Journal articles on the topic 'Disaster films History and criticism'
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Li, Ziyi. "The Inspiration of Gombrich’s Critical Discourse Innovation to Film Criticism——Take “The Great Road” as an Example." Learning & Education 10, no. 8 (June 20, 2022): 94. http://dx.doi.org/10.18282/l-e.v10i8.3071.
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As a critic of the classic visual art of images, Gombrich has pioneering insights into some aspects of the discourse of image criticism. This is not only used in his art history and art direction, but also in films that are also visual culture. direction. This article utilizes Gombrich’s innovation of critical discourse, combined with some cognitive models and related concepts proposed by Gombrich to inspire traditional film criticism. Combining neo-realism films with the inner characteristics of characters in the external material world, taking Italian director Fellini’s “The Great Road” as an example, this paper attempts to clarify the impact of this critical discourse innovation on film criticism.
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Howard, Christopher. "Re-orientating Japanese cinema: cold war criticism of ‘anti-American’ films." Historical Journal of Film, Radio and Television 36, no. 4 (March 10, 2016): 529–47. http://dx.doi.org/10.1080/01439685.2016.1157285.
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Sorlin, Pierre. "Cinéma et religion dans l'Europe du XXe siècle." Journal of Modern European History 3, no. 2 (September 2005): 183–204. http://dx.doi.org/10.17104/1611-8944_2005_2_183.
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Film and Religion in 20th Century Europa The article focuses on the conflict zones and compromises of the ambivalent relationship which developed between film and religion in Europe. European film production was more reluctant than Hollywood to treat Biblical themes; on the other hand, the Christian Churches oscillated between damning, controlling and producing their own films. Their censorship and criticism were frequently the occasion of stormy internal debates about Church strategy toward the decline of traditional religiosity. Subjects such as the position and role of the pastor in his congregation and the lives of the saints were made into films; specific religious themes, however, remained rare. For the historian, these films offer symptomatic indicators of sensitivities, complex problems and uncertainties concerning religious life at the time.
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Abdullah, Shahino Mah, and Muhammad Adha Shaleh. "Revisiting Traditional, Modern and Islamic Values When Addressing Haze Issues." ICR Journal 9, no. 3 (July 15, 2018): 377–89. http://dx.doi.org/10.52282/icr.v9i3.106.
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Almost every year, widespread forest fires from western Sumatra and southern Kalimantan in Indonesia have caused a series of transboundary hazes that have enshrouded parts of Southeast Asia. This disaster has jeopardised health, the economy, agriculture and biodiversity. It has also worsened climate conditions due to its large addition of global greenhouse gases (GHG) to the atmosphere. As a result, Indonesia has received great criticism from its neighbours. This disaster is mainly caused by the slash-and-burn methods used to clear land, claimed by many to be a local indigenous farming practice. However, instead of blaming the Indonesian authorities for their inefficient actions, other countries that benefit from Indonesias resources should take responsibility and assist in addressing the issue by finding the root of the problem. A thorough understanding of this matter is necessary and must be initiated by revisiting and exploring local community welfare, culture, and traditional wisdom in order to address and prevent transboundary haze issues. This paper discusses the causes and results of transboundary haze and highlights the importance of traditional wisdom and Islamic teachings for the preservation of the environment (hifz al-biah) and achieving sustainable development goals. It concludes with several policy recommendations for policymakers to consider as a means of preventing this issue from recurring in the future.
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SEHGAL, MANU, and SAMIKSHA SEHRAWAT. "Scandal in Mesopotamia: Press, empire, and India during the First World War." Modern Asian Studies 54, no. 5 (October 24, 2019): 1395–445. http://dx.doi.org/10.1017/s0026749x18000215.
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AbstractBy providing the first comprehensive account of the role of the British and Indian press in war propaganda, this article makes an intervention in the global history of the First World War. The positive propaganda early in the war, intertwined with a rhetoric of loyalism, contrasted with how the conservative British press affixed blame for military defeats in Mesopotamia upon the colonial regime's failure to effectively mobilize India's resources. Using a highly emotive and enduring trope of the ‘Mesopotamia muddle’, the Northcliffe press was successful in channelling a high degree of public scrutiny onto the campaign. The effectiveness of this criticism ensured that debates about the Mesopotamian debacle became a vehicle for registering criticism of structures of colonial rule and control in India. On the one hand, this critique hastened constitutional reforms and devolution in colonial India and, on the other, it led to demands that the inadequacy of India's contribution to the war be remedied by raising war loans. Both the colonial government and its nationalist critics were briefly and paradoxically united in opposing these demands. The coercive extraction of funds for the imperial war effort as well as the British press's vituperative criticism contributed to a post-war, anti-colonial political upsurge. The procedure of creating a colonial ‘scandal’ out of a military disaster required a specific politics for assessing the regulated flows of information, which proved to be highly effective in shaping both the enquiry that followed and the politics of interwar colonial South Asia.
