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Alone and Lonely: Through the Gaze of Edward Hooper

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Nighthawks by Edward Hopper

As I recall the hours I spent in the Museum of Modern Art, I am reminded of the masterful work of Edward Hopper. Hopper, an American artist, was known for his enigmatic and melancholic paintings of urban life in America. He perfected the art of loneliness in his paintings and a representation of individuals absorbed by solitude. His paintings depict solitary figures staring into the abyss. The words of my former partner ring in my ears till this day. She felt the figures were recognition of the fleeting moments of loneliness that exist in all of us, whether we are amid a pandemic, economic recession or just in an ordinary day.

Hopper’s famous work, Nighthawks (1942), continues to be referred to and revered in today’s day and age. The painting portrays alienation and voyeurism quiet contemplation the scene depicts four people

in a New York City diner at night it’s meant to be somewhere in Greenwich Village where Hopper lived. There are one waiter and three patrons whose relationships are all ambiguous. Seated closely in an empty diner at dusk, it is assumed that these two knew each other. Somehow, their hands overlap yet don’t touch. Suggesting they’re in different phases and could be strangers if not just momentarily estranged. Prima facie, one looks at the dinner from an odd angle. From the vantage of an onlooker crossing the street. The triangular corner juts into the frame like the prow of a boat.

This is no coincidence. Not only was Hopper obsessed with the imagery of boats but he repeatedly situated his buildings’ angles like so. For Hopper, his subjects were both, behind and in front of windows. Of course, windows are the place where the separation between outside and inside becomes complicated. Not because we can physically move through them but because our sight does. One’s gaze invades these private worlds. Indeed, Hopper’s artistic romance with windows often appears as if windows are non-existent. Hopper’s windows vanish. They invite a voyeuristic look. Aware of the fact that knowing that houses like people can be penetrated with a gaze Hopper was a very slow, very deliberate painter.

Hopper wanted his devotion to each work to be mirrored by our appreciation as slowly and deliberately as he painted. He wanted his viewers to look at the vulnerable crouching in the dark in the building; Or opposite or simply crossing the street. Note, there is no door to the diner in Nighthawks. No way in except by way of sight. A sight that enters the fluorescent light of the establishment passes through the three patrons in their ennui and loneliness and exits into the dark.

In short, Nighthawks exemplifies Hopper’s style of a dramatic play of light, shadow, and a hue of mystery. Tensions and disconnections between people are exemplified in paintings such as Room in New York and Summer Evening. “We are all Edward Hopper paintings now,” I read on the internet. Alluding to the sense of isolation that has permeated societies undergoing lockdown due to the coronavirus pandemic. Hopper’s work resonates as the world remains in the shackles of lockdowns, even if partial. Without a shadow of a doubt, such expressions of emotions and feelings like loneliness mirror what so many feel inside due to the ‘new normal.

Nevertheless, Hopper’s work is far beyond the dull and melancholic mood of mundaneness that hangs over our heads. His paintings are a brilliant psychological illustration that speaks to the artist’s experience and thoughts on life. In solitude and social isolation, Hopper’s figures offer a kinship to the viewer, a recognition of the fleeting moments of loneliness that exist in all of us whether we’re amid a pandemic, economic recession or just an ordinary day.

Hopper’s paintings, like the rest of his skilful ilk, demand a story of interpretation. His paintings resemble book covers awaiting analysis, awaiting narratives. In such an amalgam of mystery and openness, Hopper’s paintings exude an exquisite and memorable sentiment. Staring at Hopper’s works, one notices the life in the subjects painted. Hopper’s work, in my analysis, in my narrative, seeks not to compound loneliness, but simply to recognise it.

Ankit Malhotra is a student of Law at the Jindal Global Law School at O.P Jindal Global University.

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Squid Game, Style influence and Sustainable consumption

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Photo source: Netflix

Have you heard about the recent South Korean drama blockbuster named Squid Game yet? It was released on Netflix on Sept. 17, 2021, and has quickly earned a worldwide audience. Since debuting, it has been viewed by more than 100 million people and has become the no. 1 trending in top 10 lists in 94 countries around the world.

