共查询到20条相似文献，搜索用时 31 毫秒
1.
Sarah Kenderdine 《Curator: The Museum Journal》2013,56(2):199-218
This article examines two exhibition installations that integrate high‐resolution digital archeological datasets (photography and 3D architectural models) with immersive, interactive display systems. These analogous installations, Pure Land: Inside the Mogao Grottoes at Dunhuang and Pure Land: Augmented Reality Edition, allow visitors to engage in different ways with a full‐scale augmented digital facsimile of Cave 220 from the UNESCO World Heritage site, the Mogao Grottoes, Gansu Province, northwestern China. The peerless treasuries of paintings and sculptures at Dunhuang are extremely vulnerable. Comprehensive digitization has become a primary method of preservation at the site. The digital facsimiles of this cultural paragon can be transformed, providing formative personal experiences for museum visitors. The Pure Land projects contribute to new strategies for rendering cultural content and heritage landscapes. Interpreting these installations through the lens of phenomenology and panoramic immersion helps situate them at the forefront of virtual heritage today. 相似文献
2.
Patrik Steorn 《Curator: The Museum Journal》2012,55(3):355-365
Abstract Important work in the last decades within the museum studies field has laid bare the implicit nationalist, evolutionist, and patriarchal narratives of the traditional museum. So far, though, only a few writers have discussed the museum’s role in supporting “heteronormative” narratives that consolidate heterosexuality as a norm within social and cultural life. This article is a critical discussion of methodological aspects of a queer perspective in interpreting, exhibiting, and organizing museum collections. Two shows with LGBT / queer perspective that were exhibited in Stockholm, Sweden during EuroPride 2008 are the focus of this article’s analysis. They consist of the photo exhibition Show Yourself! at the Nordic Museum, and Queer: Desire, Power, and Identity at the National Museum of Fine Arts. The author himself was the curator of the latter exhibition. This article offers personal reflections on the methodological challenges of translating an abstract queer perspective into museum practice in order to envision online and on‐site museum encounters that can mobilize various kinds of pluralistic passions. 相似文献
3.
Abstract When the Chicago History Museum re‐opened its doors on September 30, 2006 after a 21‐month‐long renovation, the debut included a new interactive history gallery for families. The exhibition, Sensing Chicago, was designed primarily to appeal to and communicate effectively with eight‐ and nine‐year‐old children. Since this was a new target audience for the museum's exhibition program, the team followed a course for this project that departed from the museum's typical exhibition development. The process was informed by audience research that has broadened our understanding of how a collections‐based history museum that traditionally caters to adult audiences can create meaningful and memorable experiences for children. This article focuses on one aspect of the research, a three‐month concept‐testing phase conducted by in‐house staff, which provided the team with useful information that, in turn, impacted the development and design of the gallery. 相似文献
4.
《Curator: The Museum Journal》2017,60(4):467-487
This paper contextualizes the Stanley Kubrick exhibition, a worldwide exhibition tour program dedicated to showcasing the complete oeuvre of the filmmaker Stanley Kubrick, within ‘post‐cinematic’ conditions. Since the mid‐1990s, the formal and experiential components of the cinema in the 20th century have increasingly become displaced from the traditional apparatus and site and ‘relocated’ within new technological and institutional platforms, and museums have become one of those new sites for content consumption. The paper discusses both the limitations and possibilities of the exhibition as it is considered to represent the migration of cinema into the art museum context as one salient phenomenon of post‐cinematic conditions. The Kubrick exhibition is explored to uncover the underlying tensions of the ‘exhibition of cinema’ as a key trend of major international museums, between the movie theater as black box and the art museum's exhibition space as white cube. It considers the difference between these two institutional platforms and their conceptions of objecthood, artifact and the temporal economy of the viewing experience. The author argues that this event succeeds in realizing the possibilities for revivifying three constants of cinema: film auteur, cinematic apparatus, and intermediality. The ambivalence demonstrates that while the museum's exhibition of cinema inevitably removes some of its ontological essences, it also preserves and revivifies others. 相似文献
5.
