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CRITICAL THEORY and AUTHORITARIAN POPULISM Critical Theory and Authoritarian Populism
CDSMS EDITED BY JEREMIAH MORELOCK CRITICAL THEORY AND AUTHORITARIAN POPULISM Critical Theory and Authoritarian Populism edited by Jeremiah Morelock Critical, Digital and Social Media Studies Series Editor: Christian Fuchs The peer-reviewed book series edited by Christian Fuchs publishes books that critically study the role of the internet and digital and social media in society. Titles analyse how power structures, digital capitalism, ideology and social struggles shape and are shaped by digital and social media. They use and develop critical theory discussing the political relevance and implications of studied topics. The series is a theoretical forum for in- ternet and social media research for books using methods and theories that challenge digital positivism; it also seeks to explore digital media ethics grounded in critical social theories and philosophy. Editorial Board Thomas Allmer, Mark Andrejevic, Miriyam Aouragh, Charles Brown, Eran Fisher, Peter Goodwin, Jonathan Hardy, Kylie Jarrett, Anastasia Kavada, Maria Michalis, Stefania Milan, Vincent Mosco, Jack Qiu, Jernej Amon Prodnik, Marisol Sandoval, Se- bastian Sevignani, Pieter Verdegem Published Critical Theory of Communication: New Readings of Lukács, Adorno, Marcuse, Honneth and Habermas in the Age of the Internet Christian Fuchs https://doi.org/10.16997/book1 Knowledge in the Age of Digital Capitalism: An Introduction to Cognitive Materialism Mariano Zukerfeld https://doi.org/10.16997/book3 Politicizing Digital Space: Theory, the Internet, and Renewing Democracy Trevor Garrison Smith https://doi.org/10.16997/book5 Capital, State, Empire: The New American Way of Digital Warfare Scott Timcke https://doi.org/10.16997/book6 The Spectacle 2.0: Reading Debord in the Context of Digital Capitalism Edited by Marco Briziarelli and Emiliana Armano https://doi.org/10.16997/book11 The Big Data Agenda: Data Ethics and Critical Data Studies Annika Richterich https://doi.org/10.16997/book14 Social Capital Online: Alienation and Accumulation Kane X. -
Rooted in Rhetoric Volume 5
Table of Contents Foreword 4 Introduction 6 Reading Response Georgia DeFehr (Counter)Archiving Atrocity Through Comics Journalism: A Response to Hillary L. Chute’s “History and the Visible in Joe Sacco” 7 Textual Analysis Autumn Sfatcos Shadowed Truth: An Ideological Analysis of the White Saviour Complex in The Help 13 Elaine Ries The Environment, the Economy, and the Consequences of the Alberta Tar Sands 25 Giordana Curatolo Critiquing Representations of Postpartum Depression in the Media: A Case Study 33 Sharee Hochman Sandy Hook Promise OrganiZation’s Back to School Advertisement: How the American Identity Limits Moral Indignation 39 Critique Maddalena Nowosad Disrupting Hegemony: Carnivalesque and Feminist Practices at The Edge Skatepark 48 1 Rachel Ferstl A Metaphoric Critique on Michael Arad and Peter Walker’s 9/11 Memorial: Reflecting Absence 65 Manifesto Valerie Nyamori The Red Wave Manifesto Proposal 77 Research Essay Cassidy Rempel #Clean, Healthy, Perfect: The Image-Text Relationship of Orthorexia-Triggering Content on Instagram 80 Jocelyn Shymko The Powerful Presence of Plants- FertiliZing the Mind with Mental Enhancement 92 Jocelyn Shymko Politics on Thin Ice 99 Leia Patterson The IdealiZation of Virtue: A Generic Description of Canadian War Memorials 107 Lily O’Donnel Bedroom Pop: How Algorithms Created a Genre 116 Thomas Dickson Wendy and Lucy: Between Neorealism and Slow Cinema 120 2 Personal Narrative Rebecca Michaella Daylo A Story of Relocating to Another Country 134 Ziyin Wang Crossing Racial and Cultural Lines with Sincerity 138 Princess Tecson Mandap The Flower that Bloomed in my House 141 3 Foreword It is 2020. Many of us have found ourselves in a moment of complete pause. -
Alive to Boredom
