Voyages et exils au cinéma, rencontres de l'altérité s'intéresse aux phénomènes d'hybridation entre cultures tels qu'ils se traduisent à l'écran, sans restriction géographique (cinémas américain, italien, africain, libanais, indien, taïwanais, japonais etc.). Si le voyage et l'exil des cinéastes sont sources de transferts culturels et esthétiques, le thème du voyage et de l'exil représenté au cinéma questionne la notion d'altérité en proposant une vision diversifiée de la rencontre entre autochtones et nouveaux arrivants. Dans un monde globalisé, mais qui continue de (...) s'interroger à la fois sur la mixité culturelle et le sens de la nation, le cinéma reflète ainsi les cultures plurielles dans leur richesse et leur vivacité, mais aussi les replis communautaires, les phénomènes d'imprégnation et bien entendu de domination culturelle. La caméra se désigne alors comme acteur, témoin et exégète de ces processus qui, s'ils ont une longue histoire et se développent tout au long du XXe siècle, culminent dans notre temps présent. (shrink)

A COMPANION TO MOTION PICTURES AND PUBLIC VALUE A Companion to Motion Pictures and Public Value brings together original essays by world-renowned scholars investigating the varied intersections of the moving image and the public good. Covering a wide range of types and genres of cinema, this unprecedented volume explores the past, present, and possible future contributions of motion pictures to public value. With a cross-disciplinary approach, the text presents original conceptual work, global perspectives, philosophical (...) arguments, historical discussion, empirical research, and specific case studies of the direct and indirect public value developed through motion pictures. Organized into seven thematic sections, this Companion identifies and discusses the various kinds of values that motion pictures can deliver, including artistic and aesthetic, ethical and moral, spiritual and religious, cultural, environmental, political, and cognitive. Throughout the text, readers are provided with deep insight into the issue of public value as it relates to cinema and its positive impact on human life and society. A Companion to Motion Pictures and Public Value is an ideal textbook for advanced undergraduate and graduate courses in Film, Media, and Cultural Studies, and is a valuable resource for scholars across a variety of disciplines. (shrink)

The success of movies like The Artist and Hugo recreated the wonder and magic of silent film for modern audiences, many of whom might never have experienced a movie without sound. But while the American silent movie was one of the most significant popular art forms of the modern age, it is also one that is largely lost to us, as more than eighty percent of silent films have disappeared, the victims of age, disaster, and neglect. We now know about (...) many of these cinematic masterpieces only from the collections of still portraits and production photographs that were originally created for publicity and reference. Capturing the beauty, horror, and moodiness of silent motion pictures, these images are remarkable pieces of art in their own right. In the first history of still camera work generated by the American silent motion picture industry, David S. Shields chronicles the evolution of silent film aesthetics, glamour, and publicity, and provides unparalleled insight into this influential body of popular imagery. Exploring the work of over sixty camera artists, Still recovers the stories of the photographers who descended on early Hollywood and the stars and starlets who sat for them between 1908 and 1928. Focusing on the most culturally influential types of photographs—the performer portrait and the scene still—Shields follows photographers such as Albert Witzel and W. F. Seely as they devised the poses that newspapers and magazines would bring to Americans, who mimicked the sultry stares and dangerous glances of silent stars. He uncovers scene shots of unprecedented splendor—visions that would ignite the popular imagination. And he details how still photographs changed the film industry, whose growing preoccupation with artistry in imagery caused directors and stars to hire celebrated stage photographers and transformed cameramen into bankable names. Reproducing over one hundred and fifty of these gorgeous black-and-white photographs, Still brings to life an entire long-lost visual culture that a century later still has the power to enchant. (shrink)

This handbook brings together essays in the philosophy of film and motion pictures from authorities across the spectrum. It boasts contributions from philosophers and film theorists alike, with many essays employing pluralist approaches to this interdisciplinary subject. Core areas treated include film ontology, film structure, psychology, authorship, narrative, and viewer emotion. Emerging areas of interest, including virtual reality, video games, and nonfictional and autobiographical film also have dedicated chapters. Other areas of focus include the film medium’s intersection with (...) contemporary social issues, film’s kinship to other art forms, and the influence of historically seminal schools of thought in the philosophy of film. Of emphasis in many of the essays is the relationship and overlap of analytic and continental perspectives in this subject. (shrink)

marilyn fischer’s careful historiographical treatment of the ideas and life of Jane Addams deepens our understanding of Addams’s important work as a thinker and practitioner. The paper paints a picture of the ideological and sociological landscape of Addams’s world, paying close attention to the relationships Addams had with other prominent thinkers of the day, such as the African Americans W. E. B. Du Bois and Ida B. Wells-Barnett, as well as the pragmatist Josiah Royce. Fischer seems to have doubled aims (...) in the paper. On the one hand, she makes a set of claims that helps us understand Addams better as a historical thinker. On the other hand, the paper advances another set of claims about Addams’s relation to .. (shrink)

