Journal articles: 'Jane Campion'

1

Hopgood, F. "Jane Campion: Cinema, Nation, Identity * Jane Campion." Screen 51, no. 1 (March 1, 2010): 84–89. http://dx.doi.org/10.1093/screen/hjp047.

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Sunderland, Sophie M. M. "Review: Jane Campion." Media International Australia 134, no. 1 (February 2010): 168–69. http://dx.doi.org/10.1177/1329878x1013400131.

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Scott, Grant F. "Bright Star by Jane Campion." Studies in Romanticism 49, no. 3 (2010): 507–12. http://dx.doi.org/10.1353/srm.2010.0020.

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Gordon, Rebecca M. "Portraits Perversely Framed: Jane Campion and Henry James." Film Quarterly 56, no. 2 (2002): 14–24. http://dx.doi.org/10.1525/fq.2002.56.2.14.

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Critics who disliked Jane Campion's The Portrait of a Lady (1996) suggest she was wasting her talents on a high-budget adaptation in order to reach a mass audience. Yet Campion does not adapt Henry James's novel so much as interpret it. By boldly dramatizing the unconscious sexual desires that riddle James's melodramatic novel, Campion exposes the spaces where traditional gender ideology fails, loosening the gender codes upon which the pleasure of melodrama rests. The result is a feminist narrative that is attractive to the mainstream but also capable of leading the audience to consider social systems in place beyond the theater.

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Sorolla-Romero, Teresa. "Imágenes agrietadas, alaridos silenciosos: Jane Campion." Asparkía. Investigació feminista, no. 33 (2018): 329–34. http://dx.doi.org/10.6035/asparkia.2018.33.19.

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Bloustien, Geraldine. "Jane Campion: Memory, motif and music." Continuum 5, no. 2 (January 1992): 29–39. http://dx.doi.org/10.1080/10304319209388227.

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Greenberg, Harvey. ": The Piano . Jane Campion, Jan Chapman." Film Quarterly 47, no. 3 (April 1994): 46–50. http://dx.doi.org/10.1525/fq.1994.47.3.04a00060.

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Greenberg, Harvey. "Review: The Piano by Jane Campion, Jan Chapman." Film Quarterly 47, no. 3 (1994): 46–50. http://dx.doi.org/10.2307/1212959.

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Wielgus, Alison. "“The Harder I Swim, the Faster I Sink”." Camera Obscura: Feminism, Culture, and Media Studies 34, no. 2 (September 1, 2019): 71–101. http://dx.doi.org/10.1215/02705346-7584916.

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This essay considers the role that Jane Campion’s Top of the Lake (BBC/SundanceTV, 2013) and Top of the Lake: China Girl (BBC/SundanceTV, 2017) play in the post-network television landscape. Situating the series among the globalized genre of serialized post-network crime shows that feature female detectives, this essay argues that Campion reworks the genre’s fascination with victimized women from her auteurist and Antipodean perspective. While the characterization and actions of the female detective resonate with other programs’ protagonists, Campion challenges dominant discourses of victimized women by intervening in the global circulation of women’s bodies on television. By drawing on Zoë Sofia’s work on female bodies and container technologies, this essay argues that Campion’s use of pregnant victims and her exploration of a female detective’s history as a survivor of sexual assault allow her to interrogate the typical treatment of female corpses within crime television. Through circuitous investigations that leave enough narrative space for detours like the settling of Paradise, where women transform shipping containers into domestic spaces for struggling women, Campion provides a countermodel to crime television focused on forensic progress through a case. Campion similarly takes the container of serialized crime drama that circulates the globe in a post-network television landscape and creates space for women’s stories from the Antipodes. Pausing the narrative to indict the treatment of female victims, Campion also unearths the melodramatic underpinnings of serialized crime dramas that resonate with her own filmography.

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Jauksz, Marcin. "Dotykanie minionego. Fortepian Jane Campion jako przykład adaptacji auratycznej." Forum Poetyki, no. 23 (July 19, 2021): 174–89. http://dx.doi.org/10.14746/fp.2021.23.28903.

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Artykuł jest próbą zdefiniowania zjawiska w światowym kinie współczesnym, które wykorzystując nowe sposoby komunikacji w obrębie sztuk wizualnych i ich haptyczności, stara się rekreować nastroje i wrażliwości konotowane z kulturą minionych czasów. Fortepian Jane Campion, jako świadectwo zaangażowanej lektury przede wszystkim poezji Emily Dickinson, ale też Wichrowych Wzgórz Emily Brontë, staje się tu przykładem fabuły z jednej strony nasyconej perspektywami, motywami i sytuacjami zaczerpniętymi z tych utworów, z drugiej wykorzystuje stylistyczną multisensoryczność kina, by w przedstawionych bohaterach i przedmiotach ich otaczających odtwarzać dynamikę relacji i nastroje znane z przekazów o kulturze połowy XIX wieku. Dzięki temu staje się auraptacją (adaptacją auratyczną; ang. auraptation – auratic adaptation), adaptacją aury wyczytanej spomiędzy literackich świadectw epoki, przeniesieniem w dzisiejsze czasy i właściwe im media niepowstałej w wieku XIX opowieści.

