Cinema Pessimism explores the challenges of representative democracy through film. Film allows us to see the problems of democracy from a unique perspective, illuminating dangers that are not always visible to us either from day-to-day experience or the classics of democratic theory. Joshua Foa Dienstag argues that there are threats lurking in our political systems that we fail to perceive due to the many pleasures that representation provides. Ultimately, Dienstag seeks to defend a kind of pessimistic politics that might (...) produce a better sort of democratic representation than what we have today. (shrink)

Joshua Foa Dienstag engages in a critical encounter with the work of Stanley Cavell on cinema, focusing skeptical attention on the claims made for the contribution of cinema to the ethical character of democratic life.

Film theory and its emphasis on political and ideological readings of films dominated much of cinema studies in the '70s and '80s. Since then, in response to what some view as the shortcomings of theoretical approaches, a variety of other methods have emerged or reemerged. In many ways, as Nico Baumbach argues, "Anti-Grand Theory" has won the day but its victory is, in part, based on misreadings or simplifications of '70s film theory. In particular, Baumbach views contemporary critical approaches (...) to film as abandoning the crucial and productive ways in which theory understands the relationship between cinema, politics, and art. Baumbach does not advocate a return to the orthodoxies of the seventies but rather reads the work of Ranciere, Badiou, and Agamben as providing new ways of thinking about the history of film theory and how film creates its own way of thinking about politics. Moreover, at a time when digital technologies are asking us to think of film and the film image in new ways, the work of these thinkers once again asks, "What is Cinema?" but in a more expansive sense that can help us account for transformations in how moving images are produced, distributed, and exhibited in the twenty-first century. (shrink)

1. Cine y vanguardias : el cine como promesa estético-política desde Dziga Vertov y Jean Epstein -- 2. Deleuze y las potencias del cine : el acontecimiento de lo inorgánico -- 3. De la vida inorgánica a la vida histórica : recuperación del carácter narrativo del cine a partir de Jacques Ranciere.

What mental and physical distress do actors, camerapersons, and reporters experience when working on reenactments of traumatic moments in history? In Political Camerawork, D. Andy Rice theorizes that the intense feelings produced while creating these performed scenarios, called "simulation documentaries," connect difficult pasts to the present. Building on his background as a nonfiction film director, producer, editor, and cinematographer, Rice analyzes performance techniques to gain insight into the emotional toll of simulation documentaries, including those reliving the Vietnam War, the (...) US military's embodied training in California during the Iraq War, and an annual quadruple lynching reenactment organized by Black civil rights activists in Georgia. Investigating the lasting impact of these productions, Political Camerawork reveals that, by performing a simulation of a traumatic event they didn't directly experience, those involved become carriers of the trauma. (shrink)

Introduction: Why so serious? -- The super body-politic: nationally assembling Joss Whedon's exceptional The avengers -- "He was deceived by a lie": tragedy and the dark plague of the politics of fear in George Lucas' Star wars -- Dystopian polyvalence: emancipating the mediated life from The matrix.

The Film Theory in Practice series fills a gaping hole in the world of film theory. By marrying the explanation of a film theory with the interpretation of a film, the volumes provide discrete examples of how film theory can serve as the basis for textual analysis. Fredric Jameson and The Wolf of Wall Street offers a concise introduction to Jameson in jargon-free language and shows how his Marxist theories can be deployed to interpret Martin Scorsese's critically acclaimed 2013 film (...) The Wolf of Wall Street. Beginning with a detailed account of Jameson's extensive writings on Marxist theory and how they have been deployed in the analysis of film writings, Clint Burnham then illustrates how Jameson's theory can help to make sense of The Wolf of Wall Street, a film that shows in all its glory the excesses, lunacies, and inner workings of 1990s finance capitalism. As Jameson has influentially argued, films like The Wolf of Wall Street are both complicit in and critical of their historical subject: Scorsese's film is not about the richest stockbrokers, but the Long Island penny traders who made it big. As a narrative of American success, it is also a film about failure. Clint Burnham's reading of Jameson and The Wolf of Wall Street is a book about a contemporary film, and contemporary events, and contemporary theory. (shrink)

In Cinematic Political Thought , Michael J. Shapiro investigates aspects of contemporary politics and articulates a critical philosophical perspective with politically disposed treatments of contemporary cinema. Reading such films as Hoop Dreams, Lone Star, Father of the Bride II and To Live and Die in LA through the lens of Deleuze, Derrida, Foucault and Lyotard, Shapiro demonstrates what it can mean to think the political both in terms of cinema studies and in wider aesthetic and social contexts. Cinematic (...) Political Thought is a polemical work, aimed at encouraging critical, ethical and political thinking. Its breadth of theoretical scope and empirical reference, and the innovative style of presentation will make it vital reading for anyone with an interest in the conjunction of culture and politics. (shrink)