Alive to Boredom MARIEL VICTORIA MOK If you ever find yourself looking for something boring to watch, just pick one of Béla Tarr’s films. They are among the most boring films you might ever hope to find: intensely, immersively, and fascinatingly—transcen- dentally, even—boring. Tarr’s The Turin Horse (2011) is almost static, moving at what David Campany, in Photography and Cinema, terms a “glacial tempo” (37). Tarr’s cam- era crawls almost painfully slowly, and the living, breathing humans in the film often move less than the objects around them. The film follows Ohlsdorfer—an elderly man—and his daughter over the course of six days, as they mechanically carry out a routine we can infer was established long ago. Tarr follows their every move, even when what they are doing seems trivial, and even—especially—when they aren’t doing anything at all. In one scene, Ohlsdorfer’s daughter walks to the stove after he lies down to rest; she holds a pot, collects two potatoes, places them inside the pot, and, after pouring water into the pot, begins boiling the potatoes. She sits facing the window, completely still as she looks out and waits. Only the stillness of the scene itself surpasses the stillness of her form: the only movement comes from the leaves that flutter outside, visible through the windowpanes. Tarr’s camera edges steadily until it stops directly behind her, and with a rigid, symmetrical, and static shot, plasters her in a lifeless position of solitude. We look at her back as she looks out the window; the light from the stove occasionally flickers, but beyond that, there is no movement from her or the camera for one and a half minutes. -
Introduction
Introduction Spatial studies that emerged as a nascent discourse in the post Second World War period has suddenly assumed prominence with the spatial turn in poststructuralist theories. Globalisation, with its liberal immigration policies, has transformed the spatial experiences of individuals and reconfigured the world, redefining spatial relations and reordering existing spatial structures. The virtual space provided by the Internet has added a new spatial experience, which is at once heterotopic and panoptic. The spatial turn in academic discourses leads to the emergence of the politics of spatiality in the practice of everyday life enacted in the social space. In this regard, Robert T. Tally Jr. explains: “The spatial turn is . a turn towards an understanding of our lives as situated in a mobile array of social and spatial relations that, in one way or another, need to be mapped” (17). The fundamental pattern of discursive enquiry has changed: every cultural critique is now punctuated with questions of space, spatiality and spatial relations. Spatial practices have become prominent along with cultural and social practices. The ontological enquiry of space has evolved from space as a container of objects to space as a structured and mediated reflection of social/power relations. Space has been a complex and problematic term in cultural critique. The noted geographer Bertrand Westphal observes that the cosmopolitan diaspora caused by “grand migrations occasioned by economic or political exigencies 2 specific to the industrial, and especially the post-industrial era” has called for a rereading of space (25). A study of the spatial representations in literature opens up a changing world where new spatial experiences and perplexities get constructed. -
Index to Volume 26 January to December 2016 Compiled by Patricia Coward
THE INTERNATIONAL FILM MAGAZINE Index to Volume 26 January to December 2016 Compiled by Patricia Coward How to use this Index The first number after a title refers to the issue month, and the second and subsequent numbers are the page references. Eg: 8:9, 32 (August, page 9 and page 32). THIS IS A SUPPLEMENT TO SIGHT & SOUND Index 2016_4.indd 1 14/12/2016 17:41 SUBJECT INDEX SUBJECT INDEX After the Storm (2016) 7:25 (magazine) 9:102 7:43; 10:47; 11:41 Orlando 6:112 effect on technological Film review titles are also Agace, Mel 1:15 American Film Institute (AFI) 3:53 Apologies 2:54 Ran 4:7; 6:94-5; 9:111 changes 8:38-43 included and are indicated by age and cinema American Friend, The 8:12 Appropriate Behaviour 1:55 Jacques Rivette 3:38, 39; 4:5, failure to cater for and represent (r) after the reference; growth in older viewers and American Gangster 11:31, 32 Aquarius (2016) 6:7; 7:18, Céline and Julie Go Boating diversity of in 2015 1:55 (b) after reference indicates their preferences 1:16 American Gigolo 4:104 20, 23; 10:13 1:103; 4:8, 56, 57; 5:52, missing older viewers, growth of and A a book review Agostini, Philippe 11:49 American Graffiti 7:53; 11:39 Arabian Nights triptych (2015) films of 1970s 3:94-5, Paris their preferences 1:16 Aguilar, Claire 2:16; 7:7 American Honey 6:7; 7:5, 18; 1:46, 49, 53, 54, 57; 3:5: nous appartient 4:56-7 viewing films in isolation, A Aguirre, Wrath of God 3:9 10:13, 23; 11:66(r) 5:70(r), 71(r); 6:58(r) Eric Rohmer 3:38, 39, 40, pleasure of 4:12; 6:111 Aaaaaaaah! 1:49, 53, 111 Agutter, Jenny 3:7 background -
