To learn more, click the link in our bio to learn about all the creepy things we are doing for horror creators today! Stay safe out there among all this yuk, and as always.stay creepy! □□□ With an online multidivisional approach, we have always seen the importance in offering a platform that allows ALL creators, regardless of creative medium or location, an opportunity to gain exposure for their unique interpretations, and the talents that bring them to life. Just head over to our festival community tag page at #CREEPYTREEFILMFESTIVAL Be sure to show your love and support for all members with a like, follow or comment.giving them all kudos for all their contributions to the genre!įor those who dont know us yet, CTFF is an international horror fest that runs quarterly through the year, and home to the Creepy Tree Exemplar Award (CTEA). Whatever their creative medium may be, take a moment and recognize their creepy creative contributions to the genre!Ĭome and support all the women of horror who we have the honor in calling festival family, and who have either been nominated for, or who have already became CTEA Alumni having earned their Creepy Tree Exemplar Awards (CTEA) in multiple award categories. Here at Creepy Tree, we appreciate and support all the creepy creative women among the international community sharing their unique talents to make horror what it has become today! If you do too, like this post and tag your favorite women horror creator(s) in the comment section below. Vi menar att skateboardåkare artikulerar maskulin subjektivitet genom en sammanflätad komplexitet som består av lekfullhet, risktagande, kolonialisering av offentligt utrymme och visuell stil i deras skateboard-praktik.WE WERE BLIND BUT NOW WE SEE.SHOW SUPPORT FOR WOMEN WHO HAVE OPENED OUR EYES, AND HAVE EXPANDED OUR INTERPRETATIONS OF HORROR!! Analyserna för samman utforskande av unga mäns lekfulla användning av urban miljö med artikuleringen av den visuella kulturen i skateboard som en homosocial och i huvudsak vit medelklass-praktik, där mod och risktagande är väsentliga artikulationer. En intervju genomfördes med den unge man som skapade videon. I studien analyseras en skateboardvideo där unga vita medklassmän åker skateboard i en svensk urban miljö. ABSTRACT I denna artikel länkas maskulinitet, fritid och kroppslig aktivitet samman med lekfullhet och uttryck för kön, klass och etnicitet i en global neoliberal kontext. The construction and presentation of self in the skateboard video are integrated with the quest for individual identity, self-realization and meaning making that pertain to a global entrepreneurial mindset in which mainly white middle-class men are privileged. We argue that the skateboarders articulate masculine subjectivity by a complex amalgam of playfulness, risk-taking, colonization of space and the visual style involved in their skateboarding. The analysis brings together lines of inquiry that concern young males' playful use of urban space with the articulation of the visual culture of skateboarding as a homosocial, mainly white middle-class practice where bravery and risk-taking are essential articulations. An interview with the young man who created the video was also conducted. This study draws from an analysis of a skateboard video of young white middle-class men skateboarding in an urban environment in one of Sweden's greater metropolitan areas. The current article links masculine leisure with bodily performances and playfulness connected to global neoliberal expressions of gender, class and ethnicity. Their prolific works for popular skateboard brands such as Powell-Peralta and Santa Cruz during the 1980's established the resilient visual inheritance which would eventually transform the perception of these counter cultural attitudes and motifs. It will seek out the rich visual iconography associated with Californian youth movements brought to light by Woolfe in his essay The Kandy-Kolored Tangerine-Flake Streamline Baby (1965) and attempt to establish a clear lineage between the legacy of Hot-rod customisation practices and the graphic heritage of skateboard culture best characterised by the output of Stecyk, Phillips and Johnson. These conspicuous displays articulated the adrenalin thrills of the act itself and disseminated a potent visual code to juvenile male consumers eager to establish their rebellious, antisocial credentials. It will describe how myths associated with countercultures and individual creative expression nurtured a perceived sense of difference and otherness and propagated distinct customs which endorsed anti-establishment attitudes and celebrated vulgarity. This paper was motivated by an enthusiasm and curiosity to investigate the origins of the illustrated visual language associated with skateboarding.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |