Rural Temporalities : Positions of Realism Between Social Documentary and National Photography in Central Europe

Kód výsledku v IS VaVaI

<a href="https://www.isvavai.cz/riv?ss=detail&h=RIV%2F00216224%3A14210%2F25%3A00144634" target="_blank" >RIV/00216224:14210/25:00144634 - isvavai.cz</a>

Výsledek na webu

<a href="https://journals.ub.uni-heidelberg.de/index.php/xxi/article/view/113437" target="_blank" >https://journals.ub.uni-heidelberg.de/index.php/xxi/article/view/113437</a>

DOI - Digital Object Identifier

<a href="http://dx.doi.org/10.11588/xxi.2025.4.113437" target="_blank" >10.11588/xxi.2025.4.113437</a>

Jazyk výsledku

angličtina

Název v původním jazyce

Rural Temporalities : Positions of Realism Between Social Documentary and National Photography in Central Europe

Popis výsledku v původním jazyce

The rural has long functioned as antithesis to the urban as the location of modernity. One of the defining elements of this dichotomy is the different temporalities they relate to, which mark the urban as fast-paced and technologically driven, while the rural appears slow, even "timeless". In 1930s Czechoslovakia, however, an array of different realisms, defined by their value as a social record, was inscribed in the countryside through photography and film. Exploring the tensions arising in this space in the work of Irena Blühová and Karol Plicka, this essay argues that the fusing of urban and rural temporalities played a defining role in constructions of competing rural realisms. It takes the rural/urban dichotomy as a point of departure to show that its intrinsic, competing constellations forged new rural realisms at the intersection of modernist form, ethnography, and reportage.

Název v anglickém jazyce

Rural Temporalities : Positions of Realism Between Social Documentary and National Photography in Central Europe

Popis výsledku anglicky

The rural has long functioned as antithesis to the urban as the location of modernity. One of the defining elements of this dichotomy is the different temporalities they relate to, which mark the urban as fast-paced and technologically driven, while the rural appears slow, even "timeless". In 1930s Czechoslovakia, however, an array of different realisms, defined by their value as a social record, was inscribed in the countryside through photography and film. Exploring the tensions arising in this space in the work of Irena Blühová and Karol Plicka, this essay argues that the fusing of urban and rural temporalities played a defining role in constructions of competing rural realisms. It takes the rural/urban dichotomy as a point of departure to show that its intrinsic, competing constellations forged new rural realisms at the intersection of modernist form, ethnography, and reportage.

Druh

J_ost - Ostatní články v recenzovaných periodicích

CEP obor

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OECD FORD obor

60401 - Arts, Art history

Projekt

<a href="/cs/project/GA24-10997S" target="_blank" >GA24-10997S: Z venkova do světa. Lidové umění a kultura jako aktéři modernity, 1918-1945</a><br>

Návaznosti

P - Projekt vyzkumu a vyvoje financovany z verejnych zdroju (s odkazem do CEP)

Rok uplatnění

2025

Kód důvěrnosti údajů

S - Úplné a pravdivé údaje o projektu nepodléhají ochraně podle zvláštních právních předpisů

Název periodika

21: Inquiries into Art, History, and the Visual

ISSN

2701-1569

e-ISSN

2701-1550

Svazek periodika

6

Číslo periodika v rámci svazku

4

Stát vydavatele periodika

CH - Švýcarská konfederace

Počet stran výsledku

36

Strana od-do

435-470

Kód UT WoS článku

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EID výsledku v databázi Scopus

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