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Bhugra, Dinesh. "An Angel at My Table (1990. Director: Jane Campion)." Psychiatric Bulletin 15, no. 3 (March 1991): 190. http://dx.doi.org/10.1192/pb.15.3.190.

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Vollmer, Ulrike. "Einen Spiegel finden - Erlösung in den Filmen von Jane Campion." Communicatio Socialis 33, no. 2 (2000): 212–23. http://dx.doi.org/10.5771/0010-3497-2000-2-212.

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Henke, Suzette A. "Jane Campion Frames Janet Frame: A Portrait of the Artist as a Young New Zealand Poet." Biography 23, no. 4 (2000): 651–69. http://dx.doi.org/10.1353/bio.2000.0048.

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Cooper, Sarah. "Paper Flowers: Jane Campion, Plant Life, and The Power of the Dog (2021)." Philosophies 7, no. 6 (December 13, 2022): 143. http://dx.doi.org/10.3390/philosophies7060143.

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Taking as its point of departure the place of the vegetal realm within Jane Campion’s filmmaking, this article attends to both living and artificial plants, homing in on the exquisitely crafted paper flowers of The Power of the Dog to explore their entanglement with human power relations. Manmade flowers are clearly distinct from the flowers of the garden or the prairie, but in this Western, they form part of a broader floral aesthetic with their living kin. Drawing upon thought that stems from actual plants (Deleuze and Guattari’s arboreal-rhizomatic thinking) and vegetal philosophy (Marder, Coccia), as well as parallel botany’s attention to the artificial (Lionni), I follow the fate of one paper flower as it intersects with the gendered history of artificial flower making and floral sexual symbolism. Thinking with this paper flower, I engage with theories that variously question binary power relations (Cixous, Barthes, Steinbock), reading these alongside scholarship on sex, gender, and masculinity in the Western (Neale, Mulvey, Bruzzi), and broaching the hierarchies of settler colonialism. The film’s floral aesthetic, I argue, challenges the either/or logic of male or female, masculine or feminine, and even though it cannot fully break away from the binaries it critiques, it is indebted to registering the importance of the nuance (Barthes) in the unthreading of power.

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Smith, Dominique. "Au delà du voile : Sur le film de Jane Campion : La leçon de piano." Cahiers de sociologie économique et culturelle 24, no. 1 (1995): 101–12. http://dx.doi.org/10.3406/casec.1995.2263.

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Torres, Sonia. "VITORIANOS, MODERNOS E SALVAGEPUNKS: REVERBERAÇÕES E ASSOMBROLOGIAS DO SÉCULO 19." Organon 33, no. 65 (December 14, 2018): 12. http://dx.doi.org/10.22456/2238-8915.85977.

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A cultura contemporânea (tanto a high culture quanto a low culture) está cada vez mais enamorada do século 19. Alguns exemplos que ilustram esta hipótese: os filmes dirigidos por Francis Ford Coppola, Jane Campion e Ang Lee; os romances de A. S. Byatt e William Gibson; as revisitas a Oscar Wilde e Lewis Carroll, fotografia nostálgica, produtos de computação gráfica, o cyberpunk e o steampunk. No texto desenvolvido aqui, discuto as reverberações da era vitoriana na contemporaneidade, argumentando que, a contrapelo da margem a que Pound relega o passado vitoriano, no início do século 20, o espectro persistente dos vitorianos ronda todas as formas de modernide. PALAVRAS-CHAVE: era vitoriana; século longo; século breve; modernidades.

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Hodgkins, John. "A Dark-Adapting Eye: Susanna Moore, Jane Campion, and the Fractured World of Postmodern Noir." College Literature 39, no. 4 (2012): 46–68. http://dx.doi.org/10.1353/lit.2012.0040.

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Hilary Neroni. "Following the Impossible Road to Female Passion: Psychoanalysis, the Mundane, and the Films of Jane Campion." Discourse 34, no. 2-3 (2012): 290. http://dx.doi.org/10.13110/discourse.34.2-3.0290.

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Iny, Viva. "L'éveil du désir en terre maori: une réflexion autour du film La leçon de piano de Jane Campion." L'Autre 4, no. 1 (2003): 125. http://dx.doi.org/10.3917/lautr.010.0125.

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Bowler, Alexia L. "‘Killing romance’ by ‘giving birth to love’: Hélène Cixous, Jane Campion and the language of In the Cut (2003)." Feminist Theory 20, no. 1 (October 23, 2018): 93–112. http://dx.doi.org/10.1177/1464700118804445.

