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The Parameters of Participatory Play : = Nostalgic Situationism for The 21st Century.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	The Parameters of Participatory Play :/
其他題名:	Nostalgic Situationism for The 21st Century.
作者:	Hughes, Lester.
面頁冊數:	1 online resource (231 pages)
附註:	Source: Dissertations Abstracts International, Volume: 84-11, Section: A.
Contained By:	Dissertations Abstracts International84-11A.
標題:	Audiences. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=30402268click for full text (PQDT)
ISBN:	9798379472160

The Parameters of Participatory Play : = Nostalgic Situationism for The 21st Century.
Hughes, Lester.

The Parameters of Participatory Play :Nostalgic Situationism for The 21st Century. - 1 online resource (231 pages)

Source: Dissertations Abstracts International, Volume: 84-11, Section: A.

Thesis (Ph.D.)--Bangor University (United Kingdom), 2023.

Includes bibliographical references

This practice based PhD thesis sets out to examine the connection between what I see are the two distinctive and separate spaces or 'zones' we experience during our lifetime, and the part nostalgia and memory plays in linking both of these zones together. This thesis examines the way both advertisers, and the mainstream media and in particular large budget Hollywood films deliberately serve up, what I call 'nostalgic triggers', which are intended to pierce into our 'collective childhood memories' in order to create an affiliation or bond between us and the filmic piece, effectively 'playing with our emotions' by showing us what we have already experienced in the past.I have defined these spaces as firstly the childhood zone; a place for play, creative exploration, a world where the rules are fluid, no one keeps score, and the possibilities in this space are only limited to ones imagination. And the second space, that of the workingman, where rules are rigid, life is serious, the pursuit of money and accumulation of wealth takes over, and the clock is now an instrument of burden. I shall use the theories of D W Winnecott (1951/1975) and Melanie Klein (1975), to put forward theories of play and attachment, and how these shape our outlook on later life, and I shall use the Dadaists, Fluxus, Surrealists, and Situationist art movements as an inspiration and barometer of my practical work.This thesis is split into two distinct parts, firstly my practice work in the form of a website www.swaptothetop.com, and two accompanying DVDs (titled 1 and 2), and secondly a written thesis to support the practice work. The first DVD contains four experimental short pieces, namely Artefact, The Moon and The Trees, Frondescence, and Bark. These four short pieces, which are incorporated into the main film, could be seen both as stand-alone experimental films in their own right, This thesis is split into two distinct parts, firstly my practice work in the form of a website www.swaptothetop.com, and two accompanying DVDs (titled 1 and 2), and secondly a written thesis to support the practice work. The first DVD contains four experimental short pieces, namely Artefact, The Moon and The Trees, Frondescence, and Bark. These four short pieces, which are incorporated into the main film, could be seen both as stand-alone experimental films in their own right, and practice pieces for the main film The Memory Shed. The second DVD contains the main forty-minute experimental poetic film titles The Memory Shed and an accompanying 15-minute gallery exhibition piece titled Consumed.In many ways this thesis also documents my own frustrating journey as an artist in a highly constrained commodified world. My work is self funded and errs on being playfully simplistic, while also anti-establishment/anti-capitalist, very much in the same vein as the Dada and The Situationists movements of the past.

Electronic reproduction.
Ann Arbor, Mich. :
ProQuest,
2023

Mode of access: World Wide Web

ISBN: 9798379472160Subjects--Topical Terms:

618475
Audiences.
Index Terms--Genre/Form:

542853
Electronic books.

The Parameters of Participatory Play : = Nostalgic Situationism for The 21st Century.
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504 $a Includes bibliographical references
520 $a This practice based PhD thesis sets out to examine the connection between what I see are the two distinctive and separate spaces or 'zones' we experience during our lifetime, and the part nostalgia and memory plays in linking both of these zones together. This thesis examines the way both advertisers, and the mainstream media and in particular large budget Hollywood films deliberately serve up, what I call 'nostalgic triggers', which are intended to pierce into our 'collective childhood memories' in order to create an affiliation or bond between us and the filmic piece, effectively 'playing with our emotions' by showing us what we have already experienced in the past.I have defined these spaces as firstly the childhood zone; a place for play, creative exploration, a world where the rules are fluid, no one keeps score, and the possibilities in this space are only limited to ones imagination. And the second space, that of the workingman, where rules are rigid, life is serious, the pursuit of money and accumulation of wealth takes over, and the clock is now an instrument of burden. I shall use the theories of D W Winnecott (1951/1975) and Melanie Klein (1975), to put forward theories of play and attachment, and how these shape our outlook on later life, and I shall use the Dadaists, Fluxus, Surrealists, and Situationist art movements as an inspiration and barometer of my practical work.This thesis is split into two distinct parts, firstly my practice work in the form of a website www.swaptothetop.com, and two accompanying DVDs (titled 1 and 2), and secondly a written thesis to support the practice work. The first DVD contains four experimental short pieces, namely Artefact, The Moon and The Trees, Frondescence, and Bark. These four short pieces, which are incorporated into the main film, could be seen both as stand-alone experimental films in their own right, This thesis is split into two distinct parts, firstly my practice work in the form of a website www.swaptothetop.com, and two accompanying DVDs (titled 1 and 2), and secondly a written thesis to support the practice work. The first DVD contains four experimental short pieces, namely Artefact, The Moon and The Trees, Frondescence, and Bark. These four short pieces, which are incorporated into the main film, could be seen both as stand-alone experimental films in their own right, and practice pieces for the main film The Memory Shed. The second DVD contains the main forty-minute experimental poetic film titles The Memory Shed and an accompanying 15-minute gallery exhibition piece titled Consumed.In many ways this thesis also documents my own frustrating journey as an artist in a highly constrained commodified world. My work is self funded and errs on being playfully simplistic, while also anti-establishment/anti-capitalist, very much in the same vein as the Dada and The Situationists movements of the past.
533 $a Electronic reproduction. $b Ann Arbor, Mich. : $c ProQuest, $d 2023
538 $a Mode of access: World Wide Web
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650 4 $a Memory. $3 522110
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650 4 $a Creativity. $3 605632
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650 4 $a Play. $3 518621
650 4 $a Popular culture. $3 518723
650 4 $a Art criticism. $3 526357
650 4 $a Film studies. $3 2122736
650 4 $a Cultural anthropology. $3 2122764
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710 2 $a Bangor University (United Kingdom). $3 3546296
773 0 $t Dissertations Abstracts International $g 84-11A.
856 4 0 $u http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=30402268 $z click for full text (PQDT)