_Minerva’s Night Out_ presents series of essays by noted philosopher and motion picture and media theorist Noël Carroll that explore issues at the intersection of philosophy, motion pictures, and popular culture. Presents a wide-ranging series of essays that reflect on philosophical issues relating to modern film and popular culture Authored by one of the best known philosophers dealing with film and popular culture Written in an accessible manner to appeal to students and scholars Coverage ranges from the (...) philosophy of Halloween to _Vertigo_ and the pathologies of romantic love. (shrink)

In this book, Richard Dien Winfield builds upon Hegel’s Aesthetics to provide a comprehensive and systematic analysis of the individual fine arts, which remedies Hegel's inconsistencies and major omissions. In addition to conceiving the general aesthetics and particular stylistic forms of architecture, sculpture, painting, music, and literature, Winfield determines the fundamental character of the new arts of photography and cinema that the master thinkers of aesthetics never had the opportunity to consider. Winfield’s analysis covers a wide-ranging array of artistic creations (...) from diverse periods and cultures, while engaging in debate with the most important aesthetic theorists of the past and present. (shrink)

In The Othering of Women in Silent Film: Cultural, Historical, and Literary Contexts, Barbara Tepa Lupack explores the rampant racial and gender stereotyping in early cinema and demonstrates how that imagery helped shape American attitudes and practices.

This book explores Gilles Deleuze's contribution to film theory. According to Deleuze, we have come to live in a universe that could be described as metacinematic. His conception of images implies a new kind of camera consciousness, one that determines our perceptions and sense of selves: aspects of our subjectivities are formed in, for instance, action-images, affection-images and time-images. We live in a matrix of visual culture that is always moving and changing. Each image is always connected to an assemblage (...) of affects and forces. This book presents a model, as well as many concrete examples, of how to work with Deleuze in film theory. It asks questions about the universe as metacinema, subjectivity, violence, feminism, monstrosity, and music. Among the contemporary films it discusses within a Deleuzian framework are Strange Days, Fight Club, and Dancer in the Dark. (shrink)

Over the past two decades, stories of world-ending catastrophe have featured prominently in film and television. Zombie apocalypses, climate disasters, alien invasions, global pandemics and dystopian world orders fill our screens-typically with a singular figure or tenacious group tasked with saving or salvaging the world. Why are stories of End Times crisis so popular with audiences? And why is the hero so often a white man who overcomes personal struggles and incredible obstacles to lead humanity toward a restored future? This (...) book examines the familiar trope of the hero and the recasting of contemporary anxieties in narratives like The Walking Dead, Snowpiercer and Mad Max: Fury Road. Some have familiar roots in Western cultural traditions yet many question popular assumptions about heroes and heroism to tell new and fascinating stories about race, gender and society and the power of individuals to change the world. (shrink)

The Celebration of Death in Contemporary Culture investigates the emergence and meaning of the cult of death. Over the last three decades, Halloween has grown to rival Christmas in its popularity and profitability; dark tourism has emerged as a rapidly expanding industry; and funerals have become less traditional. "Corpse chic" and "skull style" have entered mainstream fashion, while elements of gothic, horror, torture porn, and slasher movies have streamed into more conventional genres. Monsters have become pop culture heroes: vampires, zombies, (...) and serial killers now appeal broadly to audiences of all ages. This book considers, for the first time, these phenomena as aspects of a single movement, documenting its development in contemporary Western culture. Previous considerations of our fixation on death have not developed a convincing theory linking the mounting demand for images of violent death and the dramatic changes in death-related social rituals and practices. This book offers a conceptual framework that connects the observations of the simulated world of fiction and movies--including The Twilight Saga, The Vampire Diaries, Night Watch, Hannibal, and the Harry Potter series--to social and cultural practices, providing an analysis of the specific aesthetics and the intellectual and historical conditions that triggered the cult of death. It also considers the celebration of death in the context of a longstanding critique of humanism and investigates the role played by 20th-century French theory, as well as by posthumanism, transhumanism, and the animal rights movement, in the formation of the current antihumanist atmosphere. With its critique of movie and book blockbusters and the death-related social rituals, festivals, and fashions that have coalesced into the cult of death, this timely volume will appeal to anyone hoping to better understand a defining phenomenon of our age. Scholars and general readers of cultural studies, film and literary studies, anthropology, and American and Russian studies will find this book thought-provoking. (shrink)

The preoccupation with "depth" and its relevance to cinema and media studies.

Nihilism, American style -- The quest for evil -- The negative zone : suburban familial malaise in American beauty, Revolutionary road, and Mad men -- Normal nihilism as comic : Seinfeld, Trainspotting, and Pulp fiction -- Romanticism and nihilism -- Defense against the dark arts : from Se7en to the Dark knight and Harry Potter -- God got involved : sacred quests and overcoming nihilism -- Feels like the movies.

