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	<title>MEDIA PRAXIS</title>
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	<link>http://mediapraxis.org</link>
	<description>Integrating Theory, Practice &#38; Politics</description>
	<pubDate>Fri, 12 Dec 2008 22:15:26 +0000</pubDate>
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		<title>01. Newly Soviet Russia (1920s)</title>
		<link>http://mediapraxis.org/?p=22</link>
		<comments>http://mediapraxis.org/?p=22#comments</comments>
		<pubDate>Fri, 13 Jun 2008 23:45:19 +0000</pubDate>
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		<category><![CDATA[History]]></category>

		<category><![CDATA[01. Newly Soviet Russia (1920s)]]></category>

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		<description><![CDATA[After the revolution of 1917, Soviet cineastes became engaged in state-supported media praxis. Their signal accomplishments included bold theories and practices of montage within the context of cultural revolution.

Committed to introducing dialectical materialism to new Soviet citizens, these filmmakers engaged in a formalist project establishing the unique powers of cinema as both modernist technology and [...]]]></description>
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		<title>02. The Popular Front: United States/France/Spain (1930s-40s)</title>
		<link>http://mediapraxis.org/?p=23</link>
		<comments>http://mediapraxis.org/?p=23#comments</comments>
		<pubDate>Thu, 19 Jun 2008 19:06:45 +0000</pubDate>
		<dc:creator>mpadmin</dc:creator>
		
		<category><![CDATA[History]]></category>

		<category><![CDATA[02. The Popular Front: United States/France/Spain (1930s-40s)]]></category>

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		<description><![CDATA[“Nearly all the films that emerged from the radical cinema movement in the United States were documentaries…Why has documentary been the characteristic mode of left-wing expression in the cinema, to the exclusion of other alternatives?” Russell Campbell

To answer this question, we must focus upon key similarities and dissimilarities between montage and social realist documentaries particularly [...]]]></description>
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		<title>03. The New American Cinema: United States (1940s-60s)</title>
		<link>http://mediapraxis.org/?p=24</link>
		<comments>http://mediapraxis.org/?p=24#comments</comments>
		<pubDate>Thu, 19 Jun 2008 19:07:19 +0000</pubDate>
		<dc:creator>mpadmin</dc:creator>
		
		<category><![CDATA[History]]></category>

		<category><![CDATA[03. The New American Cinema: United States (1940s-60s)]]></category>

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		<description><![CDATA[“If cinema is to take its place beside the others as a full-fledged art form, it must cease merely to record realities that owe nothing to their actual existence to the film instrument. Instead, it must create a total experience so much out of the very nature of the instrument as to being separable from [...]]]></description>
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		<title>04. Third Cinema in Latin America (1960s-70s)</title>
		<link>http://mediapraxis.org/?p=25</link>
		<comments>http://mediapraxis.org/?p=25#comments</comments>
		<pubDate>Thu, 19 Jun 2008 19:08:38 +0000</pubDate>
		<dc:creator>mpadmin</dc:creator>
		
		<category><![CDATA[History]]></category>

		<category><![CDATA[04. Third Cinema in Latin America (1960s-70s)]]></category>

		<guid isPermaLink="false">http://mediapraxis.org/?p=25</guid>
		<description><![CDATA[More, perhaps, than in other regions of the world, culture in Latin America inhabits a politicized zone, for Latin American artists and intellectuals acknowledge how profoundly history and politics inflect creativity&#8230;.Those Latin American artists and intellectuals who, in their commitment to transform society, have turned to film as the most promising instrument have also become [...]]]></description>
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		<title>05. 1968 - France and its Aftermath</title>
		<link>http://mediapraxis.org/?p=26</link>
		<comments>http://mediapraxis.org/?p=26#comments</comments>
		<pubDate>Thu, 19 Jun 2008 19:09:07 +0000</pubDate>
		<dc:creator>mpadmin</dc:creator>
		
		<category><![CDATA[History]]></category>

		<category><![CDATA[05. 1968 - France and its Aftermath]]></category>

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		<description><![CDATA[The film and writing by Jean-Luc Godard, and others, concerning the events occurring in Paris (and around the world) during and after 1968 provide an example of a Marxist inspired revolution in a first world context. &#8220;The spirit of the May days was utopian, expressive and festive,&#8221; writes Sherry Terkle. &#8220;The  ideology of the [...]]]></description>
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		<title>06. Ethnographic Film in the Decolonizing Third World (1970s-80s)</title>
		<link>http://mediapraxis.org/?p=27</link>
		<comments>http://mediapraxis.org/?p=27#comments</comments>
		<pubDate>Thu, 19 Jun 2008 19:09:31 +0000</pubDate>
		<dc:creator>mpadmin</dc:creator>
		