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Jane Campion’s work regularly revolves around women’s often complex relationship with socio-cultural discourses and their articulation in language, whether in familial and institutional structures or in cultural and creative practice. In this sense, Campion’s filmmaking continues a feminist tradition of exploration regarding female subjectivity, identity and desire as it is represented in language (cinematic or otherwise). In the Cut (2003), adapted from Susanna Moore’s novel of the same name, again places language and the (dis)articulation of the female voice at its heart: the renewal of which is positioned within the film as crucial to women’s survival. In taking its cue from Hélène Cixous’s ‘The Laugh of the Medusa’ (1976) and later writings such as ‘Castration or Decapitation?' (1981) and ‘Coming to Writing' (1991), this article frames its discussion of Campion’s interrogation of ‘Woman’s’ attempts at the articulation of the self as an exemplar (in both theme and form) of Cixousian strategies. The article will argue that techniques such as a cinematic écriture feminine, and the appropriation and adaptation of the language of Hollywood genre film, form part of Campion’s feminist inquiry into the discourses and legacies of a phallogocentric patriarchal culture which traditionally delimit Woman as a ‘speaking’ subject. In this way, In the Cut exposes the tensions between what Cixous calls the ‘Absolute Woman’ of culture (the aphonic hysteric) and attempts towards agency, thus challenging phallogocentric representations of women. In using these strategies, Campion’s adaptation creates a polyphonic artefact which not only revises Moore’s novel but also re-visits (in order to reclaim) female articulation; re-writing phallogocentric claims to agency and subjectivity, imagining women's ‘survival’ through language. In this sense, then, adaptation itself can be thought of as a feminist act of subversion.

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Trimborn, W. "Narzißmus versus Anerkennung – Gedanken zur analytischen Beziehung nach Iwan Turgenjews Erzählung Faust und dem Film Das Piano von Jane Campion." Zeitschrift für psychoanalytische Theorie und Praxis 21, no. 4 (2006): 381–403. http://dx.doi.org/10.15534/zptp/2006/4/2.

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Kuznetsova, Aleksandra. "HOW AND WHY «WILD WEST GENRE» REMAINS RELEVANT IN THE XXI CENTURY ON THE EXAMPLE OF THE FILM «THE POWER OF THE DOG» BY JANE CAMPION." Siberian Art History Journal 1, no. 4 (December 19, 2022): 17–33. http://dx.doi.org/10.31804/2782-4926-2022-1-4-17-33.

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The history of cinema uncovers not just one forgotten as unnecessary genre, whose representation of the world could not address fast-changing social, political, and ideological challenges. Because of these issues in the 80s, the Western was predicted to die, and films by C. Eastwood were being released as a farewell to the once extremely popular genre, which was considered to be one of the elements of the American culture code for a long time. However, in the XXI century, the Western is experiencing a new wave of popularity. World-renowned directors produce genre movies despite global cinema processes of genres, styles, and trends merger. The article presents a study on the reasons for the Western genre relevance preservation on the example of the film «The Power of the Dog» by Jane Campion (2021). The hypothesis of the article based on the idea that the skillful use of the genre traditions allows directors to keep the Western relevant and stay in the modern social context simultaneously. The main artistic idea of the film identified, the semiotic levels of elements revealing this idea analyzed, and the novelty of these techniques in the motion picture genre field is correlated with the reasons for the Western relevance. The result of the research is the determination of the Western genre essence in the cinematography of the XXI century from its formal as well as ideological perspective.

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Aykin, Esra. "« Was it a vision, or a waking dream? » Constellations intérieures, incandescences du sensible : Bright Star de Jane Campion ou la nuit étoilée de Keats." Recherches & travaux, no. 84 (November 1, 2014): 15–53. http://dx.doi.org/10.4000/recherchestravaux.673.

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Irvine, Margot. "Imagining Women at War: Jane Dieulafoy's 1913 Campaign." Women in French Studies 27, no. 1 (2019): 119–30. http://dx.doi.org/10.1353/wfs.2019.0024.

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Park, Douglas, and Dawn Dietrich. "In the Cut." Film Quarterly 58, no. 4 (2005): 39–46. http://dx.doi.org/10.1525/fq.2005.58.4.39.

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Abstract Jane Campion's newest film, In the Cut, confounded critics, as it leaves her familiar territory of Anglo Australia and a high literary mode for New York City and the pop culture associations of a slasher/thriller. Transcending genre, the screenplay and cinematography unconventionally render a psychic landscape of female desire and romantic longing surviving in a male urban wasteland.

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Selmi, Patrick. "Jane Addams and the Progressive Party Campaign for President in 1912." Journal of Progressive Human Services 22, no. 2 (July 2011): 160–90. http://dx.doi.org/10.1080/10428232.2010.540705.

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Attwood, Feona. "Weird Lullaby: Jane Campion's The Piano." Feminist Review 58, no. 1 (February 1998): 85–101. http://dx.doi.org/10.1080/014177898339604.