Film Manifestos and Global Cinema Cultures is the first book to collect manifestoes from the global history of cinema, providing the first historical and theoretical account of the role played by film manifestos in filmmaking and film culture. Focussing equally on political and aesthetic manifestoes, Scott MacKenzie uncovers a neglected, yet nevertheless central history of the cinema, exploring a series of documents that postulate ways in which to re-imagine the cinema and, in the process, re-imagine the world. This volume collects (...) the major European ÒwavesÓ and figures ; Latin American Third Cinemas ; radical art and the avant-garde ; and world cinemas. It also contains previously untranslated manifestos co-written by figures including Bolla’n, Debord, Hermosillo, Isou, Kieslowski, PainlevŽ, Straub, and many others. Thematic sections address documentary cinema, aesthetics, feminist and queer film cultures, pornography, film archives, Hollywood, and film and digital media. Also included are texts traditionally left out of the film manifestos canon, such as the Motion Picture Production Code and Pius XI's Vigilanti Cura, which nevertheless played a central role in film culture. (shrink)

If we are to posit, as do many liberal theorists, that autonomy is an educational goal that the state should endorse across cultural difference, key questions remain: What type of autonomy should we strive for, exactly, and how should this goal be achieved? Many liberal philosophers of education have argued that autonomy should enable cultural choice and that the development of autonomy requires students to be exposed to different beliefs and traditions. Shelley Burtt has challenged this dominant position, (...) however, insisting that autonomy (properly understood) can be developed within a “comprehensive education” that does not seek to sympathetically expose students to cultural difference. In this essay, Bryan Warnick responds that Burtt's arguments are inconsistent and lack cultural imagination, and that her underlying concept of autonomy is inadequate, primarily because it lacks a compelling picture of cultural self-criticism. There is a lack of appreciation, he argues, for how frameworks of cultural comparison are necessary in the development of this self-criticism. At the same time, Warnick argues that there is much to be learned from Burtt's analysis about the tough choices that need to be made as liberals seek to champion autonomy as an educational end across cultural difference. (shrink)

Reproductive tourism is the travelling by candidate service recipients from one institution, jurisdiction, or country where treatment is not available to another institution, jurisdiction, or country where they can obtain the kind of medically assisted reproduction they desire. The more widespread this phenomenon, the louder the call for international measures to stop these movements. Three possible solutions are discussed: internal moral pluralism, coerced conformity, and international harmonisation. The position is defended that allowing reproductive tourism is a form of tolerance (...) that prevents the frontal clash between the majority who imposes its view and the minority who claim to have a moral right to some medical service. Reproductive tourism is moral pluralism realised by moving across legal borders. As such, this pragmatic solution presupposes legal diversity. (shrink)

In this book, Sarah Mayberry Scott analyzes contemporary films to investigate how the history and values of the Deaf world provides opportunities for how the concepts of voice, silence, and listening can be expanded to include a diverse plurality of embodied experiences.

Poor Eliza -- Pax Americana : the case of Show boat -- National brands, national body : Imitation of life -- Uncle Sam needs a wife : citizenship and denegation -- Remembering love, forgetting everything else : Now, voyager -- "It's not the tragedies that kill us, it's the messes" : femininity, formalism, and Dorothy Parker -- The compulsion to repeat femininity : Landscape for a good woman and The life and loves of a she-devil.

The relationship between cinema and technology is a complex and fascinating one. Andrew Utterson brings together key theoretical texts spanning more than a century of writing. He begins by investigating cinema as technology or as an interconnected series of technologies, then goes on to examine the technological history of cinema within a much broader context: as one element in a sustained period of technological expansion, cinematic or otherwise, and its impact on the wider world. Rather than seeing technologies in traditional (...) mechanical terms, this reader explores by way of the moving image the various cultural, social, political, economic and ideological dimensions that are essential to an understanding of technology. Students taking courses on cinema and media technologies will find this an ideal introduction to the wealth of writing and research in the field. (shrink)

Boys, Boyz, Bois concerns questions of ethics, gender and race in popular American images, national discourse and cultural production by and about black men. The book proposes an ethics of masculinity, as ethnics refers to a system of morality and valuation and as ethics refers to a care of the self and ethical subject formation. The texts of analysis include recent films by black/African American filmmakers, gansta rap and hip-hop and black star persona: texts ranging from Blaxploitation and New (...) Black Cinema to contemporary music video to autobiography and the public image of Sidney Poitier. The book is a significant contribution to cultural studies and gender studies and critical race theory. What is distinctive about the book is the question of ethics as a question of race and gender. (shrink)

In Animal Rites, Cary Wolfe examines contemporary notions of humanism and ethics by reconstructing a little known but crucial underground tradition of theorizing the animal from Wittgenstein, Cavell, and Lyotard to Lévinas, Derrida, ...

