Amy Brown Visual art research

CONTEMPORARY VISIONS 2019 In situ image February 2019 courtesy of Damian Griffiths In situ image February 2019 courtesy of Damian Griffiths In situ image February 2019 courtesy of Damian Griffiths In situ image February 2019 courtesy of Damian Griffiths In situ image February 2019 courtesy of Damian Griffiths In situ image February 2019 courtesy of Damian Griffiths In situ image February 2019 courtesy of Damian Griffiths In situ image February 2019 courtesy of Damian Griffiths (Andreea Anghel) Us Too (Dark Web 2) (2018) Mixed Media on Canvas 180x143cm (Andreea Anghel) Untitled (Conglomerate) (2018) Mixed Media on Canvas 130x96cm (Tintin Cooper) Untitled Temple II (Night Version) (2018) Ink, Glaze and Acrylic on Ceramic Tiles on Board 108x92cm (Anthony Keith Giannini) Table Top Still Life (Residuum 3) (2018) Acrylic and Silkscreen on Canvas 196x239cm (Diptych) (Anthony Keith Giannini) Remnant (Ennumerate 3)(2018) Acrylic and Silkscreen on Canvas 213x153cm (

Dealing With Our Bloody Past: Repression vs. Recognition of American History in Stanley Kubrick’s The Shining Kameron McBride, Ball State University This essay explores how director Stanley Kubrick’s The Shining establishes the Overlook Hotel as an environment where conservative complacency has become the norm and all hope of progression is lost. By using a maze motif and the backdrop of Native American genocide The Shining  explores and critiques how modern America was constructed. Introduction In 1980 anticipation was high in the United States for Stanley Kubrick’s new film The Shining,  as it would be the iconic director’s first foray into the horror genre. Yet, when when the first trailer for The Shining premiered in the U.S., audiences only witnessed one horrific image to tease the film. The trailer started on a shot of a hallway ending in an elevator. Audience members may have noticed the Native American motif on the elevator doors and the columns in the hallway, or perhaps th