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Which clippings match '1989' keyword pg.2 of 3
27 NOVEMBER 2009

Kitchen Sink: suburban domestic horror short film

"Disturbing horror film. A woman is cleaning her kitchen sink. Just when she thinks it is spotless, she notices what appears to be a strand of hair near the drain. As she pulls on it, she realizes it is coming out of the drain…and is very long. Nominated for Golden Palm. Written & Directed by Alison Maclean / New Zeland / 1989 Produced by Bridget Ikin Starring: Theresa Healey, Peter Tait & Annagretta Christian"

(a Chick, flicksbychicks.com)

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TAGS

198935mm • Alison Maclean • Annagretta Christian • Aotearoa New ZealandAustralasiabody hair • Bridget Ikin • Canadachild birthcinemaclaustrophobiacleanlinessdomestic • domestic horror • fear of the abjectgendergender roleshairhorrorhorror film • Kitchen Sink (1989) • kiwi short filmslanugo • maternity • mothermotherhoodNew Zealand cinemaNZ Film Archive • Peter Tait • psychological framingpsychological horrorshort film • sink • suburbanThe Coming of Age of The New Zealand Short Film • Theresa Healey

CONTRIBUTOR

Simon Perkins
18 OCTOBER 2009

Collaborative Digital Humanities Projects

"William Wulf coined the term collaboratory in 1989 to describe a 'center without walls, in which the nation's researchers can perform their research without regard to physical location, interacting with colleagues, accessing instrumentation, sharing data and computational resources, [and] accessing information in digital libraries.'"

(Lisa Spiro, 1 June 2009)

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TAGS

1989applied researchauthorship • centre without walls • co-authorship • collaboratory • digital humanitieshumanitiesresearchresearch centretheory building • William Wulf

CONTRIBUTOR

Simon Perkins
03 FEBRUARY 2009

Oprah Winfrey's infamous body transplant

"Lately, websites such as Jezebel have become vigilant on reporting the cover misdeeds of magazines such as Redbook, Glamour and Vogue. It was Jezebel who published a 'before' and 'after' shot of Faith Hill from the July 2007 cover of Redbook that showed how a prominent clavicle or a freckled forearm are forbidden and quickly airbrushed to perfection.
...
Anyway, over the weekend, I was browsing the Museum of Hoaxes photo gallery and came across the worst case of photoshopping ever. The Aug. 26, 1989, cover of TV Guide, left, didn't just elongate Oprah's neck or add a waist and sexy biceps. Hell, no! They took a picture of the TV titan's head and transposed it onto the body of Ann–Margaret. (The shot of the iconic redhead had been taken in 1979.) Of course, it was clear that Oprah would not have posed on a pile of money. But it wasn't until the designer of the purple dress spoke up that TV Guide admitted to playing Freaky Friday with the photos."

(Los Angeles Times, 14 July 2008)

Glossy 8 x 10 publicity photo of Ann-Margret Olsson from the 1978 television special "Rockette: A Holiday Tribute to Radio City Music Hall".

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TAGS

1989airbrushed • Ann-Margret Olsson • bodycelebrityfakefashion • freaky friday • glamour magazine • Jezebel (magazine) • museum of hoaxes • Oprah Winfreyphotoshopped • Redbook (magazine) • The Rockettes (dance company) • Vogue Magazine

CONTRIBUTOR

Simon Perkins
11 SEPTEMBER 2005

Trinh T. Minh-ha: Surname Viet, Given Name Nam

"In Surname Viet Given Name Nam, for example, [Trinh T. Minh–ha] intentionally leads the viewer to think that the Vietnamese women being interviewed are really the people they portray; then, when it becomes clear that the interviews are re–enactments by immigrant–actors who live in the United States, the viewer is led to consider issues such as plural identity and the fictions inherent in documentary techniques."

(College of Letters and Science, UC Berkeley)

Trinh T. Minh–ha (1989). "Surname Viet Given Name Nam".

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TAGS

1989cultural identitydocumentary filmfictionfilminterview • plural identity • pluralismre-enactment • Surname Viet Given Name Nam (1989) • Trinh T Minh-ha • truthVietnamVietnamese
18 APRIL 2004

Tetsuo: Post-war Japanese Identity Defined Through Technology

"The cybernetic mentality that conditions [Japanese] post–war fantastic narratives is in fact a rather active and almost self–torturing acceptance of machine parts into the human flesh, which drive the Japanese identity toward postwar survival and victory over the leading nations by means of radical incorporation of technology."
(Kumiko Sato)

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TAGS

1989cinemacreation of a new speciescultural identitycyberneticcyborgdramafilm • flesh • Fujiwara • horroridentity • Iron Man • JapanJapanese filmKashiwa Satomoral imaginationspixilationposthumanpostwarsci-fispeculative fiction • Taguchi • technology • Tetsuo The Iron Man (1989) • Tsukamoto
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