Global changes in capital, power, technology and the media have caused massive shifts in how we define home and community, leaving redrawn territories and globalized contexts. This interdisciplinary study of the media brings together essays by accomplished critics to discuss the way film, television, music, and computer and electronic media are shaping identities and cultures in an increasingly globalized world. Ranging from intensely personal to highly theoretical, the contributors explore our complex negotiation of "home" and homeland" in a postmodern world. (...) Contributors: Homi Bhabha, Thomas Elsaesser, Rosa Linda Fregoso, Teshome H. Gabriel, George Lipsitz, Margaret Morse, David Morley, John Peters, Patricia Seed, Ella Shohat, and Vivian Sobchack. (shrink)

Cinema, like language, can be said to exist as a system of differences. In his latest book, acclaimed philosopher Jacques Rancière looks at cinematic art in comparison to its corollary forms in literature and theatre. From literature, he argues, cinema takes its narrative conventions, while at the same time effacing literature’s images and philosophy; and film rejects theatre, while also fulfilling theatre’s dream. Built on these contradictions, the cinema is the real, material space in which one is moved by the (...) spectacle of shadows. Thus, for Rancière, film is the perpetually disappointed dream of a language of images. (shrink)

"A book well worth reading as its expose of postmoderism has a clarity others would do well to imitate." --Tim Gay in NATFHE Journal Blue Velvet, sex, lies and videotape, Do the Right Thing, and Wall Street are just some of the provocative films that Denzin explores for their portrayal of the postmodern self. He examines the basic thesis that members of the contemporary world are voyeurs who, adrift in a sea of symbols, recognize and anchor themselves through cinema and (...) television. He skillfully weaves this idea back and forth between two kinds of texts: social theory, including poststructuralism, postmodernism, feminism, and marxism; and cinematic representations of life in modern America. The result is a solid assertion that postmodernism has shaped a dramaturgical society where the image has tragically replaced reality. Denzin offers a powerful reading of postmodern American society and the cinematic selves, however distorted, that inhabit this fantasy world. At the same time, he outlines the main contours of postmodern sociology and a postmodern sociological imagination that is responsive to the current historical moment. Images of Postmodern Society will play a key role in understanding the powerful relationship between postmodernism and the cinema for upper level graduates, gradate students, and contemporary scholars of cultural studies, communications, political science, anthropology, sociology, education, history, literary and cinema studies. "The book could be usefully incorporated into undergraduate sociology courses, particularly those that consider media and society, where it might serve as a basis for further discussion and examination of some important issues." --Journal of Communication "Images of Postmodern Society is a good book on two different levels. First, Denzin advances his own theory of postmodernism and, more specifically, of what he calls the "postmodern self," that is interesting and provocative. Second, this is one of the few books on postmodernity that is truly practical, in the sense that the book would be quite a good text to use in courses on the subject, whether they be in philosophy, sociology, film and media studies, cultural studies, and perhaps even anthropology. . . . I would certainly like to use the book for this purpose myself, and I would recommend the book for that purpose to colleagues in the departments mentioned." --Bill Martin, Philosophy Department, DePaul University "Denzin uncovers a profoundly important tension in postmodern culture . . . His work, then, demonstrates that the 'abundance of meaning' found in these films lies in the collision of modernist and postmodernist depictions of cultural practice." --Contemporary Sociology "Norman Denzin, one of the most interesting theorists and ethnographers in American sociology, has turned his critical eye to postmodern theory and contemporary American culture and society. Revitalizing Mills' sociological imagination, Denzin addresses the relations between Hollywood films of the 1980s, their constructions of self, and the structures of lived experience. He offers a postmodern sociology which addresses the increasingly conservative basis of postmodern ideologies of race, class, and gender. It offers an original postmodern critique of the postmodern. Images of Postmodern Society should be and will be widely read and discussed." --Larry Grossberg, University of Illinois. (shrink)

This book is a critical attempt to approach world cinema in a new global frame that updates the national frame of territorial cinemas and the transnational frame of their interplay. The global frame implies the reintegration of border-crossing forces onto the postpolitical plane of troubled globalization with two ethical facets: the soft ethical inclusion of differences in multicultural, neoliberal systems and their hard ethical symptoms of fundamentalist exclusion and terror. Reflecting both, global cinema is formulated as staging crucial challenges that (...) today's globalism and its antinomies bring to the notions of subjectivity and community. Many films indeed depict the antagonism between the inclusive global system and its excluded remnants, allegorizing the impossible political change in various modes of catastrophe and nihilism. A global community often takes on a totalized network of sovereign violence and (counter)terror stuck in the impasse of utopian imagination. Yet some films suggest alternative ethics irreducible to collective politics when abject figures, deprived of social subjectivity and rights, become contingent agents of existential 'gift-giving' by fostering commonality without community, solidarity without unity. The psychoanalytic notion of abjection is redefined here as both the biopolitical mode of bare life and its potential for the ethical agency that opens atopian, if not utopian, networking on the edge of the global regime beyond the problematic 'soft/hard' ethics of tolerance/violence or pity/hate. This precarious yet precious abject agency is explored through a vast net of globally circulating contemporary films and a core cluster of political, ethical, and psychoanalytic philosophies. (shrink)