Not only topped the list, but the South Korean drama has also created a trend that has influenced fashion style around the world and dominated the online platforms such as Google, Facebook, Instagram, and several online shopping websites: Amazon, eBay, Shoppee, and so on.  On Google.com, you will find more than 223,000,000 results in only 0.53 seconds; on Amazon.com, the term “Squid Game costume” has also become a top finding, even when you have just typed only two characters “sq”, the full term “Squid Game costume” will appear and you can find more than a thousand of results about this kind of clothes. 6,150 results for Squid Game costume appear when searching on eBay. On Instagram and Facebook, the hashtag #SquidGameCostume has recently become the most popular key hashtag and could be the influent style this winter.

Unlike trending superhero movies like Captain American, Avengers, with characters wearing specialized and inconvenient costumes for daily use, “Squid Game” is full of players wearing banal teal-green tracksuits. And this style of wearing tracksuits has been promoted by luxury fashion brands such as Louis Vuitton and Channel in recent years, because of its convenience and full of fashion, suitable for almost everyone from children, young people, and adults. That’s why the seemingly simple tracksuits in “Squid Game” turned out to be more trending.

The green tracksuit will likely become popular because of its convenience and ease of production, but it’s not the only known outfit, one that’s probably even more sought-after is the set of hot pink boiler suits and black masks watch the spectacle. Halloween is just around the corner, this type of costume has the potentiality to become another “red jumpsuits and Salvador Dalí masks” – a phenomenon that comes from the previous hit Money Heist.  Clearly, Squid Game costume could be a perfect choice for the one who is looking for the new and trending Halloween costume, and fashion influencers may have to queue in line after Squid Game this Halloween and winter.

With marketing strategies in all aspects that an ordinary person can reach just by picking up the smartphone, it is not difficult for “Squid Game” to be accessible through advertisements, and finding a way to win in marketing could be more easily for fashion companies and even companies that are not engaged in the fashion industry. Netflix even sells Squid Game t-shirts and hoodies on its website, and it seems that marketing the products of trending movies will become the marketing trend in the future.

However, from the environmentalist or sustainable consumption supporters’ perspective, the influences of the fads can go against what they’re pursuing. Sustainable consumption is the use of services and related products, which responds to basic needs and brings a better quality of life while minimizing the use of natural resources and toxic materials as well as the emissions of waste and pollutants over the life cycle of the service or product so as not to jeopardize the needs of future generations. Sustainable consumption is closely related to sustainable production and sustainable lifestyles. When thinking about the relationship of a hot trend like Squid Game and its influence, we could see the 4M plus model (4M +) including Mass media marketing -Mass outfit obsession – Mass production – Mass consumption, and the plus could be the Mass damage for the environment. It may seem to be not a kind of mass production if it only happens once in a blue moon and only happens for one movie/show, but in fact, it is an unstoppable game that every director wants to win. Fashion’s influence could be a tool to reach the top trending show of the year and also be a push for the fashion industry and consumption later.

So, is the top trending show doing well in marketing and promoting fashion consumption by creating style influence, definitely Yes, but is it promoting sustainable consumption? I am not sure.

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The winner of the All About Photo Magazine contest is a picture of a happy Nenets family

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Photo: Yulia Nevskaya, "Tundra people"

The work of the Russian photographer Yulia Nevskaya “Tundra People” – a photograph of a happy woman from the Russian northern region of Taimyr surrounded by three children won first prize in the All About Photo Magazine travel photography competition. This photograph’s victory is particularly noteworthy for the UNESCO-announced Decade of Indigenous Languages (2022–2032), which will focus on the rights of native speakers of indigenous languages.

All About Photo is a free and independent magazine that has become one of the most vibrant portals of photography on the web. Moreover, All About Photo result is one of the most far-reaching online magazines where you can find everything related to photography.

Nevskaya worked a lot in the north of Russia, including with small peoples: the Nenets and the Sami. She took many photographs in one of the most interesting and northern cities of Russia – Norilsk.