Metaphysics and the Moving Image Trevor Mowchun a Thesis in The
Metaphysics and the Moving Image Trevor Mowchun A Thesis In the Humanities Program For the Degree of Doctor of Philosophy (Humanities (Fine Arts)) at Concordia University July 2018 © Trevor Mowchun, 2018 CONCORDIA UNIVERSITY SCHOOL OF GRADUATE STUDIES This is to certify that the thesis prepared By: Trevor Mowchun Entitled: Metaphysics and the Moving Image and submitted in partial fulfillment of the requirements for the degree of Doctor Of Philosophy (Humanities (Fine Arts)) complies with the regulations of the University and meets the accepted standards with respect to originality and quality. Signed by the final examining committee: Chair Dr. Kristina Huneault External Examiner Dr. George Toles External to Program Dr. Nathan Brown Examiner Dr. Andre Furlani Examiner Dr. Justin E. H. Smith Thesis Supervisor Dr. Martin Lefebvre Approved by Dr. Erin Manning, Graduate Program Director December 10, 2018 Dr. Rebecca Taylor Duclos, Dean Faculty of Fine Arts iii ABSTRACT Metaphysics and the moving image Trevor Mowchun, Ph.D. Concordia University, 2018 The various forms of cross-pollination and encounter between film and philosophy have generated thought experiments which make it possible to think beyond what the two fields can do for each other to what they can do together. My guiding intuition in this thesis is that the distinct historical evolutions of film and philosophy intersect in the speculative domain of the Western metaphysical paradigm, as the film medium technologically and aesthetically reestablishes conditions for “truth” within -
Reclaiming the Image Béla Tarr's World of 'Inhuman' Becoming: an Artistic and Philosophical Inquiry
WestminsterResearch http://www.westminster.ac.uk/research/westminsterresearch Reclaiming the image Béla Tarr's world of 'inhuman' becoming: an artistic and philosophical inquiry Elzbieta Buslowska School of Media, Arts and Design This is an electronic version of a PhD thesis awarded by the University of Westminster. © The Author, 2012. This is an exact reproduction of the paper copy held by the University of Westminster library. The WestminsterResearch online digital archive at the University of Westminster aims to make the research output of the University available to a wider audience. Copyright and Moral Rights remain with the authors and/or copyright owners. Users are permitted to download and/or print one copy for non-commercial private study or research. Further distribution and any use of material from within this archive for profit-making enterprises or for commercial gain is strictly forbidden. Whilst further distribution of specific materials from within this archive is forbidden, you may freely distribute the URL of WestminsterResearch: (http://westminsterresearch.wmin.ac.uk/). In case of abuse or copyright appearing without permission e-mail [email protected] RECLAIMING THE IMAGE. Béla Tarr's World of 'Inhuman' Becoming: An Artistic and Philosophical Inquiry ELZBIETA BUSLOWSKA Béla Tarr, Sátántangó (1994), 419min A thesis submitted in partial fulfilment of the requirements of the University of Westminster for the degree of Doctor of Philosophy May 2012 abstract: The thesis entitled 'Reclaiming the Image' is an artistic and philosophical enquiry. It aims at a radical re-thinking of the concept of the image outside the accepted notions of realism and representation by opening up the photographic real in the process of bringing together photography and cinema, stillness and movement, life and art, aesthetics and politics. -