Time is more than a line drawn from the past to the future. It is a form of life, marked by the ancient hierarchy between those who have time and those who do not. This hierarchy still governs a present which clings to the fable of historical necessity and its experts. In opposition to this, Jacques Rancière shows how the break with the hierarchical conception of time implies a completely different idea of the modern. He sees the fulfilment of this (...) in two arts of movement, cinema and dance, which at the beginning of the twentieth century abolished the opposition between free and mechanical people, and exposed the rift between the revolution of artists and that of strategists. (shrink)

CHAPTER ONE Plato IT is a mark of wisdom in Greek political thought that the form and content of education receive primary consideration from those who are ...

Just Images: Ethics and the Cinematic charts current developments within the field of ethics and the role it plays in the study of moving images. It is the first collection of essays of its kind that brings together articles by film and media scholars from three continents, and provides multiple points of engagement of film with present and past histories, politics, myth making, and with core aspects of human subjectivity. The essays cover a wide range of topics, such as the (...) European Union; Europe during World War II and after; film genres; the Israeli-Palestinian conflict; early American history, and recent catastrophic events. The collection includes an introductory chapter by Thomas Elsaesser as well as chapters by Kristian Feigelson, Règine-Mihal Friedman, Nurith Gertz and Gal Hermoni, Anton Kaes, Gertrud Koch, Odeya Kohen-Raz, Lihi Nagler, Judd Ne'eman, Bill Nichols, and Janet Walker. The contributors offer different approaches to the issue of film and ethics and ask whether there are specific characteristics of the moving image, or of film scholarship, that relate to ethical issues; and how discussing the engagement of both narrative and documentary film with representations of the Other, trauma, terrorism, the Holocaust, and the Palestinian-Israeli conflict may contribute to the re-shaping of past and current thoughts on these subjects. (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)

"Friedberg's idea of the 'mobilized virtual gaze' may become "the" way we conceive of postmodern subjectivity. This book is in a class by itself."--Linda Hutcheon, author of "The Politics of Postmodernism.

Documenting the dark side : fictional and documentary treatments of torture and the 'war on terror' -- History lessons : what audiences (could) learn about genocide from historical drama -- The art of disappearance : remembering political violence in Argentina and Chile -- Uninvited visitors : immigration, detention and deportation in science fiction -- Architectures of enmity : the Israeli-Palestinian conflict through a cinematic lens.

From widespread unemployment and mounting international hostilities, every day we are swept into more political chaos--so one brave man looks to the Star Wars universe for answers to our most urgent problems. "You can't stop the change -- anymore than you can stop the sun from setting." Anakin Skywalker was never able to live with this wisdom shared by his mother on the day he left home to train as a Jedi Knight. That failure led him to becoming the (...) fearsome villain we all know as Darth Vader. We're living in a time of unprecedented and rapid change. An age of chaos. Democracies are in decline worldwide. Dictators are ascendant. Civic organizations are crumbling. People feel lonelier and more rudderless than in any other time in recent history. We've tried to slow down, and in some cases we, like Anakin, have tried stop the change, but failed at every turn. The fears that come with living in an age of disruption have produced public anger, and that anger has swelled movements of hate. Author Stephen Kent believes part of the solution is hiding in plain sight. A story that binds together multiple generations with a common language, a moral framework, and a sense of wonder. It's Star Wars. What if we looked to Star Wars for more than just entertainment? How the Force Can Fix the World takes this challenge on by analyzing the core principles of the Star Wars franchise: HOPE, CHOICE, HUMILITY, EMPATHY, REDEMPTION, BALANCE and rejecting FEAR. Together, these are the Star Wars roadmap for living better lives, and maybe even fostering a better politics. The path that we're on -- where fear leads to anger, and anger to hatred -- will only end in suffering. But Star Wars shows us the way back from the brink. Shared stories of virtue that are beloved across cultures and political divides are hard to come by, but Star Wars is one such story. Turn on the news; things are pretty broken right now -- but the Force can fix the world. (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)

How do the practices of philosophy and film converge in ethical and political theory? Untimely Affects is an ethical and aesthetic interweaving of Deleuzian philosophy and close film analysis to discern how thought persists productively after the horrors of World War II. In the first extensive analysis of Chris Marker and Alain Resnais' films, Nadine Boljkovac draws on concepts and images that interrogate 'what we are now living through', in the words of Klossowski's Nietzsche. Mindful of the seen and (...) unseen 'that quicken the heart', this book of film-philosophy discerns new and deeply ethical life-affirming possibilities through its weave of cine-philosophy. As such, this book speaks directly to essences of cinema, thought and life through creative untimeliness and the idea of the 'ever new'. (shrink)

