Zusammenfassung In der Langzeitbetreuung von Menschen mit Demenz finden kommunikative Handlungen, die das Potenzial haben, Menschen mit Demenz zu täuschen, auf der Seite des Personals eine unterschiedliche Akzeptanz. Bushaltestellen, an denen kein Bus fährt, falsche Zugabteile, in denen ein Film die vorbeiziehende Landschaft simuliert, das Verstecken von Medikamenten in Nahrungsmitteln sind Interventionen, die Menschen in die Irre führen können, ohne ihnen tatsächlich falsche Informationen zu geben. Derartige kommunikative Praktiken wie Täuschungen, aber auch Lügen, definiert als absichtlich mitgeteilte (...) irreführende Nachrichten, werfen die Frage auf, wie sie ethisch begründet werden können. Anhand einer fiktiven Fallschilderung, in dem eine Pflegeheimbewohnerin mit Hilfe eines vorgetäuschten Telefonanrufs daran gehindert wird, das Heim zu verlassen, zeige ich, dass die Täuschung, als eine von drei möglichen Handlungsoptionen, aus der Fürsorgeperspektive positiv bewertet werden kann, da die Bewohnerin ohne Zwang am Verlassen des Heimes gehindert wird. Das Prinzip der Autonomie aber wird verletzt, da die Bewohnerin nicht frei zwischen der Täuschung und der Realität wählen kann. Hinsichtlich der Verpflichtung gegenüber Dritten ist die Täuschung problematisch, da orientierte Bewohner und Bewohnerinnen die Szene beobachten und befürchten könnten, sie würden ebenfalls getäuscht. Die Synthese der verschiedenen Argumente zeigt, dass ein Spaziergang in Verbindung mit einem validierenden Gespräch als weitere Handlungsoption die Prinzipien der Fürsorge und Autonomie in Einklang bringt, aber aufgrund des Zeitaufwands das Risiko einer ungerechten Verteilung der Pflegeressourcen birgt. (shrink)

Der Perspektive der Betroffenen kommt im medizinethischen Fachdiskurs der Gegenwart eine grundlegende Bedeutung zu. Im Fall der Demenz wird der Zugang zu ihr allerdings durch krankheitsbedingte Abbauprozesse zunehmend erschwert. Neben anderen künstlerisch-ästhetischen Annäherungen ist in den letzten 15 Jahren auch eine Fülle an Spielfilmen zu verzeichnen, die sich mit der Erfahrung der Demenz beschäftigen. Der Beitrag geht der Frage nach, inwieweit solche filmischen Gestaltungen neue Zugänge zum Demenzerleben eröffnen und was Film als Medium und Kunstform somit für (...) die ethische Auseinandersetzung mit Demenz zu leisten vermag. Dabei werden drei prominente filmästhetische Zugangswege eingehender untersucht, an ausgewählten Beispielen erläutert und unter ethischen Gesichtspunkten erörtert. Es zeigt sich, dass die ethischen Potenziale eines reflektierten Umgangs mit filmischen Annäherungen an die Demenz längst nicht ausgeschöpft sind. (shrink)

This is a book about the nature of film: about the nature of moving images, about the viewer's relation to film, and about the kinds of narrative that film is capable of presenting. It represents a very decisive break with the semiotic and psychoanalytic theories of film which have dominated discussion. The central thesis is that film is essentially a pictorial medium and that the movement of film images is real rather than illusory. A (...) general theory of pictorial representation is presented, which insists on the realism of pictures and the impossibility of assimilating them to language. It criticizes attempts to explain the psychology of film viewing in terms of the viewer's imaginary occupation of a position within the world of film. On the contrary, film viewing is nearly always impersonal. (shrink)

(No abstract is available for this citation).