IntroductionScientific pluralism is generally understood in the backdrop of scientific monism. So is mathematical pluralism. Though there are many culture-dependent mathematical practices, mathematical concepts and theories are generally taken to be culture invariant. We would like to explore in this paper whether mathematical pluralism is admissible or not.Materials and methodsMathematical pluralism may be approached at least from five different perspectives. 1. Foundational: The view would claim that different issues within mathematics need support of different foundations, apparently (...) incompatible with one another. 2. Ontological: The world itself is dappled—the mathematical counterpart of which can be traced to the admission of non-Euclidean spaces and also in simultaneous acceptance of set-theoretic and category theoretic entities in the ontology of mathematics. 3. The third route is epistemological. It follows from the view that the nature of reality is so complex that different aspects of it require alternative modes of representation and explanation sometimes severally, sometimes simultaneously, e.g., classical, constructivist, computer-aided and different finitist mathematics can be used depending on the knowledge situation. 4. The fourth route is semantic. Fuzzy mathematics, we know, gives up bivalence in theory of truth, and ascribes truth to mathematical propositions in degrees. 5. The last one is Programmatic: for some, mathematical pluralism is a stance, a programme. It provides a framework which strikes at the root of cultural hegemony and nourishes a climate of intellectual humility and tolerance. It is not my intention to hold the brief of any of these versions. I just want to present to the readers a more or less complete picture of the scenario, though not an exhaustive one. ConclusionUnlike monism, mathematical pluralism does not rule out any possibility—even the possibility of having a unitary over-arching framework of interpretation remains as an open option. This paper highlights the fact that motivations for upholding pluralism in mathematics have been many and one can be a pluralist just by subscribing to any of the views listed above. (shrink)

Introduction -- Otherness in contemporary European cinema -- Potential and limits of a new European in Nicolas Echevarría's Cabeza de vaca -- Migrants in Europe: breaking the boundaries? -- Inspiration from abroad? cultural boundaries in Chicano cinema -- Conclusion.

In an era increasingly characterized by pluralism and globalization, intercultural pedagogy represents a starting point for addressing the challenges that today’s society confronts us with daily. Throughout history, cultures have changed through interactions, exchanges, and hybridization, leading to the formation of an increasingly pluralistic and multicultural society. Against this background, it is crucial to develop approaches based on dialogue and mutual recognition. However, acceptance and willingness to encounter require an educational path that is promoted by schools from childhood, especially (...) in view of the monocultural mentality that too often characterizes more and more people and prevents the opening of a path that counteracts ethnocentrism in favor of a broader perspective. From this point of view, intercultural pedagogy proves to be the only approach that can guarantee the formation of individuals ready to create a truly multicultural society. (shrink)

The United Nations Educational, Scientific and Cultural Organisation’s Declaration on Bioethics and Human Rights refers to the importance of cultural diversity and pluralism in ethical discourse and care of humanity. The aim of this meta-narrative review is to identify indigenous ethical values pertaining to the Ojibway, Xhosa, and Mayan cultures from peer-reviewed sources and cultural review, and to ascertain if there are shared commonalities. Three main themes were identified, namely illness, healing, and health care choices. Illness (...) was described with a more complex and dynamic picture than from the western view, as illness is not considered to be one dimensional. Healing needs to take place on various levels in order to restore a state of equilibrium between the different spheres. Health care choices were also considered from a multi-level perspective. In all three of the indigenous cultures explored, good decision-making is seen to have occurred when choices are informed by commitments to one’s moral and ethical responsibilities towards the community, nature, and the spirit world. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 39.3 (2005) 115-120 [Access article in PDF] Commentary Seeing Cultural Conflicts Some years ago the great intellectual historian Isaiah Berlin made an important statement about what has become known as multiculturalism: We are urged to look upon life as affording a plurality of values, equally genuine, equally ultimate, above all equally objective; incapable, therefore, of being ordered in a timeless hierarchy, or judged (...) in terms of some one absolute standard.1He distinguishes such pluralism from relativism, which holds that different cultures (or individuals) have tastes or attitudes that are not objectively valid. Multiculturalism is, he thinks, an important position; relativism is not. Berlin describes what has now become a very familiar cliché. There are many diverse social systems. And since each has real value, we try to understand every other culture on its own terms.A great deal has been written recently about cultural conflicts. What can visual art show us about this subject, about relationships between radically opposed societies? Pre-modern civilizations were not usually tolerant of exotic cultures. Islam and Europe were often at war. "The menace of Islam was seen as something which threatened the souls as well as the bodies of Christian Europe."2 But although the Italians often fought with their Muslim neighbors, they did also import carpets to decorate the interiors of palaces and, in Venice, to adorn the facades of their homes.3 And many Venetian paintings depict these Islamic rugs. In Giovanni Mansueti's Miracles of the Bridge at San Lio (1494), now in the Accademia, Venice, or in Vittore Carpaccio's Meeting and Departure of the Betrothed (1490) showing the Episodes from the Life of St. Ursula, carpets are represented. In such pictures, the historian Paul Hills observes:... rich colours in soft textiles overlay the hardness of marble; and the eye of the Venetian painters and their public became attuned to fine degrees of hardness and softness, of fixity and pliancy, as when silken textiles move in a current of air but marbles stand fast. 4The Venetians were famous for incorporating alien artifacts, making them "their own without losing a sense of the exotic and the unfamiliar."5 And so it is unsurprising that painters freely inserted objects from another culture into works of art. The exotic decorative fabrics must surely have inspired the [End Page 115] Venetians. But because Islamic culture was foreign, Renaissance Europeans did not say much about the aesthetic qualities of these carpets.Representations of carpets are also found elsewhere in Italian art. The Siena Cathedral contains frescoes by Pinturicchio (1502-9) showing the life of Pius II, the fifteenth-century Pope. In the sixth scene, he enters Mantua to preside over the assembly called to mount an expedition against the Turks.6 (The venerable Christian capital Constantinople had just fallen to the Muslims.) On the table in the porch sheltering the Pope and his attendants, under some books, is a magnificent carpet. Even as these Christians plot, the room is decorated by art made by their enemies. Perhaps the carpet placed underfoot in this picture is treated as a trophy, like the flags of the defeated foes displayed in military museums. But often in other European paintings, Islamic rugs are depicted set on tables or hung from windows in ways that acknowledge their visual appeal.7Renaissance Italians seem to have had no concern with understanding Islamic carpets. Modern historians, by contrast, interested in the elaborate symbolism of these carpets, note that the rugs serve sacred functions.8 The Quran gives elaborate directions about how and when to pray. But it does not mention carpets. "Apart from mosque lamps the only other furnishing commonly found in mosques was some kind of floor covering," a historian explains.9 "The custom no doubt evolved from the religious requirement that all must enter the mosque unshod." Because carpets are used for prayer, both believers and Christians naturally associate them with religious observances. Non-Muslims also have long made use of these beautiful artifacts, sometimes cautiously—a fourteenth-century Spanish rabbi did say that a carpet depicting the Kaaba... (shrink)