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This article examines the construction of woman's voice, gaze and desire in Jane Campion's Oscar-winning film The Piano, 1993, with particular reference to the film's central character, Ada, and to the traditional female figures which her character suggests – siren, mermaid, Little Red Riding Hood, Bluebeard's wife. It investigates the ways in which The Piano interrogates and disturbs traditional patriarchal narratives, ways of speaking and seeing, and patriarchal constructions of bodily pleasure and desire; revealing these as partial, hard of hearing, short sighted and incapable of pleasure. It argues that while the film succeeds in this interrogation, it goes further in its attempt to envisage forms of speech, sight and pleasure which do not conform to traditional models based on the notion of rigid oppositions between self and other, masculine and feminine, active and passive. Instead, by focusing on mutual pleasure, sensuality, communication and the ability to be moved, it sets in motion ‘other’ ways of experiencing and understanding women's voices, looks, desires. It concludes that The Piano articulates a demand for an encounter with men, in which women are neither marginalized as ‘the feminine’ nor re-incorporated into a patriarchal order; and imagines the possibility of both autonomy and connection, power and pleasure.

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Francisco-Menchavez, Valerie. "Save Mary Jane Veloso: Solidarity and Global Migrant Activism in the Filipino Labor Diaspora." Perspectives on Global Development and Technology 17, no. 1-2 (February 13, 2018): 202–19. http://dx.doi.org/10.1163/15691497-12341474.

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Abstract On April 29, 2015, Mary Jane Veloso, a Filipina migrant worker who was sentenced to death in Indonesia for trafficking heroin into the country, was granted a stay of execution by Indonesian President Joko Widodo. In this article, I argue that transnational networks activated by this case exemplify the power of systematic migrant worker organizing both in Filipino diasporic sites where Filipinos migrant use ongoing local campaign work against precarity to create migrant class consciousness in critique of neoliberalism and the Philippine state.

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Wibowo, Rangga, and M. E. Fuandy. "Seorang Profesional Hubungan Masyarakat dalam Film Merek Kami Adalah Krisis." Bandung Conference Series: Public Relations 1, no. 1 (December 7, 2021): 14–18. http://dx.doi.org/10.29313/bcspr.v1i1.47.

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Abstract. Film is a mass media that has a function as entertainment, besides that the film also contains an informative, educative, and persuasive function. Film is also known as a medium of communication, film is an effective means to shape the perspective of society at large. A movie titled “Our Brand Is Crisis” is a movie about a public relations practitioner who tries to restore the image of a politician. This movie also tells a story about the troublesome life of a politician who has bad image in the eyes of public and media. The purpose of this research is to understand the Reality Level, Representation Level and Ideology Level of public relations role in the movie “Our Brand Is Crisis”. The research method is using the qualitative methods with semiotics approach, which is a science about signs. The theory used is John Fiske’s theory of Television Codes which focuses on the Reality Level, Representation level and Ideology Level. In this research the data collection techniques used are observation, documentation, literature study, and interviews. Conclusions: Portrait of the profession of public relations at the level of reality that is the code culture, appearance, dress, environment, behavior code, speech code, gesture code, expression code, discussion in the expression a major role Jane bodine, along with Pedro Castillo as a candidate senator or bolivian president. A portrait of the profession of public relations at the level representation addressed to the camera, code lighting, code, conflict code, music and the code dialogue. The more prominent at this level, the first to the camera and lighting that memvisualkan profession public relations as played by jane. A portrait of the profession of public relations at the level of an ideology which is the representation of sod used by the director of individualism profession for a professional Public Relations that handle a political campaign winning general bolivian president named pedro castillo packed visually on film in starring by sandra bullock as jane bodine. Abstrak. Film merupakan media massa yang memiliki fungsi sebagai hiburan, disamping itu juga film mengandung fungsi informatif, edukatif, dan persuasif. Film juga dikenal sebagai media komunikasi, film merupakan salah satu sarana yang efektif untuk membentuk perspektif masyarakat secara luas. Film “Our Brand Is Crisis” merupakan sebuah film yang mengangkat kisah tentang perbaikan citra dari seorang politikus oleh seorang praktisi public relations. Tujuan dari penelitian ini adalah untuk mengetahui bagaimana level realitas, level representasi, dan level ideologi peran public relations dalam film “Our Brand Is Crisis”. Metode penelitian yang digunakan oleh peneliti adalah metode kualitatif dengan pendekatan semiotika John Fiske berfokus pada level Realitas, level Representasi, dan level Ideologi. Pada penelitian ini teknik pengumpulan data yang digunakan berupa observasi, dokumentasi, studi pustaka, dan wawancara. Simpulan Potret profesi public relations pada level realitas yaitu kode budaya seperti penampilan (appearance), kostum (dress), lingkungan (environment), kode kelakuan (behavior), kode dialog (speech), kode gesture (gerakan), dan kode expression (ekspresi) pembahasan dalam ekspresi peran utama Jane Bodine, berserta Pedro Castillo sebagai calon senator atau presiden Bolivia. Potret profesi public relations pada level representasi ditujukan kepada kode kamera, lighting, kode konflik, kode musik, dan kode dialog. Yang lebih menonjol dalam level ini, pertama pada kode kamera dan lighting yang memvisualkan profesi public relations yang diperankan oleh Jane. Potret profesi public relations pada level ideologi yaitu representasi ideologi yang digunakan oleh sutradara yaitu individualisme (individualism) profesi seorang professional public relations yang menangani kampanye politik pemenangan presiden Bolivia bernama Pedro Castillo yang dikemas secara visual pada film yang di bintangi oleh Sandra Bullock sebagai Jane Bodine.

