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filosofie --- cultuurfilosofie --- sociologie --- twintigste eeuw --- eenentwintigste eeuw --- 130.2

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In ''Domestic Flight'', the viewer is not confronted with traces of what has been. Rather, each scene allows us a glimpse into the action of the story Camille Picquot is unfolding. Released of its burden of proof, photography can now fully be applied to its new purpose: to visually narrate and suggest a fictional story. In her artistic work, Picquot is equally at ease with photography as she is with film. Applying and mixing common practices of these media, she never places one above the other, but rather reinforces them both. In ''Domestic Flight'', Picquot does not shy away from adding a playful cameo of herself in the series, possibly hinting at Alfred Hitchcock's famous appearances. (Rein Deslé)

fotografie --- eenentwintigste eeuw --- Picquot Camille --- 77.071 PICQUOT --- 761.2 fotografen afzonderlijk --- Frankrijk --- 21e eeuw (eenentwintigste eeuw) --- experimentele fotografie --- stillevens --- Exhibitions --- Photography --- fotoboeken --- Picquot, Camille

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kunst --- 7.039 --- 7.01 --- eenentwintigste eeuw --- kunst en literatuur --- literatuur --- kunsttheorie --- performances

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Nowadays the fifth month of the year is referred to in Czech as “květen”. “Máj” is an older word that has a romantic quality and is closely associated with a famous poem of the same name by Karel Hynek Mácha written in 1836. In 1996 the British supermarket chain Tesco purchased the store, renaming it “My” in 2009. If this name is interpreted as an English word, then it refers to an individual. It is surely no coincidence that this English name sounds much the same as the old Czech one. If pronounced, however, according to Czech phonetics, which no one ever does, it sounds quite different. Then it means “we” and refers to a collective. Since 2017 Tesco has been selling off some of its stores in the Czech Republic because of financial losses. In spring of 2018 the department store “My” was also sold.

fotografie --- documentaire fotografie --- portretfotografie --- eenentwintigste eeuw --- Tsjechië --- Praag --- straatfotografie --- Kiwitt, Stephanie --- 77.071 KIWITT

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Hamrah is committed to his ambivalence, conveying it with a mixture of precision and conviction that will remind you how much more there is to be gleaned from a review than whether a movie is 'good' or 'bad' (even if it's a movie you happen to deem very good or very bad indeed) . . . A political awareness imbues Hamrah's criticism without weighing it down. He doesn't succumb to a leaden moralizing because he pays close attention to the medium he's writing about, alert to what he sees and hears.

film --- filmtheorie --- filmanalyse --- filmkritiek --- eenentwintigste eeuw --- 791.41 --- Analyse de l'art --- Cinéma