At the Intersection of High and Mass Culture analyses the contradictions and interaction between high and low art, with particular reference to Hollywood and European cinema. Written in the essayist, speculative tradition of Walter Benjamin and Theodore Adorno, this study also includes analyses of several key films of the 1980s. Tracing the boundaries of such genres as film noir, science fiction and melodrama, it demonstrates how these genres were radically expanded by such filmmakers as Neil Jordan, Chris Merker and Georges (...) Franju. This work also reflects on kitsch, the star system, racial and gender stereotypes, and the nature of audience participation. While defining the conditions under which the symbiotic relationship between high and mass culture can be cross-fertilising, this study stresses their inevitably contradictory characteristics. (shrink)

This work tells the story of the rise of the modern German environmental imagination, with particular emphasis on its narrative and visual components.

Rereading Randolph Bourne’s most known essay “Trans-National America” (1916) provides the nowadays reader with a more accurate view perception of the cultural transmutations occurring at the beginning of the last century in America. Reflecting on the contrast between the ideals of liberal republican America and the reality of the assimilation policies, Randolph Bourne disagreed along with other intellectuals of his time with nativist attitudes and policies disfavoring or slighting immigrants and their heritage in twentieth century America. Wrestling to establish (...) a more equitable meaning of the cultural heritage in the actual making of American citizenship, other than the Anglo-Saxon one, Bourne employed William James’s concept of ‘consciousness’, mapping a new cultural content for the idea of ‘nation’, contributing to the public debate on pluralism. Arguing that American idealism was imperiled by the consequences of melting pot policies, Bourne envisioned modernist America as a ‘trans-national’ entity holding together a variety of ethnic communities lead by the same lofty democratic goals, assuming that equality of individuals should be paralleled by the equality of ethnic communities. “Trans-National America” appears as a landmark in the further evolution of pluralism, combining reformism with the intellectual utopianism in an attempt to enrich the meanings of American exceptionalism in a newly fashioned form. Apparently, the term ‘postmodern’ occurred for the first time in this early twenty century writing. (shrink)

This collection emphasizes a cross-disciplinary approach to the problem of scale, with essays ranging in subject matter from literature to film, architecture, the plastic arts, philosophy, and scientific and political writing. Its contributors consider a variety of issues provoked by the sudden and pressing shifts in scale brought on by globalization and the era of the Anthropocene, including: the difficulties of defining the concept of scale; the challenges that shifts in scale pose to knowledge formation; the role of scale in (...) mediating individual subjectivity and agency; the barriers to understanding objects existing in scalar realms different from our own; the role of scale in mediating the relationship between humans and the environment; and the nature of power, authority, and democracy at different social scales. (shrink)

Drawing together eighteen contributions from leading international scholars, this book conceptualizes the history and theory of cinema's century-long relationship to modes of exploration in its many forms, from colonialist expeditions to decolonial radical cinemas to the perceptual voyage of the senses made possible by the cinematic apparatus. This is the first anthology dedicated to thinking cinema's relationship to exploration from a global, decolonial, and ecological perspective. Featuring leading scholars working with pathbreaking interdisciplinary methodologies (drawing upon insights from science and technology (...) studies, postcolonial theory, indigenous ways of knowing, and film theory and history), it theorizes cinema's implication in imperial conquest but also its cutting edge role in empirical expansion and experiments in sensual and critical perception. The collected essays consider filmmaking in cross-cultural contexts, consider films made in or about peoples in South America, Asia, Africa, indigenous North America, as well as polar, outer space, and underwater exploration, with famous figures such as Jacques Yves Cousteau are considered alongside amateur and scientific filmmakers. The essays in this collection are ideal for a broad range of scholars, graduate students, and advanced undergraduate students in Cinema and Media Studies, Cultural Studies, and cognate fields. (shrink)