Introduction : cinema, memory, modernity: the return of memory as film -- No escape from time : memory and redemption in the international postwar art film -- The "crisis" of memory : "traumatic identity" in the contemporary memory film -- "Global memory" : cinema as lingua franca and the commodification of the image -- The eye of history : memory, surveillance and ethicality in the contemporary art film -- "Prosthetic memory" and transnational cinema : globalized identity (...) and narrative recursivity in City of God -- Conclusion: remembering to forget: the catachreses of modernity. (shrink)

Bordwell scrutinizes the theories of style launched by various film historians and celebrates a century of cinema. The author examines the contributions of many directors and shows how film scholars have explained stylistic continuity and change.

Historically, representations of Islamic themes in media narratives of Black men have been characterized by personal transformations in the midst of surviving in crime-ridden inner city areas. These young Black men are usually at-risk due to their statuses as Black, economically disadvantaged men. Beginning with Malcolm X and Alex Haley’s The Autobiography of Malcolm X, the Black male Islamic redemption narrative has become a common theme in Black popular culture, as it is usually supplemented with unique methods of confronting the (...) various dimensions of health. Throughout this study, the representations of these approaches among Black men in contemporary film and television are examined throughout realms of spiritual, emotional, mental, physical, social, and vocational health. (shrink)

Both perception and imagination seem to play a crucial role in our engagement with fiction films but whether they really do so, and which role they possibly play, is controversial. On the one hand, a fiction film, as film, is a depiction that invites us to perceive the events portrayed. On the other hand, as fiction, it invites us to imagine the story told. Thus, after watching the film Alien, one might say that one saw Ripley fighting (...) the monster but one might also say that one imagined Ripley fighting the monster. Are these two reports compatible? If they are, how can we combine them so to make sense of them? If, instead, they are not, which of them should we give up? (shrink)

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)

This article explores ‘the politics of sentimentality’ with specific reference to the documentary film Sick, which represents the narrative of a young lesbian woman, Ana, who was confined in a psychiatric hospital in Croatia and ‘treated’ for her homosexuality. We consider the ways our most intimate emotional relationships and states, such as pain and suffering, articulate with a wider context of familial citizenship and critically examine the political limits of compassion within the sentimentalised public sphere. In this analysis, we (...) problematise the film’s emotional logic, which presents an individualised narrative resolution at the expense of dwelling on the political question of institutional violence. We examine the role that politics of sentimentality plays in neutralising the film’s political critique of the state apparatuses that enforce heterosexual norms. (shrink)

In the film Never Let Me Go, clones are forced to donate their organs anonymously. As a work of fiction, this film can be regarded as a negotiation of limited agency, since the clones are depicted as vulnerable individuals. Thereby, it evokes a confrontation with underprivileged positions in technocratic societies, encouraging the audience to take the perspective of the marginalised. The clones are situated in ‘privileged deprivation’; from the audience’s point of view, they are unable to evolve into (...) autonomous agents—but from their own perspective within the dystopian system, they are still ‘privileged’. In this paper, we analyse the depiction of the clones’ personal development. Further, we examine references to bioethical aspects as well as technologies that affect the human body both on a micro and macro level—cloning and its impact on the human embryo and organ donation practised on the full-grown human body. We argue that this film as a reference for the discussion in popular culture focuses on individuals who do not profit from modern technical progress or do not have enough agency to refuse it. To make this point, we analyse the film’s fictional story, set in a form of alternate history, as a negotiation of a historical context which brings out the idea of neglected voices. (shrink)