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Cronfa - Swansea University Open Access Repository _____________________________________________________________ This is an author produced version of a paper published in : The Routledge Companion to World Cinema Cronfa URL for this paper: http://cronfa.swan.ac.uk/Record/cronfa29914 _____________________________________________________________ Book chapter : Rydzewska, J. (2017). Developments in Eastern European Cinema since 1989. R. Stone, P. Cooke, S. Dennison, A. Marlow-Mann (Ed.), The Routledge Companion to World Cinema, Routledge. _____________________________________________________________ This article is brought to you by Swansea University. Any person downloading material is agreeing to abide by the terms of the repository licence. Authors are personally responsible for adhering to publisher restrictions or conditions. When uploading content they are required to comply with their publisher agreement and the SHERPA RoMEO database to judge whether or not it is copyright safe to add this version of the paper to this repository. http://www.swansea.ac.uk/iss/researchsupport/cronfa-support/ Developments in Eastern European Cinemas since 1989 Elżbieta Ostrowska, University of Alberta Joanna Rydzewska, Swansea University ABSTRACT This chapter examines the ways in which Eastern European cinema has become Europeanized. It looks at how the idea of Eastern Europe and its cinema has been shaped vis-à-vis the West, and redefined after the collapse of communism. Contrary to the received wisdom that a new paradigm emerged in 1989, this chapter argues that it is only since 2000 that Eastern European cinema has enjoyed recognition after the near collapse of its film industries in the 1990s. In the three case studies of the Hungarian filmmaker Béla Tarr, Eastern European female directors and the Romanian New Wave, the chapter analyses the emergence in Eastern Europe of a new complex model of film production aligned with its larger European counterpart. -
Alexandra IRIMIA Matters of Time in László Krasznahorkai's and Béla
Matters of Time in László Krasznahorkai’s and Béla Tarr’s Satantango 213 Alexandra IRIMIA Matters of Time in László Krasznahorkai’s and Béla Tarr’s Satantango Abstract: This paper attempts to draw an intermedial comparison of László Krasznahorkai’s 1985 novel Satantango and Béla Tarr’s 1994 eponymous adaptation through the perspective of their treatment of time and narration, by reflecting upon the specificities of their respective media. The two works advance the hypothesis of a circular experience of temporality defying the linear flow of literary and cinematic discourse. Aesthetically, their approach is characterized by a strong emphasis on seemingly meaningless and bleak contingency, in an atmosphere of claustrophobic closure shaped by the dance metaphor already transparent from the title, which is also central to the structure of both the novel and its cinematic adaptation. In exploring the various cinematographic and typographic mechanisms through which the tango sequence of steps configures the imagery and the sensorial landscape of the two works, our analysis refers to a multi-modal, comparative usage of key concepts such as narrated time, narrative time and Gilles Deleuze’s time-image. Keywords: time-image, intermediality, adaptation, Satantango, Laszlo Krasznahorkai, Gilles Deleuze. “He felt that what the rain was doing to his face was exactly what time would do. It would wash it away.” (Krasznahorkai, 13) Alexandra IRIMIA, PhD student Western University, London, ON, Canada It rains a lot in Satantango, both on page and University of Bucharest, Romania on screen. Not much else happens. Somehow, [email protected] though, both prose and cinematic narrative manage to keep the reader and the spectator EKPHRASIS, 2/2018 arrested – on condition that they are willing to CINEMA, COGNITION AND ART dance. -
Both Inside the Circle and Out: Béla Tarr's MISSING PEOPLE at The
Repositorium für die Medienwissenschaft Jonathan Klamer Both inside the circle and out: Béla Tarr’s MISSING PEOPLE at the Vienna Festival 2019 https://doi.org/10.25969/mediarep/13129 Veröffentlichungsversion / published version Rezension / review Empfohlene Zitierung / Suggested Citation: Klamer, Jonathan: Both inside the circle and out: Béla Tarr’s MISSING PEOPLE at the Vienna Festival. In: NECSUS. European Journal of Media Studies. #Gesture, Jg. 8 (2019), Nr. 2, S. 321– 331. DOI: https://doi.org/10.25969/mediarep/13129. Erstmalig hier erschienen / Initial publication here: https://necsus-ejms.org/both-inside-the-circle-and-out-bela-tarrs-missing-people-at-the-vienna-festival/ Nutzungsbedingungen: Terms of use: Dieser Text wird unter einer Creative Commons - This document is made available under a creative commons - Namensnennung - Nicht kommerziell - Keine Bearbeitungen 4.0/ Attribution - Non Commercial - No Derivatives 4.0/ License. For Lizenz zur Verfügung gestellt. Nähere Auskünfte zu dieser Lizenz more information see: finden Sie hier: https://creativecommons.org/licenses/by-nc-nd/4.0/ https://creativecommons.org/licenses/by-nc-nd/4.0/ EUROPEAN JOURNAL OF MEDIA STUDIES www.necsus-ejms.org Both inside the circle and out: Béla Tarr’s ‘Missing People’ at the Vienna Festival NECSUS 8 (2), Autumn 2019: 321–331 URL: https://necsus-ejms.org/both-inside-the-circle-and-out-bela- tarrs-missing-people-at-the-vienna-festival/ Keywords: Béla Tarr, exhibition, film, Vienna One must imagine Béla Tarr busy. Even though he has repeatedly insisted on the fact that he considers himself retired – at least as a director of feature films[1] – he has not stopped working since the release of The Turin Horse (2011). -
4-11 Nov 2011
4-11 NOV 2011 Edita Sevilla Festival de Cine Europeo Director Artístico Javier Martín-Domínguez Documentación y Catálogo Antonio Abad Albarrán, Adeline Clement, Blanca García, Borja Moreno Traducción Deidre MacClowskey, Mathilde Grange Cesión de Fotografías Danish Film Institute, Lolo Vasco, Norwegian Film Institute, Swedish Film Institute, Polish Film Institute Producción Editorial Below Impresión J. de Haro Artes Gráficas, S.L. Depósito Legal SE-7934-2011 ÍNDICE TABLE OF CONTENTS 5 página CARTEL SEFF’11 POSTER SEFF’11 12 PREMIOS 2011 2011 AWARD 16 JURADO JURY 30 SECCIÓN OFICIAL OFFICIAL SECTION 36 SELECCIÓN EFA EFA SELECTION 70 EURIMAGES 104 EURODOC 122 EYE ON FILMS - MEDIA MUNDUS 154 FIRST FILMS FIRST 156 CELEBRACIÓN DEL CINE RUSO CELEBRATION OF RUSSIAN CINEMA NUEVO CINE RUSO NEW RUSSIAN CINEMA 176 CICLO NIKITA MIKHALKOV NIKITA MIKHALKOV PROGRAM 194 RUSSIA IN SHORT. ARTHOUSE IN SHORT-METRAGE 200 CICLO AMOS GITAI AMOS GITAI PROGRAM 206 CANAL ARTE ARTE CHANNEL 212 SHORT MATTERS’11 219 HISTORIA(S) DEL CINE HISTOIRE(S) DU CINÉMA 227 PANORAMA ANDALUZ ANDALUSIAN PANORAMA 232 TARDE DE TOROS AN AFTERNOON OF BULLFIGHTING 250 TRES CULTURAS THREE CULTURES 254 EUROPA JUNIOR 257 MES DE DANZA 261 FORO INDUSTRIA INDUSTRY FORUM 264 ACTIVIDADES PARALELAS PARALLEL ACTIVITIES 270 ÍNDICE DE TÍTULOS TITLES INDEX 278 LISTADO DE CONTACTOS CONTACTS LIST 282 7 Durante los días 4 y 11 de noviembre Sevilla acoge el During the period from 4th to 11th November, Seville will Festival de Cine Europeo, un festival que este año pre- welcome the European Film Festival, a festival that this tende estar más cerca de los sevillanos. -
CATÁLOGO CATALOGUE Coordenação Editorial Publishing Coordination
13 MOSTRA MUNDIAL WORLD CINEMA 41 MÚSICA DO UNDERGROUND UNDERGROUND MUSIC 57 RETROSPECTIVA BÉLA TARR RETROSPECTIVE BÉLA TARR 79 RETROSPECTIVA CLAIRE DENIS RETROSPECTIVE CLAIRE DENIS CINESESC | CINE OLIDO INDIE 11 | POR UM CINEMA INQUIETO INDIE 11 | FOR A RESTLESS CINEMA Se considerarmos que o cinema é um exercício de criação por meio do mento é limitado, não os recur- If we consider the cinema an exercise of creation which enables us to construct such cinema tends to make aesthetic qual construímos realidades próximas às vividas ou imaginadas, nos sos. Com liberdade sutil, esse realities similar to the ones lived or imagined, by presenting ourselves with the choices that show us what is invis- colocando numa tarefa lúdica de desvendar suas camadas, é fatal per- cinema tende a fazer escolhas playful task of unraveling its layers, it is inevitable to realize how this is such a ible or imperceptible in our realities, ceber o quanto essa arte é complexa e dispendiosa. estéticas que mostram aquilo complex and expensive art. which, in turn, are always too hectic to que é invisível ou imperceptível let us see what they are made of. A nós espectadores, é posta a escolha de uma narrativa, decorrem inte- em nossas realidades atribula- To us, viewers, is given the choice of a narrative from which interactions between rações entre a linguagem visual e sonora; de repente, surgem tempos, das demais para que perceba- the audible and visual language take place; suddenly, there comes times, places In this edition, all these character- lugares e as pessoas em suas escolhas.