Jeremy Foster
Biographic Data
| ID | 3592092 |
|---|---|
| NAME | Jeremy Foster |
| GIVEN NAMES | Jeremy |
| FAMILY NAME | Foster |
| SIGNATURE | FOSTER J |
| AFFILIATIONS | Cornell University |
| VERIFIED | No |
| TOTAL WORKS | 10 |
| TOTAL CITATIONS | 33 |
| AUTHOR COUNT | 10 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 1995 |
| LATEST PUBLICATION YEAR | 2018 |
| H-INDEX | 3 |
Dancing on the grave of industry
Originally planned as a collaboration, Wim Wenders' 2011 film about the choreographer Pina Bausch and her Tanztheater Wuppertal was made by Wenders alone, working with members of Bausch's company after her unexpected early death. More than a documentary, Pina combines clips of staged productions, interviews with dancers, and sequences of them performing in selected settings in and around the city of Wuppertal. Combining Kracauer's theories about …
Sortir de la banlieue
This article explores the constructions of urban space, national identity and gender mediated by an important genre of contemporary French cinema, the film de banlieue. Over the last 20 years, films by both French and French-Maghrebi filmmakers determined to show the reality of life on the outskirts of France's major cities have paradoxically helped reinforce notions of the grands ensembles as places outside the mainstream of culture and identity…
From Socio-nature to Spectral Presence
In Johannesburg ... the backdrop is always man made. We have planted the forest the birds endorse. For hills we have mine dumps covered with grass. We do not wait for time and elements to weather us
Northward, upward
Creating a temenos, positing 'South Africanism
Like other Dominion First World War memorials, the South African National Memorial at Delville Wood was a landscape in which nostalgic anti-modernism was tempered by the desire to posit a new kind of identity. Using the iconographic 'invented memory' of New Imperialism, it was designed to project a bifocal 'colonial nationalism' at a time when white identity and South African citizenship were at their most fluid. Delville Wood has both failed and…
Land of Contrasts' or 'Home we have always known
Land of Contrasts' or 'Home we have always known
Railways played a crucial role in building the modern South African nation during the early decades of the Twentieth Century. After 1910, the SAR&H became not only the white state's primary means of building the economic independence of the newly-formed Union, but also its sole agency for promoting tourism, settlement and investment. The many thousands of images of the South African landscape it commissioned and distributed at home and abroad in …
John Buchan’s ‘Hesperides
The creation and use of landscapes... always emerges from biographical and place-specific historical and social contexts, at the same time that it contributes towards the uninterrupted becoming of biography and place. 1 The thing is correlative to my body and, in more general terms, to my existence, of which my body is merely the stabilized structure. 2
Landscape phenomenology and the imagination of a new South Africa on Parktown Ridge
This paper employs a phenomenological approach to examine the cultural appropriation of the physical landscape of Parktown Ridge immediately after the Anglo‐Boer War. It argues that the geographical circumstances of the Ridge in the early 1900s, when understood through the experiential constructs of spaciality, temporality and materiality, developed a powerful regional reciprocity with the cultural imagination of 'New Imperialism'. The fundamenta…
Imagining Nations
Creating a temenos, positing 'South Africanism
Like other Dominion First World War memorials, the South African National Memorial at Delville Wood was a landscape in which nostalgic anti-modernism was tempered by the desire to posit a new kind of identity. Using the iconographic 'invented memory' of New Imperialism, it was designed to project a bifocal 'colonial nationalism' at a time when white identity and South African citizenship were at their most fluid. Delville Wood has both failed and…
From Socio-nature to Spectral Presence
In Johannesburg ... the backdrop is always man made. We have planted the forest the birds endorse. For hills we have mine dumps covered with grass. We do not wait for time and elements to weather us
Land of Contrasts' or 'Home we have always known
Railways played a crucial role in building the modern South African nation during the early decades of the Twentieth Century. After 1910, the SAR&H became not only the white state's primary means of building the economic independence of the newly-formed Union, but also its sole agency for promoting tourism, settlement and investment. The many thousands of images of the South African landscape it commissioned and distributed at home and abroad in …
John Buchan’s ‘Hesperides