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Gill, David W. J. "‘The passion of hazard’: women at the British School at Athens before the First World War." Annual of the British School at Athens 97 (November 2002): 491–510. http://dx.doi.org/10.1017/s0068245400017482.

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From the opening of the British School at Athens in 1886 to the outbreak of the First World War, women were regularly admitted as Students. British women were actively engaged in research in Greece, although they were not permitted to join official School excavations until the 1911 campaign at Phylakopi on the island of Melos. This contrasts with the active field research of American women like Harriet Boyd Hawes. Most of the British women had been educated at either Girton College or Newnham College, Cambridge, where they had been influenced by Katharine Jex-Blake and Jane Harrison. For several, notably Hilda Lorimer, Gisela Richter and Eugenie Strong, their residence in Athens was to make a significant contribution to their careers and subsequent study of antiquity.

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Seymour, Michael. "Neighbors through Imperial Eyes: Depicting Babylonia in the Assyrian Campaign Reliefs." Journal of Ancient Near Eastern History 4, no. 1-2 (June 26, 2018): 129–62. http://dx.doi.org/10.1515/janeh-2017-0022.

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AbstractThe Neo-Assyrian campaign reliefs are rich sources for understanding Assyrian ideas of empire, geography, and Assyria’s relationship to the wider world. They are also exceptions: the format of the later Assyrian campaign reliefs is in several respects so unusual in ancient Near Eastern art as to demand explanation. Not the least of the campaign reliefs’ unusual qualities is the extensive and often detailed depiction of foreign landscapes and people. This paper examines one instance of this phenomenon: the particular case of depictions of Babylonia and the far south in Assyrian campaign reliefs. Studies of the textual sources have done much to draw out the complex cultural and political relationship between Assyria and Babylonia in the eighth, seventh, and sixth centuries B.C., revealing tensions between an identification with the cities of the south and their venerable temples on the one hand, and the undeniable political and strategic problems posed by Babylonian rebellions against Assyrian rule on the other. It is argued that the campaign reliefs attempt to resolve this tension by presenting conquest and pacification as accomplished facts, and Babylonia’s abundance as an Assyrian imperial possession. It is also suggested that one function of the reliefs was to process historical victories into a larger, ahistorical image of Assyrian imperial success.

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Nelson, Kevan. "Covid-19 and social care: Union strategies to reshape a dysfunctional sector." Theory & Struggle 122, no. 1 (June 1, 2021): 142–55. http://dx.doi.org/10.3828/ts.2021.14.

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In volume 120 of Theory and Struggle (pp. 124-33), I described Unison North West’s Care Workers for Change campaign and how our multidimensional approach to organising in the care sector was informed by the work of John Kelly (Rethinking Industrial Relations: Mobilization, Collectivism and Long Waves, 1998) and Jane McAlevey (No Short Cuts: Organizing for Power in the New Gilded Age, 2016). The Covid-19 pandemic has subsequently brought unprecedented catastrophe and human suffering to vulnerable people and workers in our dysfunctional social care system. This contribution first describes the impact of Covid-19 on social care and union responses to it. The focus then turns to competing ideas about how the social care system might be reshaped and the role of unions in pursuing meaningful structural and institutional change that could win lasting improvements for care workers.

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Schneer, Jonathan. "Politics and Feminism in “Outcast London”: George Lansbury and Jane Cobden's Campaign for the First London County Council." Journal of British Studies 30, no. 1 (January 1991): 63–82. http://dx.doi.org/10.1086/385973.

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This article examines Jane Cobden's campaign for the London County Council (L.C.C.) in 1888–89 and its controversial aftermath. Cobden's effort, a pioneering political venture of British feminism, illuminates late-Victorian concepts of gender. It provides at once an anticipation of, and a distinct contrast to, the militant suffragism of the Edwardian era. In addition, it suggests new ways of thinking about the connection between women's-suffragist and labor politics. Perhaps because the campaign was a comparatively obscure incident when measured against the broad sweep of British political history, however, no scholar has done much more than sketch its bare outline. Hopefully, the fuller depiction provided below will accord it the treatment it really deserves.This article approaches the subject from a tangent, however. Cobden's campaign was a significant if little-known episode not only in the history of British suffragism but also in the life of a man who went on to play a major role in British politics long after the first county council elections had been forgotten. This was George Lansbury, Cobden's political agent during 1888–89 and secretary of the Bow and Bromley Radical and Liberal Federation. Lansbury eventually became one of the main architects of the socialist movement in East London and a chief male supporter of the militant suffragettes during the Edwardian era (in 1912 he temporarily lost his seat in the House of Commons and went to prison on their behalf). He also became a founder and editor of the quintessential “rebel” newspaper, theDaily Herald(which was designated Labour's official organ after Lansbury left it in 1922), a pacifist opponent of World War I, and, from 1931 to 1935, leader of the Labour party itself.