_Explores the philosophical, literary, and psychoanalytic significance of film endings._ Editing has been called the language of cinema, and thus a film’s ending can be considered the final punctuation mark of this language, framing everything that came before and offering the key to both our interpretation and our enjoyment of a film. In _Cinematic Cuts_, scholars explore the philosophical, literary, and psychoanalytic significance of film endings, analyzing how film endings engage our fantasies of cheating death, finding true love, or determining (...) the meaning of life. They examine how endings offer various forms of enjoyment for the spectator, from the momentary fulfillment of desire in the happy ending to the pleasurable torment of an indeterminate ending. The contributors also consider how film endings open onto larger questions relating to endings in our time. They suggest how a film ending’s hidden counternarrative can be read as a political act, how our interpretation of a film ending parallels the end of a psychoanalytical session, how film endings reveal our anxieties and fears, and how cinema itself might end with the increasing intervention of digital technologies that reorient the spectator’s sense of temporality and closure. Films by Akira Kurosawa, Lars von Trier, Joon-Hwan Jang, Claire Denis, Christopher Nolan, Jane Campion, John Huston, and Spike Jonze, among others, are discussed. (shrink)

Introduction -- Physical cinema. The end of the other -- The immaterial difference : Werner Herzog revisited -- The reality of the medium. Conceptual realism in Land in trance and I am Cuba -- The work of art in progress : an analysis of delicate crime -- The ethics of desire. The realm of the senses, the ethical imperative and the politics of pleasure -- Hara and Kobayashi's "private documentaries" -- The self-performing auteur : ethics in João César Monteiro.

For Alain Badiou, films think, and it is the task of the philosopher to transcribe that thinking. What is the subject to which the film gives expressive form? This is the question that lies at the heart of Badiouʹs account of cinema. He contends that cinema is an art form that bears witness to the Other and renders human presence visible, thus testifying to the universal value of human existence and human freedom. Through the experience of viewing, the movement of (...) thought that constitutes the film is passed on to the viewer, who thereby encounters an aspect of the world and its exaltation and vitality as well as its difficulty and complexity. Cinema is an impure art cannibalizing its times, the other arts, and people -- a major art precisely because it is the locus of the indiscernibility between art and non-art. It is this, argues Badiou, that makes cinema the social and political art par excellence, the best indicator of our civilization, in the way that Greek tragedy, the coming-of-age novel and the operetta were in their respective eras. -- Publisher description. (shrink)

Despite changes in the media landscape, film remains a vital force in contemporary culture, as do our ideas of what "a movie" or "the cinematic" are. Indeed, we might say that the category of film now only exists in theory. Whereas film-theoretical discussion at the turn of the 21st century was preoccupied, understandably, by digital technology's permeation of virtually all aspects of the film object, this volume moves the conversation away from a focus on film's materiality towards timely questions concerning (...) the ethics, politics, and even aesthetics of thinking about the medium of cinema. To put it another way, this collection narrows in on the subject of film, not with a nostalgic sensibility, but with the recognition that what constitutes a film is historically contingent, in dialogue with the vicissitudes of entertainment, art, and empire. The volume is divided into six sections: Meta-Theory; Film Theory's Project of Emancipation; Apparatus and Perception; Audiovisuality; How Close is Close Reading?; and The Turn to Experience. (shrink)

This collection of essays is unlike others in the field of African studies, for it is based on three very precisely delineated focal points: a particular geographical region, the sub-Sahara; specific modes of cultural production, literature and cinema; and a focus on works of French expression. This three-fold approach to exploring the relationships between power and culture in a non-Western environment greatly contributes to making this book unique from a variety of perspectives: African, Francophone and postcolonial studies, as well as (...) cross-disciplinary, cultural, transnational and diasporic studies. Moreover, the book offers deft and innovative analyses that move beyond the rhetoric of crises on the African continent we so very often hear of, so as to present a critical reflection on the subject at hand that is specific to the sub-Sahara and at the same time intimately linked to global culture, economy and politics. The authors' three-fold approach also presupposes that disciplinary compartmentalization increases power conflicts in academia. If only in part, compartmentalization is the result of antagonistic and competitive relations between specialization and multidisciplinary education. This book is thus a modest attempt at presenting an alternative to excessively fixed and homogeneous academic frontiers while considering that disciplinary expertise remains a must. Keeping in mind that an increasing number of scholars in Anglophone Postcolonial studies and Francophone African studies have been attempting for quite some time now to open interstices and build crossroads that can better connect them to each other, keeping in mind that these scholars work at revealing mechanisms by which any antagonistic discourses can mix, influence, act upon or react to one another, this book seeks to take a constructive step in establishing enduring grounds for multidisciplinary, cross-disciplinary and transnational academic research and collaboration. (shrink)