Danielle M. Stern 《The Communication Review》2013,16(1):50-77
Using MTV's popular long-running program The Real World as a case study, this essay examines the interrelationship of the construction and consumption of bodies in an increasingly surveillance-based, commercial, hybrid media culture. This article is part of a larger project that employed a multi-method approach grounded in feminism combining textual data from The Real World with interviews with producers and female fans of The Real World. The author investigates how Real World viewers make sense of the series' claims to the real, using the body as the site of cultural production. Two key frames of bodies on The Real World are identified: the troubled body and the heteronormative body. The analysis is situated among studies of media realism to interrogate the context in which real women today are recreated as the “fractured female” in popular culture. The author argues that scholars should continue in a move toward interdisciplinary approaches that link the cultural with the capital and offers the body as a major site of cultural production and reception. 相似文献
6.
Alcina Cortez 《Curator: The Museum Journal》2016,59(2):153-176
Popular music is deeply embedded in the dynamics of the contemporary world by means of its capacity to engender modes of privacy and publicness, to communicate emotion, and to enable us to create connections—and so to work within communities. Museums have traditionally addressed art‐music through the exhibition of musical instruments. But now that the exhibition of popular music has presented new challenges and opportunities worldwide for museum professionals, examining popular music discourses in museums is of the utmost importance in order for it to be meaningfully celebrated as instances of heritage. This paper expands on the representation of Popular Music in museums in Portugal at the beginning of the twenty‐first century by discussing a case study: the exhibition No Tempo do Gira‐Discos: Um Percurso Pela Produção Fonográfica Portuguesa at Museu Nacional da Música, Lisbon, Portugal, in 2007. Two methods of analysis are deployed: interviews with the curators, which revealed insights on their understanding of popular music, and analysis of the exhibition through discourse analysis, specifically through the lens of the analytical concepts genre and register. Although the curators had themselves previously developed insightful and innovative concepts with regard to popular music, discourse analysis reveals how, in this instance, the museum practices were primarily inherited from past traditions, and so failed to convey the meanings previously envisioned by the curators. In order for genuine public engagement with museum exhibitions about music, a collaboration is required between the music studies and museum studies professionals. Only through such a collaboration can it be ensured that those contemporary dynamics are present and meaningful. 相似文献
7.
This Investigation was designed to explore the experience of shyness within the black culture. Specifically, this is the second study In a three‐phase research program designed to assess the relationship between social network attributes and shyness. In order to achieve this purpose, this study compared the communication networks of high, moderate, and low‐shy black communicators with expectations about the communicative behavior of shy individuals drawn from existing research on shyness. The results suggest that shyness may be experienced differently within culturally‐diverse populations; thus, there is a need for In‐depth intracultural investigations of shyness before an understanding of this phenomenon in intercultural contexts can be achieved. 相似文献
8.
Shiyanthi Thavapalan 《Curator: The Museum Journal》2014,57(1):137-145
The curators of the exhibition Uruk: 5000 Years of the Megacity claim that Uruk is the earliest known city in the world, the birthplace of writing, bureaucracy, monumental art, and architecture. Their reconstruction of this ancient metropolis in present‐day Berlin suggests to visitors that modernity and Mesopotamia are perhaps not worlds apart after all. The sumptuous new exhibition—organized by the Vorderasiatisches Museum/Staatliche Museum Berlin, the Reiss‐Engelhorn Museum Mannheim, and the Curt Engelhorn Foundation in collaboration with the German Archeological Institute and the German Oriental Society (DOG)—commemorates the centennial of the first German excavations at the site of Warka in southern Iraq. 相似文献
9.