In this rich cultural history, Pamela Robertson Wojcik examines America's ambivalent and shifting attitude toward homelessness through a close study of film cycles from five distinct historical moments that show characters as unhomed and placeless, mobile rather than fixed: failing, resisting, or opting out of the mandate for a home of one's own. From the tramp films of the Silent Era to the Oscar-winning Nomadland in 2021, Wojcik shows how film cycles reveal a tension in the American imaginary between (...) viewing homelessness as, on the one hand, deviant or threatening, and, on the other, emblematic of freedom and independence. Blending social history with insights drawn from a complex array of films, both canonical and fringe, Wojcik effectively 'unhomes' dominant narratives that cast aspirations for success and social mobility as the focus of American cinema, reminding us that genres of precarity have been central to the American cinema (and American story) all along. (shrink)

Cinema has long played a crucial role in the way that societies remember and represent themselves. In the last quarter century, film has been an important medium in the public debate around the memory of the Holocaust and of Hiroshima; of the Algerian war for independence and of the Spanish Civil War; of the Allende legacy in Chile, the utopian dreams of 1968, and the aborted project of the German Democratic Republic; in identity formation in Palestine and in the African (...) diaspora. Hedges discusses the role of cinema within a global perspective that spans five continents, and proposes an original typology of cultural memory. In the process, she re-evaluates the contributions of major directors and uncovers hitherto neglected yet important works. The author develops her arguments in an approachable style that will encourage readers to rethink their own memories of films and to reflect on the way that cinema contributes to collective and cultural memory. The book's innovative approach should transform the way that we think of film and its social effects. (shrink)

In the 1910s, New York suffragette Electra Sparks wrote a series of essays in theMoving Picture Newsthat advocated for cine-therapy treatments for pregnant women. Film was, in her view, the great democratizer of beautiful images, providing high-cultural access to the city's poor. These positive ‘mental pictures’ were important for her because, she claimed, in order to produce an attractive, healthy child, the mother must be exposed to quality cultural material. Sparks's championing of cinema during its ‘second birth’ (...) was founded upon the premise of New Thought. This metaphysical Christian doctrine existed alongside the self-help and esoteric publishing domains and testified, above all, to the possibility of the ‘mind-cure’ of the body through the positive application of ‘mental pictures’. Physiologically, their method began best in the womb, where the thoughts of the mother were of utmost importance: the eventual difference between birthing an Elephant Man or an Adonis. This positive maternal impression was commonplace in New Thought literature; it was Sparks's innovation to apply it to cinema. Investigating Sparks's film theory, practice and programming reveals her to be a harbinger of the abiding analogy between mind and motion picture that occupies film theorists to this day. (shrink)

The book analyses a variety of topics and current issues in linguistics and literary studies, focusing especially on such aspects as memory, identity and cognition. Firstly, it discusses the notion of memory and the idea of reimagining, as well as coming to terms with the past. Secondly, it studies the relationship between perception, cognition and language use. It then investigates a variety of practices of language users, language learners and translators, such as the use of borrowings from hip-hop and slang. (...) The book is intended for researchers in the fields of linguistics and literary studies, lecturers teaching undergraduate and master's students on courses in language and literature. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:A Culture of Engagement: Law, Religion, and Morality by Cathleen KavenyAllen CalhounA Culture of Engagement: Law, Religion, and Morality Cathleen Kaveny WASHINGTON, DC: GEORGETOWN UNIVERSITY PRESS, 2016. 320 pp. $98.95 / $32.95It is encouraging to read a book on the intersection of religion and law from an author as conversant with both fields as is Cathleen Kaveny. Reworking a number of columns that she wrote for Commonweal magazine, (...) Kaveny offers her concept of a "culture of engagement" as an alternative to America's polarizing culture wars. She builds a vision of engagement—typified by Pope Francis's emphasis on the church's need to "encounter" all human beings—that welcomes the influence that religious traditions and the broader culture and its laws can have on each other.Kaveny notes two ways in which the Roman Catholic tradition is particularly well situated to engage American culture and law. First, both American common law and the Catholic moral tradition use forms of "casuistry" to connect general rules with particular situations. Second, Catholic reluctance "to draw sharp lines between the pure and the tainted" can supply a salutary alternative to the Puritan tendency toward "prophetic indictment" (16).In part 1, Kaveny argues that law has both pedagogical and pragmatic qualities. In part 2, she describes the nation's struggle to balance governmental interests and religious liberty in the context of the contraception mandate in the 2010 Affordable Care Act. She faults the United States Conference of Catholic Bishops for elevating the law's pedagogical role over its pragmatic function in their attack on the mandate. She herself leans toward pragmatism; she assumes that exceptions to laws of general applicability should apply only "in the most extreme cases" (116) and that the government—not the religious claimant—should determine when exceptions apply.Kaveny also suggests that the bishops would do well to pay greater attention to the common good, as "it reflects the moral consensus of the community, which is accurately reflected in our democratic process of lawmaking" (90). Development of the grounds for this optimistic linking of a moral consensus and majority rule to the common good would have been an interesting addition to the book.Part 3 is the heart of the work, exploring ways for American society to "move beyond a culture war mentality" (120). Kaveny resists the assumption that public discourse in a society torn by culture wars is served by pitting secular and religious voices against each other. She hopes instead for persuasion based on natural law. One is left wondering, however, how persuasion based on natural law could happen in America's ideologically diverse culture. [End Page 201]Part 4 explores the effect of America's ideological pluralism on discussions among American Catholics. Kaveny describes how the church's sexual abuse scandal has fed the growing sense of disconnection between church teaching and the expectations of the Catholic laity.Part 5, a series of essays on difficult ethical controversies, hints at what interaction between the American and Catholic traditions might look like. Kaveny advocates "reframing the question" and hints at what reframing the contraception question might look like (221).Some of the book addresses specifically Catholic questions. It is valuable in that respect. Its scope extends beyond any one religious tradition, however, as it offers a picture of engagement between equals: the American legal tradition and Catholic moral teaching. Nevertheless, Kaveny makes it clear that this sort of engagement can succeed only if the American legal community understands its need to reflect changing social values and the Catholic hierarchy moves away from insisting that "error has no rights" and toward acknowledging that people do have rights even when they are in error (257).Allen CalhounPhD candidate, University of AberdeenCopyright © 2018 Society of Christian Ethics... (shrink)