Skirting the Ethical offers highly original readings of six works, each noted for its politico-ethical stance. The first four (Sophocles' Antigone , Plato's Symposium and Republic and Hamann's "Aesthetica in nuce") have a recognized and honored place in the canon. The last two, Sebald's The Emigrants and Jane Campion's film The Piano , are exemplary for our contemporary scene. Nevertheless, the straightforward assumptions about justice, divine and state power, the good, and identity politics that every reader or viewer inevitably comes (...) upon are disrupted when one takes into account the role of language: both the way in which language is talked about and the way in which it performs. What emerges is a non-prescriptive ethics of another order that offers a resistance to power and simplistic conceptualizations of truth, an emancipation from the "must-be" that implies an ever-to-be-renewed renegotiation—a responsability that has much to do with the act of critique or interpretation. (shrink)

The paper discusses whether deliberative democracy should make us see democracy as deliberation only insofar as we need to see it as such, or whether it should make us see democracy as deliberation essentially. Critics have argued that deliberative democracy does the latter rather than the former. But they have not sufficiently shown how this works, why exactly it is problematic, and how the associated problems may be overcome. Drawing on recent literature on Ludwig Wittgenstein’s idea of being held captive (...) by a picture, I develop a conceptual framework for understanding these questions. Drawing on recent empirical work on the realities of deliberative democracy, I show why empirical accounts of democracy demand that we learn to see democracy under many different aspects - of which deliberation is an important, but not necessarily the essential one. (shrink)

Radical democrats highlight dramatic moments of political action, which disrupt everyday habits of perception that sustain unequal social relations. In doing so, however, we sometimes neglect how social conditions—such as precarious employment, social dislocation, and everyday exposure to violence—undermine political agency or might be contested in uneventful ways. Despite their differences, two thinkers who have significantly influenced radical democratic theory (Hannah Arendt and Jacques Rancière) have been similarly criticized for contributing to such a socially weightless picture of politics. (...) However, attending to how they are each preoccupied by the social conditions of inequality and loneliness enables us to recognize two distinct aspects of democratic politics–emancipation and civility. Cultivating an interpretive flexibility to shift between these aspects of politics might enable radical democrats to more clearly picture how struggles for appearance are limited and shaped by the social conditions within which they are enacted. (shrink)

This volume explains how Star Trek allows viewers to comprehend significant aspects of Georg Hegel's concept the absolute, the driving force behind history. Gonzalez, with wit and wisdom, explains how Star Trek exhibits central elements of the absolute. He describes how themes and ethos central to the show display the concept beautifully. For instance, the show posits that people must possess the correct attitudes in order to bring about an ideal society: a commitment to social justice; an unyielding commitment to (...) the truth; and a similar commitment to scientific, intellectual discovery. These characteristics serve as perfect embodiments of Hegel's conceptualization, and Gonzalez's analysis is sharp and exacting. George A. Gonzalez is Associate Professor of Political Science at the University of Miami, USA. He specializes in the fields of political theory, popular culture, and environmental politics and policy. In the areas of popular culture and political theory he has published two articles in the journal Foundation: The International Review of Science Fiction, as well as the book The Politics of Star Trek: Justice, War, and the Future. (shrink)

Bioethics as politics -- Bioethics and the politics of expectations -- Engendering consent : bioethics and biobanks -- Missing the big picture : bioethics and stem cell research -- Testing times : bioethics and "do-it-yourself" genetics -- Governing uncertainty : the politics of nanoethics -- Beyond bioethics.

Understanding democracy through film philosophy and political theory.