This is how she described her trip.

“Norilsk is an industrial city, there are many industries that are harmful to the environment. This city was a revelation for me. I expected to see a smoky sky and an oppressive atmosphere. But the city turned out to be full of light, a combination of shades of white and blue against the background of the silence of the Arctic, “Nevskaya said.

The main enterprise of the city – Norilsk Nickel – has been actively cooperating with the indigenous people of the region for a long time.

The Taymyr Peninsula is a peninsula in the Far North of Russia, in the Siberian Federal District, that forms the northernmost part of the mainland of Eurasia. Administratively it is part of the Krasnoyarsk Krai Federal subject of Russia.

Nornickel has been cooperating with the Indigenous Minorities of the North for more than 30 years.

The photo shows Angelina Wanga with her children Denis, Linda and Dima. The picture was taken at the end of April. Snow in the tundra will melt only at the beginning of summer.

In July, at the UNESCO headquarters in Paris, with the support of Norilsk Nickel, the exhibition “The World in the Faces” of the famous Russian photographer Alexander Khimushin was held. The author personally presented a collection of more than 170 artistic photographic portraits of representatives of different peoples of the world, shot in authentic national costumes in places of residence. The exhibition was dedicated to the upcoming International Decade of the World’s Indigenous People and Their Languages. It is a celebration of multiculturalism and our incredible ethnic diversity at its best.

In 2018, Khimushin went to the Russian Arctic – Taimyr. The result was a series of portraits of the region’s indigenous inhabitants – Dolgans, Nganasans, Enets, Nenets, Evenks.

Khimushin became the first Russian photographer to have an exhibition at the UN headquarters in New York. Works from The World in Faces project were exhibited at the University of Lille in France, and for six months were broadcast on the screen of the world’s largest digital art center in Bordeaux.

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Landmark report highlights untapped potential of Africa’s film industry

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Nigerian film actress Toyin Abraham was among entertainers who helped the UN share messages to address myths surrounding COVID-19./ Toyin Abraham

Africa’s film and audiovisual industries could create over 20 million jobs and contribute $20 billion to the continent’s combined Gross Domestic Product (GDP), the UN cultural agency, UNESCO, said on Tuesday in a new report highlighting this untapped potential. 

The African Film Industry: Trends, Challenges and Opportunities for Growth is the first-ever mapping of the sector, which currently employs some five million people and accounts for $5 billion in GDP across Africa.

Making creativity viable

Audrey Azoulay, the UNESCO Director-General, presented the report in Paris alongside esteemed filmmakers Abderrahmane Sissako and Mati Diop.

“This landmark publication reflects on the importance of strengthening international cooperation to enable all countries, in particular developing countries, to develop cultural and creative industries that are viable and competitive both nationally and internationally,” she said.

The report aims to help the African film industry, and decision-makers, to take stock of the current landscape and plan strategically for future growth.

Africa’s potential as a film powerhouse remains largely untapped, despite a significant growth in production across the continent, the report argues. Nigeria alone produces around 2,500 films a year.

Even though affordable digital film equipment and online platforms allow direct distribution to consumers, opening new avenues for content creators, Africa is the most underserved continent in terms of movie theatres.  Currently, there is only one cinema screen per 787,402 people.

Lights, camera, piracy

The film industry also faces the significant problem of piracy.  The UNESCO report estimates that 50 per cent to over 75 per cent of revenue is lost to piracy, though precise data does not exist.  Additionally, just 19 out of 54 African countries offer financial support to filmmakers.

The report outlines further challenges, including limitations on freedom of expression, as well as education, training and internet connectivity.

Films as ‘public goods’

This year marks two decades since the adoption of a UNESCO Declaration that upholds cultural diversity as being as necessary to humanity as biodiversity is to nature.

Ms. Azoulay said in commemorating the anniversary, “we must raise our voice to reaffirm that films are indeed ‘public goods’ that require public support and investment to ensure equal access to creation, production, distribution, dissemination and consumption.” 

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