Bal and Michelle Williams Gamaker’s Video Installation
Get PDFThe article engages with the video installation Madame B by Mieke Bal and Michelle Williams Gamaker. The work was premiered in the city of Łódź in Poland (between 6 Dec. 2013 and 9 Feb. 2014). The author makes use of the exhibition brochure by two artists published by the Museum of Modern Art, and the recording of a seminar held by Bal and Williams Gamaker after launching their work. The article focuses on the innovative audiovisual interpretation of Flaubert’s famous novel. Basing the argument on the concept of framing created by Bal, the author applies it to Bal and Williams Gamaker’s exhibition by relating it to the history and culture of the Polish location where it was first shown. Above all, however, the article discusses the importance of quotation and indistinction in Madame B, where the artists quote from (among others): Louise Bourgeois, Maya Deren, Artemisia Gentileschi, Charlotte Perkins Gilman, William Kentridge and Sol LeWitt
Michelle Williams Gamaker in conversation, Artsadmin
No full textArtist Michelle Williams Gamaker who will discuss the production of her new work ‘The Fruit is There to be Eaten’ based on British directors Powell and Pressburger’s film ‘Black Narcissus’ (1947). To echo the film having been shot at Shepperton Studios (despite being set in India), the video is shot in Sands Film Studios, Rotherhithe.
In the 1939 Rumer Godden novel of the same name, the relationships between an Indian lower-caste dancing girl and two British missionary nuns were primarily established on colonial benevolence. Michelle's work addresses this dynamic by having these characters come to recognise that they are trapped in a film set in 2017, marking 70 years of Indian Independence.
Michelle’s work explores the legacy of colonialism, to provoke in viewers a revision of the traditional roles of women – as well as the hegemony of gender binaries – in the patriarchal structure of colonialism
Mutual Muses in American Independent Film: Catherine Keener and Nicole Holofcener, Michelle Williams and Kelly Reichardt
No full textThis chapter explores mutual inspiration and collaboration between female directors and actresses, singling out Nicole Holofcener and Catherine Keener and Kelly Reichardt and Michelle Williams. Holmlund applies the feminist ethics of Luce Irigaray’s later work to propose that the films of Holofcener/Keener and Reichardt/Williams concern relationships that acknowledge difference. Leaving an interval between partners that eliminates the objectification of the other rather than assuming positions of dominance and submission, their films, and their working partnerships as well, value an Irigarayan ‘difference for’ others, if in different ways, with Holofcener/Keener performing the subtle minutia of everyday encounters and Reichardt/Williams exploring relationships across class, race, species and the biosphere.</p
Madame B (Mieke Bal y Michelle Williams Gamaker, 2014): la denigración de la estética en los estudios
No full textMadame B: Explorando el capitalismo emocional1 de Mieke Bal y Michelle Williams Gamaker es una adaptación narrativa en formato instalación, en 8 escenas y 16 pantallas, de Madame Bovary de Gustave Flaubert, en la que se plasman muchos de los principios teóricos y las concepciones visuales e históricas que Mieke Bal ha ido desarrollando en su obra escrita a partir de las coorde- nadas (interdisciplinares) de los estudios visuales, la narratología y la hermenéutica
Distant Relative Michelle Williams Gamaker
No full textDistant Relative is a reconstruction; somewhere between schoolroom, cinema, and court of law. It is a site of shared and elusive personal histories.
Since 2014, British moving image and performance artist Michelle Williams Gamaker has been developing ‘fictional activism’: the restoration of people of colour performing in 20th century British and Hollywood studio films from marginalised characters to central figures, who return in her works to challenge the fictional injustices to which they have been historically consigned.
Distant Relative marks a chapter in this exploration, with a focus on Williams Gamaker’s self-confessed obsessive journey into the life of Hollywood film star Sabu, whom she first came across as a teenager in Black Narcissus (Michael Powell & Emeric Pressburger, 1947).
Sabu was ‘discovered’ in 1936 by anthropologist filmmaker Robert Flaherty who, after gathering footage in a maharajah’s palace, brought the 12-year-old son of a mahout from Mysore to Hollywood. Flaherty cast him in Alexander Korda’s Elephant Boy (1937), which catapulted Sabu to international stardom. Sabu went on to major roles such as Abu in The Thief of Bagdad, 1940 and Mowgli in The Jungle Book, 1942. He became a household name,appearing on stamps and tea sets, endorsing cereals, starring at the 1939 San Francisco World’s Fair and featuring in lifestyle magazines on both sides of the Atlantic.
Williams Gamaker is fascinated by the tension between construction and illusion in the studio system fiction machine, that offered a controlled colonial vision of the British Raj and its people, including the casting of white British actors in the roles of Indians. Sabu in effect became the go to actor for such films: the studios now had someone authentic who didn’t need to be ‘blacked up’.
Michelle Williams Gamaker’s short film, The Eternal Return, the third film in her Dissolution trilogy, premieres at Tintype. It posits a now-struggling Sabu in 1952 as he supports his family by performing – once more with a troupe of elephants – in Tom Arnold’s Christmas Circus in Haringey Arena. With the inclusion of British Pathé footage of circuses in 1950s and 60s Britain and their bizarre parading of tame beasts as ‘exotic entertainment’, the film shows the indignity Sabu felt by being similarly deployed. The film thus explores the notion of success in the absence of agency as it imagines the resentment of an individual for whom the price of prosperity was to be typecast. In Sabu’s case, this was the conflation of his background and his career that imposed a seemingly inescapable relationship with elephants; the animals recur throughout his filmography. It also highlights how, in spite of his extraordinary fame, Sabu was always the sidekick and never the lead or love interest.
Also in the exhibition is a selection of Williams Gamaker’s collection of Sabu paraphernalia: a small part of the vast array of crockery and teapots (so-called Sabuware), posters, photographs and cigarette cards still in circulation. Williams Gamaker hopes to be the world’s largest collector of these items, fully aware that this compulsion is as problematic as the objects themselves. But her archive aims to consolidate into one place an individual distributed for consumption. A large textile, a collage of press photos from the 1950 paternity case Sabu fought, casts the star in a more problematic light, further muddying the water.
In January 2018, Williams Gamaker made a pilgrimage of sorts to Forest Lawn Memorial Park, Los Angeles, the cemetery to the stars also known as the Disneyland of Death. In brown taffeta cocktail dress and stilettos, she located in the 300-acre site Sabu’s grave: no.1, Lot 482, in the Sheltering Hills plot. There she began to paint her nails gold while in private commune with the star.
Shortly afterwards she was commandeered by security and ordered to leave. Having come so far, it was at this point Williams Gamaker protested with: ‘…it’s just that I’m a distant relative’. Once uttered, these words made perfect sense
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