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Davies, Janet. "Voices - Join the #thankanurse campaign and celebrate together, says Janet Davies." Nursing Standard 30, no. 37 (May 11, 2016): 24. http://dx.doi.org/10.7748/ns.30.37.24.s20.

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Albert, Isaac Olawale. "A Review of the Campaign Strategies." Journal of African elections 6, no. 2 (October 1, 2007): 55–78. http://dx.doi.org/10.20940/jae/2007/v6i2a4.

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Masilo, Bontle, and Batlang Seabo. "Facebook: Revolutionising Electoral Campaign in Botswana?" Journal of African Elections 14, no. 2 (October 1, 2015): 110–29. http://dx.doi.org/10.20940/jae/2015/v14i2a5.

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Rich, B. Ruby. "Telluride and After." Film Quarterly 75, no. 2 (2021): 102–8. http://dx.doi.org/10.1525/fq.2021.75.2.102.

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FQ editor-in-chief B. Ruby Rich reports from the 48th edition of the Telluride Film Festival. Unlike most of its peer festivals, Telluride opted not to hold a virtual edition in 2020, a decision entirely in keeping with its emphasis on the tactile and experiential aspects of cinema, and which made its return in 2021 all the more giddy for first-time attendees and long-term devotees alike. Rich reviews the many festival highlights, from Jane Campion’s reinvention of the Western in The Power of the Dog to Todd Haynes’ archival documentary The Velvet Underground. Childhood takes center stage in new films from Céline Sciamma and Kenneth Branagh while misunderstood masculinity emerges as a theme in Michael Pearce’s Encounter, Asghar Farhadi’s A Hero, and Mike Mills’s C’mon C’mon. Including a coda on the New York Film Festival, Rich concludes that the masterful riches of the two festivals augur well for the fall 2021 season.

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Iftikhar, Moneeba, and Urwah Iftikhar. "ROLE OF PAKISTANI PRINT MEDIA IN PROMOTING CLEAN AND GREEN PAKISTAN CAMPAIGN." Journal of Arts & Social Sciences 7, no. 2 (December 31, 2020): 24–34. http://dx.doi.org/10.46662/jass-vol7-iss2-2020(24-34).

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The aim of the research is to inspect the role of Pakistani Print Media (Daily Jang, Nawa-i-Waqt, Dawn and The News) in promoting Clean and Green Pakistan Campaign during selected time period from February to April in 2019. A sample of Total 356 newspapers was used in which 112 newspapers were taken from the month of February, 124 newspapers from the month of March and 120 newspapers from the month of April. The research was based on the Issue Attention Cycle by ‘Anthony Downs’. In this analysis, in the perspective of news and advertisements published in the selected newspapers, Chi-Square test was applied for two hypothesis testing, the test showed insignificant results for H1 and significant results for H2. Keywords: Print Media, Clean and Green Pakistan Campaign, Image Building

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Chao, Stephanie, and Samuel So. "The Jade Ribbon Campaign: a systematic, evidence-based public awareness campaign to improve Asian and Pacific Islander health." Journal of Communication in Healthcare 4, no. 1 (April 2011): 46–55. http://dx.doi.org/10.1179/175380611x12950033990214.

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O'Malley, Adam, and Richie Roberts. "Storying outdoor youth education: A historical narrative of the Louisiana 4-H camping movement." Journal of Agricultural Education 63, no. 4 (December 31, 2022): 91–104. http://dx.doi.org/10.5032/jae.2022.04091.

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Perhaps one of the most formalized ways that 4-H has fostered agricultural innovation and practical education has been through their outdoor youth education program, more commonly known as 4-H Camp. Although 4-H Camps were first created for local clubs, camping events soon expanded to the state and national levels. In fact, three years after establishing the first 4-H Camp, more than 1,700 had emerged across the U.S., with attendance surpassing 100,000 youth. Because of its positive outcomes, the 4-H Camping movement has become celebrated as a novel technique to motivate youth to engage in agrarian concepts. Despite this, little work has been done to document the historical origins and evolution of the camping movement. Therefore, a need emerged to describe the actors, forces, and events that led to the prevalence of 4-H Camping in Louisiana. Through our analysis of the data, four themes emerged: (1) early foundations, (2) facility infrastructure development, (3) impact and organizational changes, and (4) the evolution of programmatic delivery. When considered together, the themes knit together the story of the Louisiana 4-H Camp. A key implication from this investigation was the need for greater advocacy efforts among 4-H leaders and agents. For example, the Louisiana 4-H Camp had to navigate multiple barriers throughout history, such as a lack of funding and staff. However, through individual and collective advocacy efforts, the 4-H camp secured vital resources to support 4-H members’ needs. Going forward, researchers should explore how fundraising and donors for 4-H camps could be better leveraged and sustained over time. This should include exploring strategies to inform legislators, policymakers, and citizens about the impacts that 4-H camps can have on youth and the state of Louisiana.