ABSTRACT This paper analyzes a locally bound and hybridized form of civic engagement through digital media. Based on an explorative case study of a Slovak Facebook page called Zomri, engaged mostly in both mockery and denunciation of societal and political actors, the paper aims to challenge existing conceptual definitions of social media-based civic engagements, pointing to its hybridization. Through in-depth interviews with its founders and a survey of its supporters, we position the group and its activities through three separate lenses (trolling, digital vigilantism, and citizen journalism) that constitute an emergent category of dynamic and politically influential civic society actor. 相似文献
10.
How do visitors to fine art museums experience exhibitions? Can we classify their experiences? What are the factors that drive different types of visitor experience? We set out to answer these questions by analyzing from sociological, psychological, physiological, and behavioral perspectives the responses of 576 visitors to a special exhibition 11: 1 (+ 3) = Eleven Collections for One Museum mounted at the Kunstmuseum St. Gallen, Switzerland, from June to August 2009. Our five‐year research project, eMotion: Mapping the Museum Experience, interpreted computer‐modeled movement‐tracking and physiological maps of the visitors in complement with entrance and exit surveys. We tested individual aspects of the visitor, such as her or his expectations of the exhibition prior to seeing it; his or her socio‐demographic characteristics; her or his affinity for art, mood just before and receptivity just after the visit; and spatial, individual, and group‐related behavior patterns. Our study breaks down three types of exhibition experience that we call “the contemplative,” “the enthusing,” and “the social experience.” The results yield new information about aesthetic arousal, cognitive reaction, patterns of social behavior, and the diverse elements of the exhibition experience. 相似文献
11.
《Curator: The Museum Journal》2017,60(1):67-85
While there is increasingly widespread use of social media by those visiting museum exhibitions relatively little is understood about this practice. Further still, the focus of such practices is unknown yet research in this area can reveal much about how visitors using applications driven by smart phone technology are engaging with exhibition content, space, design, architecture and people. This article draws on a case study of one exhibition using visual content analysis to frame, explore and interpret visual and text based posts by visitors using the social media application, Instagram, as part of their experience. Findings suggest that museum visitors using this application do so to account for and record details of their experience that draws attention to exhibition content, specifically objects. The implications are extensive for cultural institutions given the uptake of social media in all corners of life, with museums and galleries being a lively context for social media use via mobile technologies. 相似文献
12.
This paper discusses the benefits of using Latent Class Analysis (LCA) versus K‐means Cluster Analysis or Hierarchical Clustering as a way to understand differences among visitors in museums, and is part of a larger research program directed toward improving the museum‐visit experience. For our comparison of LCA and K‐means Clustering, we use data collected from 190 visitors leaving the exhibition Against All Odds; Rescue at the Chilean Mine in the National Museum of Natural History in January 2012. For the comparison of LCA and Hierarchical Clustering, we use data from 312 visitors leaving the exhibition Elvis at 21 in the National Portrait Gallery in January 2011. 相似文献
13.
14.
Jeffrey F. Klenotic 《The Communication Review》2013,16(4):461-495
In the 1920s, Hollywood moved to normalize a vertically integrated industrial structure based on centralized control over film production, distribution, and exhibition. The intensity of this effort at greater corporate rationalization increased dramatically between 1926 and 1932, as major studios aggressively assumed ownership of key first‐run movie palaces in cities and towns across America. Current studies of moviegoing during this period often suggest that studio control over exhibition helped standardize the contexts of film reception, thereby pressing pre‐existing class specificities of moviegoing into a more easily managed and legitimized middle‐class form of cultural practice. The case study presented here offers a theoretically‐informed but empirically grounded investigation of film exhibition and moviegoing during this period, and argues that film exhibition and moviegoing continued to be marked by cultural distinctions that helped articulate class relations in the wider social formation. 相似文献
15.
Elana Shefrin 《Critical Studies in Media Communication》2013,30(3):261-281
The culture of media entertainment, as exemplified in the Lord of the Rings and Star Wars film franchises, is being infused with new modes of authorship, production, marketing, and consumption that are characterized by Internet fan clubs, online producer‐consumer affiliations, and real‐world legal controversies over the proprietary ownership of digital bits of information. To analyze these new interactive patterns being employed by two competing media franchises, Bourdieu's theory of cultural production is supplemented with Jenkins's study of participatory fandom. Then, the contested nature of computer‐mediated communication is explored using a model that brackets the opposing potentialities of Internet influence on offline society. 相似文献
16.