		<category><![CDATA[History]]></category>

		<category><![CDATA[06. Ethnographic Film in the Decolonizing Third World (1970s-80s)]]></category>

		<category><![CDATA[07. Feminist Film: The UK and Americas (1970s-80s)]]></category>

		<category><![CDATA[08. Transatlantic Black Popular Culture: UK and US (1980s-90s)]]></category>

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		<description><![CDATA[Media praxis within ethnographic film restructures many of anthropology&#8217;s founding positions. The naming of unequal relations of power, difference, and knowledge production between the anthropologist (author) and the Third World or indigenous native (subject) is both subject and method of this tradition. Writes Jean Rouch, “every time a film is made there is cultural disruption.” [...]]]></description>
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		<title>07. Feminist Film: The UK and Americas (1970s-80s)</title>
		<link>http://mediapraxis.org/?p=28</link>
		<comments>http://mediapraxis.org/?p=28#comments</comments>
		<pubDate>Thu, 19 Jun 2008 19:09:58 +0000</pubDate>
		<dc:creator>mpadmin</dc:creator>
		
		<category><![CDATA[History]]></category>

		<category><![CDATA[07. Feminist Film: The UK and Americas (1970s-80s)]]></category>

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		<description><![CDATA[When second-wave feminists came to film in the 1970s as part of their struggle against patriarchy, a tension developed within the community, evidencing a split (not establishing connections) between theory and practice. Competing feminist theories of looking and speaking were at the heart of this split. For those on the “side” of  practice over [...]]]></description>
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		<title>08. Transatlantic Black Popular Culture: UK and US (1980s-90s)</title>
		<link>http://mediapraxis.org/?p=29</link>
		<comments>http://mediapraxis.org/?p=29#comments</comments>
		<pubDate>Thu, 19 Jun 2008 19:10:29 +0000</pubDate>
		<dc:creator>mpadmin</dc:creator>
		
		<category><![CDATA[History]]></category>

		<category><![CDATA[08. Transatlantic Black Popular Culture: UK and US (1980s-90s)]]></category>

		<guid isPermaLink="false">http://mediapraxis.org/?p=29</guid>
		<description><![CDATA[In direct dialogue with the poststructuralist, deconstructive work preceding it, black independent filmmaking and criticism added an anti-essentialist politics of race, nation, and ethnicity to these earlier traditions that had typically sought far and wide for an “other” from outside the Anglo-European context. Instead, one could be black and British without contradiction, or black and [...]]]></description>
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		<title>09. AIDS Activist Video: The UK and Americas (1980s-1990s)</title>
		<link>http://mediapraxis.org/?p=30</link>
		<comments>http://mediapraxis.org/?p=30#comments</comments>
		<pubDate>Thu, 19 Jun 2008 19:10:54 +0000</pubDate>
		<dc:creator>mpadmin</dc:creator>
		
		<category><![CDATA[History]]></category>

		<category><![CDATA[09. AIDS Activist Video: The UK and Americas (1980s-1990s)]]></category>

		<guid isPermaLink="false">http://mediapraxis.org/?p=30</guid>
		<description><![CDATA[&#8220;The point of departure of AIDS activist graphics is neither the studio nor the artist&#8217;s private vision, but AIDS activism. Social conditions are viewed from the perspective of the movement working to change them. AIDS activist art is grounded in the accumulated knowledge and political analysis of the AIDS crisis, produced collectively by the entire [...]]]></description>
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		<title>10. Cyberspace: The internet (1990s-present)</title>
		<link>http://mediapraxis.org/?p=31</link>
		<comments>http://mediapraxis.org/?p=31#comments</comments>
		<pubDate>Thu, 19 Jun 2008 19:11:23 +0000</pubDate>
		<dc:creator>mpadmin</dc:creator>
		
		<category><![CDATA[History]]></category>

		<category><![CDATA[10. Cyberspace: The internet (1990s-present)]]></category>

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		<description><![CDATA[The digital terrain is at once a culmination and a beginning for the tradition of media praxis.
On the net, time, place, and media collide, reformat, are archived, become one(s) (and zeros). Access expands; duration and attention decrease, creating new viewing practices and ethics.
Many of the binaries that structure earlier moments in this history become undone: [...]]]></description>
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