Taking a broad historical perspective, Public Passion traces the role of emotion in political thought from its prominence in classical sources, through its resuscitation by Montesquieu, to the present moment. Combining intellectual history, philosophy, and political theory, Rebecca Kingston develops a sophisticated account of collective emotion that demonstrates how popular sentiment is compatible with debate, pluralism, and individual agency and shows how emotion shapes the tone of interactions among citizens. She also analyzes the ways in which emotions are (...) shared and transmitted among citizens of a particular regime, paying particular attention to the connection between political institutions and the psychological dispositions that they foster. Public Passion presents illuminating new ways to appreciate the forms of popular will and reveals that emotional understanding by citizens may in fact be the very basis through which a commitment to principles of justice can be sustained. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:A Politics of Eating: Feasting in Early Greek SocietyJohn RundinIn Euripides’ Cyclops, Silenus and his satyr companions have been shipwrecked in the realm of Polyphemus and have become his slaves. 1 Odysseus lands there, meets Silenus, and, conversing with him, asks who inhabits the land:Odysseus: Who occupies the area? A race of beasts? Silenus: Cyclopes. They live in caves, not roofed houses. Odysseus: Who is their leader? Or do (...) they have a democracy? Silenus: They’re herdsmen. No one has any power over anyone else. Odysseus: Do they sow Demeter’s grain? Or what do they live on? Silenus: Milk and cheeses and meals [borai] of mutton. Odysseus: Do they have Dionysus’ drink, the liquid of the vine? Silenus: Not at all. For that reason, they live in a land without choruses. Odysseus: Are they hospitable, and do they treat strangers with respect? Silenus: They claim that strangers have the most delicious flesh. [End Page 179] Odysseus: What do you mean? They like meals [borai] of men they have killed? Silenus: Everyone who comes here has been eaten up.(117–28)Silenus has rapidly made clear the beastly level of Cyclopean gastronomy. The savagery of the Cyclopes’ diet is underlined by his diction: the LSJ tells us that the word translated twice here as “meals,” borai, is more appropriately used to describe food for animals than for people. Silenus also lets us know that the Cyclopes are herdsmen and, like atavistic throwbacks to a time before cereal culture, raise no grain. 2 They are so backward that they do not have even wine. One dire consequence of this is spelled out by Silenus: they have no choruses. Polyphemus himself later illustrates another: they totally lack sympotic sophistication (483–589). So great is their culinary degeneracy, that, in defiance of the accepted norms of hospitality, they eat strangers who visit their realm. Not only, however, do the Cyclopes lack the elements of a cultured cuisine, they also lack basic political institutions. They have no ruler, nor do they have a democracy: as Silenus says, “no one has any power over anyone else.” The lack of political institutions and of culinary development may at first seem like two independent elements of a culturally deprived life. This is not the case, however. We shall see that in early Greek culture there is a strong connection between eating and politics. Indeed, it will soon be apparent that the Cyclopes’ culinary and political deficiencies are closely related.It is my hope to demonstrate this relationship. Emphasis will be placed on representations of eating in the Iliad and the Odyssey. It will then be shown how the patterns uncovered in Homeric texts lived on in later documents and institutions. It is impossible to know how accurately the life portrayed in the Homeric poems represents the historical conditions of any real society. 3 It may be true that the analysis of institutions [End Page 180] described in them is relevant only to an ideal world or to an aristocratic ideology. Such complex issues, however, may be avoided by merely analyzing certain aspects of eating as presented by Homer without thought of how well those aspects match the practice of any actual people. In the endeavor, of course, caution must be exercised not to expect too much of the data. Even if Homer’s narrative does represent some actual society, it is the nature of narrative to be selective, and it would therefore be inappropriate to try to extract from the poems either a comprehensive picture of foodways or any quantitative data about them. Nevertheless, it is impossible not to be struck by how consistent representations of eating in Homer are, and, moreover, not to acknowledge that patterns revealed in the Homeric representations had a long afterlife not only in later texts but even in social institutions.Feasting and the Homeric Political EconomyOn the shield of Achilles, a microcosm of the Iliadic world, is wrought a scene which reveals some political aspects of eating.And he put on it [the shield] the precinct of a king. There workmen were reaping with sharp sickles in their hands. Some of the bunches of grain were falling... (shrink)

"The choice we have is not between reasonable proposals and an unreasonable utopianism. Utopian thinking does not undermine or discount real reforms. Indeed, it is almost the opposite: practical reforms depend on utopian dreaming."--Russell Jacoby, _Picture Imperfect_ Utopianism suffers from an image problem: A recent exhibition on utopias in Paris and New York included photographs of Hitler's _Mein Kampf_ and a Nazi concentration camp. Many observers judge utopians and their sympathizers as foolhardy dreamers at best and murderous totalitarians at worst. (...) However, as noted social critic and historian Russell Jacoby argues in this salient, polemical, and innovative work, not only has utopianism been unfairly characterized, a return to an iconoclastic utopian spirit is vital for today's society. Shaped by the works of Theodor Adorno, Walter Benjamin, Ernst Bloch, Gustav Landauer, and other predominantly Jewish thinkers, iconoclastic utopianism revives society's dormant political imagination and offers hope for a better future. Writing against the grain of history, Jacoby reexamines the anti-utopian mindset and identifies how utopian thought came to be regarded with such suspicion. He challenges standard readings of such anti-utopian classics as _1984_ and _Brave New World_ and offers stinging critiques of the influential liberal and anti-utopian theorists Hannah Arendt, Isaiah Berlin, and Karl Popper. He argues that these thinkers mistakenly equate utopianism with totalitarianism. The reputation of utopian thought has also suffered from the failures of, what Jacoby terms, the blueprint utopian tradition and its oppressive emphasis on detailing all aspects of society and providing fantastic images of the future. In contrast, the iconoclastic utopians, like those who follow God's prohibition against graven images, resist both the blueprinters' obsession with detail and the modern seduction of images. Jacoby suggests that by learning from the hopeful spirit of iconoclastic utopians and their willingness to accept new possibilities for society, we open ourselves to new and more imaginative ideas of the future. (shrink)

