New issue of Scene 4.2 is now available!
Monday, 13 February 2017
Intellect is delighted to announce the new issue of Scene 4.2 is now available.
For more information about this issue, click here or email firstname.lastname@example.org
Articles in this issue include (partial list):
Authors: Rhian Collings
Page Start: 99
Drawing on the work of European thinkers such as Zygmunt Bauman, Jürgen Habermas, Jacques Derrida, Roberto Dainotto, Amin Maalouf and E. J. Hobsbawm, this article will demonstrate to what extent all four authors show their readers that the importance given to national borders can be subverted through the motion of travel, in which these arbitrary lines on the map are crossed by the travellers in question. In accordance with the renowned pacifist Romain Rolland – who believed that national and European identity were not ‘mutually exclusive’ affinities – these four authors use their narratives to promote a sense of European or supranational identity, by urging their readership to rethink their relationship with their nation as part of a collective European whole, and to perceive diversity as being not Europe’s weakness, but rather its greatest strength. The author demonstrates how it is through valuable cultural productions such as these narratives of travel that Europeans are exposed to an alternative and more inclusive mode for identity construction, which triumphantly forwards what Ulrich Beck describes as ‘a Europe that helps diversity to flourish’.
Authors: Piers D. Britton
Page Start: 117
Firstly, this article addresses the commonalities between production design for film and television, in terms of what and how design signifies. Secondly, it explores differences in the semiotic potential of design for the two media. The author argues that what design most securely signifies is genre, and offers a qualified endorsement of the frequent claim that design indexes narrative mood and tone. Design imagery establishes both mood and generic affiliation by calling upon viewers’ tendency to interpret new stimuli in relation to established standards. In other words, design satisfies primarily in terms of its perceived ‘rightness’, in relation either to genre precedent or more nebulous benchmarks such as realism.
Authors: Tua Helve and Sofia Pantouvaki
Page Start: 149
When designing for contemporary dance, Finnish costume designer Marja Uusitalo integrates herself into the process of each production, allowing the costumes to emerge from collaboration. Starting from the costume designer’s ‘chase of untamed ideas’ and continuing with the production team’s ‘shared experiences’, Uusitalo’s design work is the outcome of a process led by trust, dialogue, creative exchange and experimentation. Through Uusitalo’s work, this article examines the relationship between costume design process and costume outcomes in the context of Finnish contemporary dance in the twenty-first century. This article discusses the frame of Uusitalo’s work and analyses three of her designs as case studies. The analysis not only reveals the ways in which the design process informs the final costumes for the performance, but also brings to the forefront elements of process-based costume design that, as this article argues, result in an explicit understanding of collaboration as well as of the agency of the costume designer. Furthermore, by proposing ways to consider alternative working methods in costume design, this article contributes to an ongoing discourse on processes and hierarchical structures in the creative fields more broadly.
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