The creation and use of landscapes... always emerges from biographical and place-specific historical and social contexts, at the same time that it contributes towards the uninterrupted becoming of biography and place. 1 The thing is correlative to my body and, in more general terms, to my existence, of which my body is merely the stabilized structure. 2
Landscape phenomenology and the imagination of a new South Africa on Parktown Ridge
This paper employs a phenomenological approach to examine the cultural appropriation of the physical landscape of Parktown Ridge immediately after the Anglo‐Boer War. It argues that the geographical circumstances of the Ridge in the early 1900s, when understood through the experiential constructs of spaciality, temporality and materiality, developed a powerful regional reciprocity with the cultural imagination of 'New Imperialism'. The fundamenta…
Dancing on the grave of industry
Originally planned as a collaboration, Wim Wenders' 2011 film about the choreographer Pina Bausch and her Tanztheater Wuppertal was made by Wenders alone, working with members of Bausch's company after her unexpected early death. More than a documentary, Pina combines clips of staged productions, interviews with dancers, and sequences of them performing in selected settings in and around the city of Wuppertal. Combining Kracauer's theories about …
Northward, upward
Land of Contrasts' or 'Home we have always known
Imagining Nations
Landscape phenomenology and the imagination of a new South Africa on Parktown Ridge
This paper employs a phenomenological approach to examine the cultural appropriation of the physical landscape of Parktown Ridge immediately after the Anglo‐Boer War. It argues that the geographical circumstances of the Ridge in the early 1900s, when understood through the experiential constructs of spaciality, temporality and materiality, developed a powerful regional reciprocity with the cultural imagination of 'New Imperialism'. The fundamenta…
John Buchan’s ‘Hesperides
The creation and use of landscapes... always emerges from biographical and place-specific historical and social contexts, at the same time that it contributes towards the uninterrupted becoming of biography and place. 1 The thing is correlative to my body and, in more general terms, to my existence, of which my body is merely the stabilized structure. 2
Land of Contrasts' or 'Home we have always known
Land of Contrasts' or 'Home we have always known
Railways played a crucial role in building the modern South African nation during the early decades of the Twentieth Century. After 1910, the SAR&H became not only the white state's primary means of building the economic independence of the newly-formed Union, but also its sole agency for promoting tourism, settlement and investment. The many thousands of images of the South African landscape it commissioned and distributed at home and abroad in …
Creating a temenos, positing 'South Africanism
Like other Dominion First World War memorials, the South African National Memorial at Delville Wood was a landscape in which nostalgic anti-modernism was tempered by the desire to posit a new kind of identity. Using the iconographic 'invented memory' of New Imperialism, it was designed to project a bifocal 'colonial nationalism' at a time when white identity and South African citizenship were at their most fluid. Delville Wood has both failed and…
Northward, upward
From Socio-nature to Spectral Presence
In Johannesburg ... the backdrop is always man made. We have planted the forest the birds endorse. For hills we have mine dumps covered with grass. We do not wait for time and elements to weather us
Sortir de la banlieue
This article explores the constructions of urban space, national identity and gender mediated by an important genre of contemporary French cinema, the film de banlieue. Over the last 20 years, films by both French and French-Maghrebi filmmakers determined to show the reality of life on the outskirts of France's major cities have paradoxically helped reinforce notions of the grands ensembles as places outside the mainstream of culture and identity…
Dancing on the grave of industry
Originally planned as a collaboration, Wim Wenders' 2011 film about the choreographer Pina Bausch and her Tanztheater Wuppertal was made by Wenders alone, working with members of Bausch's company after her unexpected early death. More than a documentary, Pina combines clips of staged productions, interviews with dancers, and sequences of them performing in selected settings in and around the city of Wuppertal. Combining Kracauer's theories about …
Sociology (8 works) · Aesthetics (7 works) · Art (7 works) · History (7 works) · Geography (6 works) · South African History and Culture (6 works) · African history and culture studies (5 works) · Archaeology (5 works) · History (5 works) · Literature (5 works)