_The face of American education is evolving—and the roadmap is clear_ _On the Rocketship: How Top Charter Schools are Pushing the Envelope_ examines the rise and expansion of leading charter school network Rocketship, revealing the "secret sauce" that makes a successful program. A strong narrative with a timely message, the book explores how Rocketship started and the difficulties encountered as it expands. Designing schools for children who have been failed by traditional schools is extremely challenging work. Setbacks are inevitable. Later (...) in the book the narrative shifts to the national picture, exploring how high performing charter schools are changing the education landscape in cities such as Denver, Memphis, and Houston. The book emerges just as charter schools are running into stiff political opposition in New York City and elsewhere. Even in San Jose, Rocketship's home base, the pushback against charter schools is gaining speed. _On the Rocketship_ becomes a valuable resource for explaining what's at stake in this battle. Lose these schools, in New York, San Jose and other cities, and low-income and minority students lose their best shot at a quality education. Written by a veteran journalist who followed Rocketship through a school year, the book explores some of the factors that make Rocketship and other charters successful, including the blended learning that was pioneered at charter schools, especially Rocketship. Many schools around the country are looking to Rocketship as a model for implementing blended learning. The interplay between charter schools and blended learning is setting a change in motion, and the American education system is ready to evolve. _On the Rocketship_ details this phenomenon, providing insights for educators across the nation. (shrink)

Inspired and in honor of the work of noted political theorist Mary P. Nichols, the essays in this volume explore political ideas and implications in a range of works of philosophy, literature, and film from classical antiquity to the present day, creating an interdisciplinary conversation across genres.

This essay contributes to developing a new approach to political legitimacy by asking what is involved in judging the legitimacy of a regime from a practical point of view. It is focused on one aspect of this question: the role of identity in such judgment. I examine three ways of understanding the significance of identity for political legitimacy: the foundational, associative, and agonistic picture. Neither view, I claim, persuasively captures the dilemmas of judgment in the face of disagreement (...) and uncertainty about who “I” am and who “we” are. I then propose a composite, pragmatic picture. This view casts the question of political legitimacy as an existential predicament: it is fundamentally a question about who you are—both as a person and as a member of collectives. The pragmatic picture integrates rational, prudential, and ethical qualities of good judgment that were heretofore associated with mutually exclusive ways of theorizing legitimacy. It also implies that the question of legitimacy cannot be resolved philosophically. (shrink)

This book utilizes philosophical tools to build up a framework for the classification, analysis, and assessment of political cinema. The author first maps the category of political cinema, clarifying what it means for a film to be 'political', and then analyzes the relation between the value of a film as a political film and its value as art. Through philosophical enquiry, Angelo Cioffi builds up a framework that could be of use in art-critical practice and that (...) can help with the classification and assessment of political films. Grounded in analytic philosophy of art and cognitivist film theory, with insights from political science, political philosophy, epistemology, and cognitive science, the book presents a unique analysis of the relation between films and the 'political'. This theory is tested with detailed case studies, and the author uses specific films as examples of the applicability and explanatory power of this theoretical framework. As such, this book will be of interest not just to film studies, film theory and political philosophy scholars, but to anyone with an interest in political film, aesthetic practice, and philosophy of art. (shrink)

This book develops a notion of differences and "otherness" beyond hegemonic and hierarchical thinking as represented by the legacies of Western philosophical and political thinking. In doing so, it relates to the 20th Century phenomenological discourse, especially to Georg Simmel, Alfred Schütz, Emmanual Lévinas, and Jacques Derrida, and drafts our understanding of difference as a genuine human experience of a social and political world that is in motion and transformative, rather than static and predictable. On this basis (...) of temporalized ontology and its normative consequences, differences are drafted as a positive social and political force and as powerful capacities of transformation and change. In practical terms, this understanding is most important for our theorizing and acting upon peace, peace-building, and conflict solution. Differences appear now not as obstacle to peace and reconciliation, but as lively and constructive articulation of "otherness" and as a positive power of transformation, emancipation, and change.This book will be of interest to students of international relations, philosophy, and political theory. (shrink)

The range of topics in this volume covers a multitude of historical periods and topics, which in turn figure in the new media environments of contemporary life. These include discussions of the Aristotelian and classical models of a "good life" that inform animated fairy tales today, 1930s French and Hollywood films which respond to the dire need for productive human relationships in a turbulent decade, the polemical positions of black film criticism through the lens of James Baldwin's work, a discussion (...) of contemporary filmic quests for happiness, the challenges for women filmmakers today in mapping the values of their own world, landscapes of austerity and poverty in the cinematic homelands today, the scientific, psychological, and philosophical base for human value, and the shifting media frames of modern society and selves. (shrink)

Exploring 80s genres and movies with both a sociocultural and aesthetic eye, this book will be invaluable to historians, cinema scholars, and film buffs.