James A. Diefenbeck, Wayward Reflections on the History ofPhilosophyThomas R. Flynn Sartre, Foucault and Historical Reason. Volume 1:Toward an Existential Theory of HistoryMark Golden and Peter Toohey Inventing Ancient Culture:Historicism, Periodization and the Ancient WorldZenonas Norkus Istorika: Istorinis IvadasEverett Zimmerman The Boundaries of Fiction: History and theEighteenth‐Century British Novel.

In an age characterised by an increasing integration of advanced technology into our everyday lives, posthumanism has developed into a major intellectual force. It affects research agendas, economic developments, social policies, philosophical theories, and ultimately the way we understand ourselves. This handbook provides a comprehensive overview of the various aspects of posthumanism and how they are represented, discussed and exemplified in the cultural medium of film and television. Understood broadly as any critical engagement with the possibility that the human (...) condition is no longer a given, that it is more fluid than we once thought, and that we are, or will soon be, free to remould our constitutive framework and value systems, posthumanism is the next step in critical engagement in the humanities. It reflects upon the malleability of the human condition and acknowledges the fact that we are no longer the beings we thought we were, and that perhaps we never were. (shrink)

Willemen has contributed to the development of film theory and cultural studies over the past 20 years. This is a collection of his classic, provocative essays, covering issues such as pornography and melodrama, Third Cinema, questions of national identity, and theories of postmodernism.

A new take on our bio-cultural evolution explores how the "inner theatre" of the brain and its "animal-human stages" are reflected in and shaped by the mirror of cinema. Vampire, werewolf, and ape-planet films are perennial favorites—perhaps because they speak to something primal in human nature. This intriguing volume examines such films in light of the latest developments in neuroscience, revealing ways in which animal-human monster movies reflect and affect what we naturally imagine in our minds. Examining specific films (...) as well as early cave images, the book discusses how certain creatures on rock walls and movie screens express animal-to-human evolution and the structures of our brains. The book presents a new model of the human brain with its theatrical, cinematic, and animal elements. It also develops a theory of "rasa-catharsis" as the clarifying of emotions within and between spectators of the stage or screen, drawing on Eastern and Western aesthetics as well as current neuroscience. It focuses on the "inner movie theater" of memories, dreams, and reality representations, involving developmental stages, as well as the "hall of mirrors," ape-egos, and body-swapping identifications between human beings. Finally, the book shows how ironic twists onscreen—especially of contradictory emotions—might evoke a reappraisal of feelings, helping spectators to be more attentive to their own impulses. Through this interdisciplinary study, scholars, artists, and general readers will find a fresh way to understand the potential for interactive mindfulness and yet cathartic backfire between human brains—in cinema, in theater, and in daily life. (shrink)