This dissertation is an effort to describe the effects of Postmodern thought in a variety of narrative forms, including novels, film, and computer games. Using Brian McHale's description of the focal point of Modernist narratives as being epistemological and Postmodernist narratives as being concerned primarily with ontological issues, I trace the possible meaning of the changing understanding of these concepts in the twentieth century. In addition, I interrogate the ramifications of the Postmodern resolution to the crisis of epistemology presented (...) through the work of Modernist writers to test whether or not the Postmodern idea of "claiming worlds" is, indeed, a reasonable or viable resolution to this crisis. ;It is my contention that a changing sense of the relationship between the definitions of epistemology and ontology in traditional literary narrative has been affected by and has affected the narratives of less traditionally "literary" media. In order to show that this change has occurred, I use a number of texts to serve as examples, first, of the conception of epistemology as presented in Modernist works like James Joyce's "The Dead" and Edith Wharton's A Son At the Front and then of the conception of ontology as presented in Postmodernist work like Salman Rushdie's Midnight's Children. I then examine more popular narrative forms to examine how Postmodernism's focus on what I term an "epistemologically derived ontology" has crept into the general culture. My specific examples in these cases are Norman Spinrad's cyberpunk novel Little Heroes , the film The Matrix, and a number of video games, particularly online games. ;My final conclusions are exemplified by the film Memento, which contains many of the Postmodern tenets I propose are typical of mainstream Postmodern works and which also serves as a basis for revealing some of my ethical concerns about the ramifications of this shift in understanding of the aforementioned philosophical categories. (shrink)

In the ancient Greek world, the concept of 'miasma,' which becomes permanent and has the potential to grow over time due to evil acts such as murder committed in the city, is a concept frequently referred to in many classical tragedies. To the extent that miasma has a bad connotation due to its nature and is a situation that occurs due to evil actions, it can be considered together with the philosophical problem of evil. In this study, we aim to (...) examine the concept of miasma by focusing on the characters in La Jauría, one of the most prominent films of recent South American cinema, rather than a purely conceptual analysis of the concept. Filmed in the jungles of Colombia and directed by Colombian director Andrés Ramírez Pulido, the 2022 film La Jauría is a psychological drama that focuses on the lives of young people involved in crime. The tragic story of Eliu, the protagonist of the film, which takes place mainly in a prison specially designed to rehabilitate inmates, seems to us to be a very suitable focal point for examining the concepts of miasma, catharsis, and ecstasy, which are frequently referred to in ancient Greek tragedy. To do so, we will first address the various contexts in which miasma has been used historically, considering the flow of events in the movie La Jauría. Then, we will look at the relationship of the concept of miasma with the problem of evil. Finally, we will discuss the possibilities of the concept of purification, which is seen as a kind of antidote to miasma. (shrink)

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)

Jean Baudrillard _Fatal Strategies_ Translated by Philip Beitchman and W. G. J. Niesluchowski Edited by Jim Fleming London: Pluto Press, 1999 ISBN 0-7453-1453-8 191 pp.

The most “cheer” spread by this year’s offerings, if we stretch the point, was to be found in anumber of uncertain nods to the persistence and endurance of the human capacity for–beinghuman. Considering No Country For Old Men, Redacted and their anxious ilk, this might havebeen of some consolation if it were not for the way even the more affirmative entriessimultaneously evoked crushing environmental and personal obstacles between us and our finerideals and impulses. The films discussed below whistle in the (...) dark of war, murder, fanaticism,adultery, and/or abandonment. Though they generally made their way with the aid of gorgeouscinematography, editing, sound design, and frame compositions, to achieve their modicum of reassurance, they each get stuck in or play with the implications of painful or questionable philosophical perspectives. (shrink)

The goal of this article is to offer a new model for the study of ocularization in film grounded in the semiotic pragmatism of Charles Sanders Peirce. We first present a literature overview addressing the state of research regarding the theorization of ocularization in film studies. Second, we discuss Peirce’s three universal categories (Firstness, Secondness, and Thirdness) on which our model will be based. Third, we argue how the theme of ocularization in film, as outlined in the (...) first part, can be theorized anew through these categories. This will result in the introduction of a nine-field matrix that will allow us to systemize all kinds of instances of subjectivity in cinema. Lastly, we will demonstrate the empirical usefulness of this model by illustrating each of the matrix’ nine categories through a discussion of Steven Soderbergh’s film Kimi (2022). (shrink)

Richard Porton _Film and the Anarchist Imagination_ London and New York: Verso, 1999 ISBN: 1-85984-702-1 314 pp.