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Bielaszka-Podgórny, Barbara. "Grzech sodomski Bolesława Szczodrego w świetle "Roczników" Jana Długosza." Studia Historyczne 61, no. 2 (242) (December 31, 2018): 21–36. http://dx.doi.org/10.12797/sh.61.2018.02.02.

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Sodom Sin of Boleslaus II the Generous in the Light of Jan Długosz's "Annals" In the relation entered into the third volume of his Annals, dated 1076, Jan Długosz describing the Kiev campaign of Boleslaus the Generous introduces a description of the moral metamorphosis of the Polish ruler and accompanying knights. He maintains that they were guilty of a Sodom sin, which they committed in Ruthenia. This very phenomenon received the chronicler’s decided anti-Ruthenian tone. The present article established the importance of Długosz’s accusation and explains how this very element had its role in developing negative opinions about Ruthenians in the Annals. The author also provides background information about earlier accusations against Boleslaus regarding his sexual impurity.

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Keogh, Aoife. "Art as Activism #stateoftheart : The Art Teachers Association of Ireland's campaign towards reform of the Leaving Certificate Art Curriculum." International Journal of Art & Design Education 39, no. 1 (May 22, 2019): 85–97. http://dx.doi.org/10.1111/jade.12224.

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Tsurudome, Chiaki, Antoine Flaquiere, Kaori Mochizuki, Yannick Teuff, Rikuma Sakai, Joffrey Tuffenis, Yuko Suzuki, et al. "Measurement of the atmospheric electric field inside the nonthunderstorm clouds on 2012 BEXUS campaign." Journal of Atmospheric Electricity 33, no. 2 (2013): 77–80. http://dx.doi.org/10.1541/jae.33.77.

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Adebayo, Joseph Olusegun, Blessing Makwambeni, and Colin Thakur. "South Africa’s 2016 municipal elections How the ANC and DA leveraged Twitter to Capture the Urban Vote." Journal of African Elections 20, no. 1 (June 1, 2021): 1–22. http://dx.doi.org/10.20940/jae/2021/v20i1a1.

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This paper focuses on how South Africa’s governing party, the African National Congress (ANC), and main opposition, the Democratic Alliance (DA), leveraged microblogging site Twitter. This was part of their urban election campaign arsenal in the 2016 local government elections (LGE) to promote party-political digital issue ownership within an urban context. Using each party’s corpus of 2016 election-related tweets and election manifestos, this three-phased grounded theory study found that each party used Twitter as a digital political communication platform to communicate their election campaigns. The DA notably leveraged the social networking site more for intense focused messaging of its negative campaign against the ANC while simultaneously promoting positive electoral messages around its own core issues and metro (urban) mayoral candidates. Furthermore, battleground metros were identified, narrow-cast and subsequently audience.segmented by the party in Ekurhuleni, Johannesburg, Tshwane (in Gauteng) and Nelson Mandela Bay (in the Eastern Cape). This led to an emphasised campaign to either activate the party’s own urban support base and/or to suppress the ANC’s turnout in these highly-contested areas. The results of this study further indicate that the ANC and DA both used Twitter to claim explicit and implicit digital party-political issue ownership in the 2016 LGE.

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Wills, Jane, Muireann Kelly, and Daniel Frings. "Nurses as role models in health promotion: Piloting the acceptability of a social marketing campaign." Journal of Advanced Nursing 75, no. 2 (November 19, 2018): 423–31. http://dx.doi.org/10.1111/jan.13874.

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Omilusi, Mike. "Campaign communication in Nigeria’s 2019 General Elections: unfulfilled party pledges and voter engagement without a social contract." Journal of African Elections 19, no. 2 (October 1, 2020): 97–124. http://dx.doi.org/10.20940/jae/2020/v19i2a6.

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Broken campaign promises challenge the sanctity of the electoral process in Nigeria. Six decades after political independence and six electoral cycles in the last two decades of the Fourth Republic, there are inadequate legal frameworks and a lack of political will to change the narrative. Ambushing the voters with plans of action on the eve of every election remains a constant ritual to legitimise party campaigns in both digital media and at heavily mobilised rallies, often with limited substance. The general purpose of this study is twofold. First, to provide analysis of campaign communication and the extent to which it influences the participation of citizens in the electoral process. Second, to investigate the electorate’s understanding of policy issues inherent in the 2019 election manifestos of the two dominant political parties, All Progressive Congress (APC) and People’s Democratic Party (PDP), and how other elements shape perception and trust in elected representatives/ government. The research design relies on sample surveys and indepth interviews, and seeks to identify, within the context of an electoral cycle, why conversations between public office seekers and voters do not translate into a concrete social contract or generate timebound inclusive policies.