In Time, Existential Presence and the Cinematic Image, Sam B. Girgus relates Laura Mulvey's theory of 'delayed cinema' to ideas on time and the relationship to the other in the writings of Jean-Luc Nancy, Emmanuel Levinas and Julia Kristeva, among others. The sustained tension in film between, in Mulvey's phrase, 'stillness and the moving image' enacts a drama of existential emergence. The stillness of the framed image in relation to the moving image opens 'free' cinematic time and space for a (...) fresh engagement with crucial ethical and cultural issues. With close readings of films such as The Bicycle Thieves, Two Days, One Night, The Three Burials of Melquiades Estrada, The Revenant and The Age of Innocence, this book proposes a fresh approach to reading film in the context of emerging existential presence and the ethical imperative. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:TOWARDS A 'MATERIALIST' CRITIQUE OF 'RELIGIOUS PLURALISM': A POLEMICAL EXAMINATION OF THE DISCOURSE OF JOHN lliCK AND WILFRED CANTWELL SMITH KENNETH SURIN Duke University Durham, North Oarolina HE FACT THAT thinkers of such different theologia.I persuasions as David Tracy and John Hick regard hemsel¥es as 'religious' and (or) 'theological pluralists ' serves to indicate that ' pluralism ' must itself be irreducibly 'plural.' In this paper I (...) shall confine my attentions to the version of ' pluralism ' advertised in the writings of John Hick and, to a lesser extent, in those of Wilfred Cantwell Smith. I am proposing, in other words, to make the assumption that what Hick and Cantwell Smith say, and assume tacitly, about 'pluralism ' will apply, mutatis mutandis, to other versions or manifestations of 'pluralism' which have features in common with the position espoused hy Hick and Cantwell Smith. I should perhaps conclude this prefatory section of my paper by saying that the thrust of my argument will :be polemical, an admission which will probably not excuse the aggressive tone of some of my remarks. John Hick has written movingly about the 'spiritual pilgrimage ' (his term) which.brought him to the kind of Christian self-understanding that came to he articulated in his 'Copernican theology of world religions,' a self-understanding in which a ' Christ-centered' picture of the universe of faiths has givcen 1way to one that is ' God-centered.' 1 It is Hick's con1 For Hick's account of his 'spiritual pilgrimage,' see God Has Many Names (London: Macmilla.n, 1980), pp. 1-5; and the essay 'Three Contro655 656 KENNETH SURIN tention that the diversity of l"eligious and cultural traditions necessitates '... a paradigm shift from a Christianity-centered or Jesus-centered to a God-centered model of the universe of faiths.' 2 In making this ' paradigm shift,' ' one... sees the great world religions as different human responses to the One divine Reality, embodying different perceptions which have been formed in diffe:vent historical and cultural circumstances.' 3 Given Hick's espousal of the autobiographical mode when prefacing his many presentations of the third ' Copernican revnlution,' it could plausibly be al"gued that these presentations are perhaps best seen as a kind of narrative, in this case a secondary narrative-one constituting an abstract second -order discourse-whose typical and primary function in this instance is that of a theological 'sense-making.' Hick's theology, we are suggesting, is a ' sense-making ' narrative which ranges over the more immediately personal, first-order narratives recounting his decisive encounter with the cultural and religious realities that prevailed in Birmingham when he went to live there a couple of decades ago. The themes, categories, al"guments, etc., of Hick's 'philosophy of world religions ' can thus,be said to constitute him as a narrative character, in this case a character who of course features in his own narratives. Now the emergence of narrative characters reversies ' which introduces his recently-published collection Tke Problem of Religious Pluralism (London: Macmillan, 1985), pp. 1-15..A similar 'Godcenteredness ' is evinced in Wilfred Cantwell Smith, Tke Meaning and End of Religion: A Revolutionary Approaak to tke Great Religious Traditions (London: SPCK, 1978), pp. 170-92. Note especially the remark which concludes the chapter titled "Faith": 'The traditions evolve. Men's faith varies. God endures ' (p. 192). The subtitle to this book is somewhat misleading, because there is nothing recognizably 'revolutionary' about it. Cantwell Smith's work is a tepid liberal corrective to the 'exclusionary' discourse sponsored by certain strands of Christianity and the hegemonic 'Western' culture in which these strands are socially legitimated. 2 God Has Many Names, p. 6. s Loa. ait..A similar emphasis on religious traditions as 'historical constructs ' is to be found in Cantwell Smith, Tke Meaning and Iilnd of Religion, pp. 154ff. RELIGIOUS PLURALISM 657 quires historical and social preconditions, and my purpose in this paper will be to conduct an examination of the particular historical and social preconditions that have to he assumed if the ' religious pluralist' in general, and John Hick in particular, are to emerge as narrative cha.racters.4 In his 'Author's Introduction' (1920) to the 'Collected Essays on the Sociology of... (shrink)

In contemporary culture, existing audiovisual recordings are constantly reused and repurposed for various ends, raising questions regarding the ethics of such appropriations, particularly when the recording depicts actual people and events. Every reuse of a preexisting recording is, on some level, a misuse in that it was not intended or at least anticipated by the original maker, but not all misuses are necessarily unethical. In fact, there are many instances of productive misuse that seem justified. At the same time, there (...) are other instances in which the misuse shades into abuse. Documentary scholars have long engaged with the question of the ethical responsibility of documentary makers in relation to their subjects. But what happens when this responsibility is set at a remove, when the recording already exists for the taking and repurposing? Reuse, Misuse and Abuse surveys a range of contemporary films and videos that appropriate preexisting footage and attempts to theorize their ethical implications. (shrink)

Retrospective issues: the discursive approach to genre and the misdirection film -- -- The truth is out there: manufacturing conspiratorial narrative coherence -- Constructing the (im)perfect cover: masculine masquerade and narrative agency -- -- Start making sense: narrative complexity, DVD, and online fandom -- The masters of misdirection: branding M. Night Shyamalan and Christopher Nolan -- Genre prestige: the misdirection film as blockbuster and middlebrow art -- Conclusion.