Werner Herzog, Documentary Outsider

Ames, Eric

doi:10.5749/minnesota/9780816677634.003.0001

Cited by 2 publications

(4 citation statements)

References 0 publications

Supporting

Mentioning

Contrasting

Order By: Relevance

“…Thus, we draw from other literature of critical accounts of 'outsider' discourses and practices in sport, art and business media to help contextualize and explicate the ways in which the various stakeholders in Beautiful Losers make use of the symbolic capital of 'outsider'. 6 …”

Section: Theoretical Framing and Methodologymentioning

confidence: 99%

“…27 In this vein, we argue that 'outsider' art should not be understood simply as an 'aesthetic phenomenon', but also as indicative of 'power relations' involving a range of namers, advocates, apologists, consumers and producers. 28 This line of social analysis involves mapping the function of the art process by outlining how artists network and cooperate with other artists, patrons and galleries.…”

Section: The Beautiful Losers Exhibition and Claims To Outsider Authementioning

confidence: 96%

See 1 more Smart Citation

Beautiful losers: the symbolic exhibition and legitimization of outsider masculinity

Atencio

Beal

2011

Sport in Society

View full text Add to dashboard Cite

In this paper we examine how practices and logics associated with the cultural 'outsider' underpin one particular fusion of contemporary art, alternative sports, and marketing interests which are endemic to post-Fordist economies. We describe a skateboarding-infused art exhibit, Beautiful Losers, to investigate how power dynamics operate relative to post-industrial creative classes. In particular, we illustrate how Beautiful Losers is one example of an emerging social field that privileges 'outsider' dispositions and discourses. Bourdieu's concept of symbolic capital is used to describe the interested parties and the struggles for legitimacy existing within the social field. We contextualize the social significance of 'outsider' discourses in consumer culture and how that has gained currency within post-industrial society. We then link the idealization of the cultural 'outsider' with contemporary discourses associated with alternative sport and artistic disinterest. Beautiful Losers distinctly merges these logics in ways that legitimate an ascendant version of 'outsider' masculinity. We provide insights into how the legitimation and reproduction of this 'outsider' masculinity represents a symbolic struggle for capital amongst participants and audiences. Arguably, symbolic capital was primarily afforded to the white male artists and founding members who came from middle-class backgrounds.

show abstract

Section: Theoretical Framing and Methodologymentioning

confidence: 99%

Section: The Beautiful Losers Exhibition and Claims To Outsider Authementioning

confidence: 96%

Beautiful losers: the symbolic exhibition and legitimization of outsider masculinity

Atencio

Beal

2011

Sport in Society

View full text Add to dashboard Cite

show abstract

“…The ecstasy of communication is the giddy hypnotism of “capitalist realism” (Fisher, 2009) and the delight in the quest for social and cultural capital. It is also an ecstatic truth based on “stylization as opposed to mere observation” (Ames, 2012: 11). This all suggests a need for a model of ethnographic research capable of grappling with these bio-technological-affective assemblages in order to understand contemporary DIY production.…”

Section: Diy and Diy+ And The Struggle For Futuritymentioning

confidence: 99%

“…When the cyborgrapher is seduced by Altermodern worldings, cineworlding projects Altermodern becomings. The seduction can be characterized by the twin ecstasies of cineworlding, the ecstasy of communication (Baudrillard, 2012) and of ecstatic truth (Ames, 2012; Herzog and Cronin, 2014; Prager, 2007). These twin ecstasies are a way of navigating or wayfinding the cyborgrapher's collaborative projections.…”

Section: Cinematic Altermodern Subjectification and The Cyborgraphermentioning

confidence: 99%

Collaborative projection and the twin ecstasies of DIY cineworlding

MacDonald

2023

DIY, Alternative Cultures & Society

View full text Add to dashboard Cite

The notion that ethnographic practice needs to be normative in order to be rigorous is problematic, especially when the partners in that research are producing experimental and resistant DIY cultures. Nonnormative ethnographers are “activist” in their critical engagement with dominant regimes of truth and must contend with digital disruption and platform capitalism that has vastly expanded DIY production. It is no longer possible to identify DIY culture with self-production because digital self-production is simply demanded for the “digital citizenship” of platform capitalism. In this article, the psychoanalytic concept of projection is turned upside down and understood as a socially performed digital-bodying that worlds. The screen becomes a location of dissensus, projecting the ecstatic truth of Modern/capitalist worldings or Altermodern/anti-capitalist worldings. Cinematic research-creation, CineWorlding, is an activist cinematic posthumanographic study of the interstices that infold concepts, bodies, social, technological, and environmental ecologies into worldings.

show abstract

Werner Herzog, Documentary Outsider

Cited by 2 publications

References 0 publications

Beautiful losers: the symbolic exhibition and legitimization of outsider masculinity

Beautiful losers: the symbolic exhibition and legitimization of outsider masculinity

Collaborative projection and the twin ecstasies of DIY cineworlding

Contact Info

Product

Resources

About