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Ojekwe, Grace Izeghe. "Political advert campaigns and voting behaviour: Akinwunmi Ambode’s 2015 Election Campaign in Lagos State." Journal of African elections 15, no. 2 (October 1, 2016): 13–27. http://dx.doi.org/10.20940/jae/2016/v15i2a1.

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Maltz, Diana. "LIVING BY DESIGN: C. R. ASHBEE'S GUILD OF HANDICRAFT AND TWO ENGLISH TOLSTOYAN COMMUNITIES, 1897–1907." Victorian Literature and Culture 39, no. 2 (May 18, 2011): 409–26. http://dx.doi.org/10.1017/s1060150311000064.

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Shortly before C. R. Ashbee transplanted a hundred and fifty Cockneys to Chipping Campden, Gloucestershire, in 1902 to form a utopian arts-and-crafts community, two other back-to-the-land settlements were also established, one located outside the market town of Stroud, a mere bicycle ride away from Ashbee and his guild. These Tolstoyan colonies – Purleigh, founded in 1896 in Essex, and Whiteway, founded in 1898 in the Cotswolds – fostered goals of fellowship and the simplification of life, as had been modeled by Henry Thoreau, Ralph Waldo Emerson, and Walt Whitman in the United States and Edward Carpenter in Britain. Yet, whereas Ashbee was inspired by the model of William Morris and nostalgia for a pre-industrial England, English Tolstoyans looked not to craft, but to a less Aesthetic “bread labor” as a respite from modernity's corruption. Visiting Whiteway in 1904, Ashbee observed the Tolstoyans’ struggles to live off the land and commented, “they hold the other end of the stick we are ourselves shaping at Campden” (qtd. in MacCarthy 100). As his metaphor implied, both groups shared utopian aspirations, but Whiteway's settlers had sought the perfection of life from another vantage point and through other means. Ashbee regarded the austerity of their lives with distance and, as we will see, even with some distaste. Nevertheless, some features of the guildsmen's lifestyle at Chipping Campden mirrored those at Whiteway. This essay uses memoirs and fictions by C. R. Ashbee, his spouse, Janet Ashbee, and the Tolstoyans to disentangle the threads of “Aestheticism” and “simplification,” and to mark places of their conflation.

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Pięta, Wiesław. "Physical culture at Jan Dlugosz University in Czestochowa from 1971 to 2021 (Issue outline)." Sport i Turystyka. Środkowoeuropejskie Czasopismo Naukowe 5, no. 3 (2022): 31–61. http://dx.doi.org/10.16926/sit.2022.03.02.

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For almost fifty years students and academics scholars are contributing to the growth and development of physical culture in the University. An important role in this process is played by academic teachers of the Physical Education & Sport Centre. In the researched period, the number of teaching hours of physical education was systematically reduced from 240 hours to 30 hours (ministerial central decisions). Sports classes at the University are supplemented by sports sections in selected disciplines. Students training in such sports sections have won already 434 medals in Polish Academic Championships and lecturers from the Physical Education & Sport Centre significantly contributed to those results. The Centre’s personnel consist of specialists in team games and individual sports. Their results in World, European and Polish Academic Championships have contributed to the promotion of Jan Długosz University in Europe and the world. The best section of KU AZS (Academic Club of University Sports Association) is women’s table tennis (9 medals in Polish Team Championships, 8 Polish Cups, 46 matches played in the European Cup). The sport activists of KU AZS together with the Physical Education & Sport Centre in Częstochowa organized 28 Academic Championships of Poland. In the 20th century tourism and camping were withdrawn as compulsory classes. Since 2008 students of UJD have had excellent conditions for practicing sports and recreation (Academic Sports Center).

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Fair, Alistair. "‘Brutalism Among the Ladies’: Modern Architecture at Somerville College, Oxford, 1947-67." Architectural History 57 (2014): 357–92. http://dx.doi.org/10.1017/s0066622x00001465.

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In 1945, Janet Vaughan, a distinguished haematologist, became Principal of Somerville College, Oxford, her Principalship lasting until her retirement in 1967. Described in her obituary as ‘a woman of extraordinary vitality and not a little impatience’, Vaughan — awarded the DBE in 1957 — played a key role in steering the college through a period of major change in British Higher Education. Not least amongst the changes was a significant growth in the number of students at university across the country, which resulted in numerous, often high-profile, construction projects. Somerville, which had been founded in 1879 as the University of Oxford's second college for women, was not untouched by this development, and at Vaughan's retirement party, her colleague, the Nobel Prize-winning chemist Dorothy Hodgkin, referred to the several new buildings completed during the previous two decades. The college's post-war building campaign had begun modestly with two small infill developments by Geddes Hyslop in 1948–50 and 1954–56.

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Journal articles on the topic 'Jane Campion'

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