The article aims at showing how far the technologies of audiovisual registration affect not only the ontology of images but also our sense of realism in politics and history. As argue Jacques Derrida and Bernard Stiegler, historical events have become “tele-events” after the birth of these technologies. Our handling with images has changed accordingly. As argues Pietro Montani, we no longer consider them as “copies” of real objects but rather as “occasions” for initiating processes of “validation” of history. Hannah Arendt’s (...) opposition between the ancient concept of history being based on praxis and the modern concept of history as “fabrication” (poiesis) of the humankind must be therefore reconsidered. History is rather the negotiation between these two attitudes (praxis and poiesis): cinema might be one of the exemplary sources of this negotiation, as epitomized by the documentary work in the audiovisual archives conducted by Esfir Shub (1927) and Harun Farocki (1992). Representation (Louis Martin) becomes thus a dynamical power of imagination dealing with historical and political reality; consequently, the “ideal spectator”, just as the “ideal reader” for novels (Umberto Eco), is charged with a new task of actualizing the sense of images with regard to their historical and political references. (shrink)

Introduction : schizoanalysis, digital screens and new brain circuits -- Schizoid minds, delirium cinema and powers of machines of the invisible -- Illusionary perception and powers of the false -- Surveillance screens and powers of affect -- Signs of time : meta/physics of the brain-screen -- Degrees of belief : epistemology of probabilities -- Powers of creation : aesthetics of material-force -- The open archive : cinema as world-memory -- Divine in(ter)vention : micropolitics and resistance -- Logistics of perception 2.0 (...) : multiple screens as affective weapons -- Conclusion : the neuro-image : brain-screens from the future. (shrink)

This volume offers clear and forceful contemporary translations of the most important of Seneca's 'Moral Essays': On Anger, On Mercy, On the Private Life and the first four books of On Favours. They give an attractive, full picture of the social and moral outlook of an ancient Stoic thinker intimately involved in the governance of the Roman empire in the mid first century of the Christian era. A general introduction describes Seneca's life and career and explains the fundamental ideas underlying (...) the Stoic moral, social and political philosophy that informs the essays. Individual introductions, footnotes and biographical notes place the essays in their historical and philosophical contexts, and further assistance to students is provided by section headings in the translations which organize the principal transitions in the argument and the more unfamiliar aspects of Seneca's writing. (shrink)

The subject of the study is the content and features of the concept of "society" in the Tuvan culture, which is formed in a syncretic worldview. Features of the historical development of the Tuvan culture led to the formation of an authentic picture of the world, in which man is an integral part of nature. It was revealed that social aspects are not isolated from nature either. It is shown that the limitations of thinking did not require the development of (...) abstract and universal concepts of man and society. The fundamental role of the family in the implementation of social relations in the Tuvan society is determined. In addition, the verbal form of transmitting traditions enhanced the importance of the family in the social system of the Tuvans. As a methodology, a combination of cultural-anthropological and socio-cultural approaches in various aspects is used. In addition, a conceptual and historical method is used to identify the essence of the transformation of Tuvan society. The main conclusions of the authors are the definition of the Tuvan word "niitiel" as a neologism formed in the course of modernization of the Tuvan culture. The logic of its formation differs from the etymology of the concept of society in Russian and English. The concept of "society" contains syncretic and naturalistic aspects. It is emphasized that the individual did not single out individual political, economic, cultural and social interests. In his thinking, he operated only with family and clan interests. The authors found that the syncretism of the Tuvan culture not only led to the fusion of various spheres of human existence, but also the inseparability of the subject and object in thinking. In this regard, the individual did not separate himself from the family and social structure. (shrink)

Corporate sustainability reports are supposed to provide a complete and balanced picture of corporate sustainability performance. They are, however, usually voluntary and thus prone to interpretation and even greenwashing tendencies. To overcome this problem, the Global Reporting Initiative (GRI) provides standardized reporting guidelines challenging companies to report positive and negative aspects of an organization’s sustainability performance. However, the reporting of “negative aspects” in particular can endanger corporate legitimacy if perceived by the stakeholders as not being in line with societal norms (...) and values. Starting from the theoretical lenses of economics-based disclosure theories and socio-political theories of disclosure, the focus of this study therefore was to analyze the communicative legitimation strategies companies use to report “negative aspects,” i.e., negative ecological and social impact caused by corporate activity. Using qualitative content analysis of GRI-oriented sustainability reports from companies listed on the US Dow Jones Industrial Average Index and on the German DAX Index, we identified six legitimation strategies. We discuss these strategies regarding to symbolic and substantial management of legitimacy. We show that symbolic legitimation strategies aiming at modifying the perception of legitimizing stakeholders dominate in the reports at hand. Such persuasion, however, does not meet the requirement of impartiality as postulated by the GRI guidelines. Building upon this conclusion we propose a concise characterization of “negative aspects” and develop a GRI-compliant schema of reporting about them. In doing so, we offer a way to improve the overall “balance” of sustainability reporting contributing to a true and fair view in sustainability disclosure. (shrink)