More recently, many scholars have lamented the decline of social capital, civic and political participation in American society. This study attempts to clarify the concept of social capital and its major components. We differentiate two dimensions of social capital: trust and social connectedness. In addition, we investigate the differential effects of a full range of media use on civic and political participation. Analysis of data from a telephone survey in Clarksville, Tennessee in 2002 showed that people's social connectedness enhances both civic and political participation. Time spent in reading newspaper and watching public affairs on television was positively correlated with political participation whereas frequency of Internet use and entertainment TV viewing was not. The results also showed no correlation between media use and civic participation. Implications of the findings for future research on democratic citizenship were discussed. 相似文献
17.
JoEllen Fisherkeller 《The Communication Review》2013,16(3):187-212
Using media education and cultural studies perspectives, I analyze ethnographic data gathered among diverse twelve and thirteen‐year‐olds who live in New York City. Three case studies show that individual interpretations of favorite TV figures, understood in relation to lived experiences, indicate tacit learning about dialectical issues of identity and social power relations. The dynamics of this learning challenges media educators to account for and address students’ actual cultural experiences of identity and social power in association with their media experiences. In addition, these young people's TV interpretations point to their learning about participation in corporate media culture via the system of image and message construction—a powerful means of success in the United States. Thus media educators must confront their students’ dreams and expectations about succeeding in capitalist terms, while encouraging their criticisms in a democratic spirit. 相似文献
18.
Sarah Banet‐Weiser 《Critical Studies in Media Communication》2013,30(2):119-139
Nickelodeon is a powerful commercial cable network of television, internet activities, toy manufacturing, and video production. The network has been recognized by both industry professionals and media scholars for its representation of girls as strong, intelligent lead characters. Focusing on entertainment programs Clarissa Explains It All and As Told by Ginger, as well as on Nickelodeon's non‐fiction children's news program, Nick News, I argue that the media context of girl power, combined with the increasing recognition of adolescent girls as both powerful citizens and consumers, offers what at times looks like a radical gesture in terms of disrupting dominant gender relations. However, we can also read the mainstream embrace of girl power as a restabilization of particular categories of gender, so that this “radical” challenge moves toward the entrenchment of conventional gender relations. 相似文献
19.
This paper tests the extent to which social media is shaping civic engagement initiatives to build trust among people and increase trust in their institutions, particularly the government, police and justice systems. A survey of 502 citizens showed that using social media for civic engagement has a significant positive impact on trust propensity and that this trust had led to an increase in trust towards institutions. Interestingly, while group incentives encouraged citizens to engage online for civic matters, it is civic publications through postings on social media that intensify the urge of citizens for civic action to address social issues. Post-hoc analysis via ten interviews with social activists was conducted to further examine their perceptions on trust towards institutions. The overall findings suggest that institutions, in their effort to promote a meaningful and trusting citizen engagement, need to enhance trust among the public by fostering social capital via online civic engagement and closing the public–police disengagement gap. 相似文献
20.
Juliet Gardiner 《Publishing Research Quarterly》2000,16(1):63-76
Martin Amis’ novel The Information was published in paperback in May 1995. For a number of convergent reasons, the publication became, in itself, a major media
event. In examining this occasion., the economic and cultural imperatives that shaped the marketing of The Information and the wider context of contemporary book publishing and its relation to other media, this paper problematises the relationship
between cultural and economic value. It considers the discourse around what an author is “worth” in a late capitalist society
of fiercely competitive consumer choice, and how the representation of an avowedly “literary” author is mobilised in the marketplace
in ways that aim not to threaten to compromise the investment in the difference between literary and popular fiction. 相似文献