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Louson, Eleanor. "Taking Spectacle Seriously: Wildlife Film and the Legacy of Natural History Display." Science in Context 31, no. 1 (March 2018): 15–38. http://dx.doi.org/10.1017/s0269889718000030.
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ArgumentI argue through an analysis of spectacle that the relationship between wildlife documentary films’ entertainment and educational mandates is complex and co-constitutive. Accuracy-based criticism of wildlife films reveals assumptions of a deficit model of science communication and positions spectacle as an external commercial pressure influencing the genre. Using thePlanet Earth(2006) series as a case study, I describe spectacle's prominence within the recent blue-chip renaissance in wildlife film, resulting from technological innovations and twenty-first-century consumer and broadcast market contexts. I connect spectacle in contemporary wildlife films to its relevant precursors within natural history, situating spectacle as a central feature of natural history display designed to inspire awe and wonder in audiences. I show that contemporary documentary spectacle is best understood as an opportunity for affective knowing rather than a constraint on accuracy; as a result, spectacle contributes to the virtuous inter-reinforcement of entertainment and education at work in blue-chip wildlife films.
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Lamm, Mariya A. "The development of Belarusian literature in a multicultural context." Slavic Almanac, no. 1-2 (2020): 501–7. http://dx.doi.org/10.31168/2073-5731.2020.1-2.6.04.
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Sinkova L. D. Between text and discourse: Russian literature of the XX-XXI century: history, comparative studies and criticism (lit. - crit. articles, conversations). - Minsk: Parkus plus, 2013. - 296 P. The main characteristics of the Belarusian literature development in the contest of 20th-21th century are demonstrated throughout the review. The key patterns of the poetics progression in Belarusian literature are revealed, alongside with the most noticeable algorithms of the national aesthetics establishment and the specifics of mythopoetic perception. Meaningful characteristics of Belarusian literature during Soviet period are examined particularly, especially the literature about Second World War. The national aspects of literary comprehension of the experience of German-fascist occupation in Belarusian literature during Soviet period are revealed. The important characteristic of the modern Belarusian literature after the Chernobyl disaster that has started in 1986, is emphasized upon.
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Goldberg, Sander M. "Plautus on the Palatine." Journal of Roman Studies 88 (November 1998): 1–20. http://dx.doi.org/10.2307/300802.
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It was probably in the agora at Athens and possibly in the seventieth Olympiad (i.e. 499–496 B.C.) that a wooden grandstand collapsed while a play by Pratinas was being performed. The Athenians responded quite sensibly to this disaster by moving their dramatic performances to the precinct of Dionysus Eleuthereus, where the audience could be more safely accommodated on the south slope of the acropolis. Or so it appears: no fact of this early period in ancient theatre history is ever entirely secure. By the time of Aeschylus, however, what we call the Theatre of Dionysus was certainly the place where Athenian tragedies and comedies were performed, and the facility grew in size and grandeur along with the festivals it served. One result of this continuity has been a great boon to the performance-based criticism of Greek drama.
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Riabov, Oleg. "Gendering the American Enemy in Early Cold War Soviet Films (1946–1953)." Journal of Cold War Studies 19, no. 1 (January 2017): 193–219. http://dx.doi.org/10.1162/jcws_a_00722.
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Analyzing Soviet films and film criticism from the late Stalin period, this article shows how Soviet cinematographers exploited gender discourse to produce Otherness. Cinematic representations of U.S. femininity, masculinity, love, sexuality, and marriage played an important role in constructing external and internal Enemies. Cinematography depicted the U.S. gender order as resulting from the unnatural social system in the United States and as contrary to both the Soviet order and human nature. In line with the notion of “two different Americas,” the films also created images of “good Americans” who aspired to satisfy gender norms of the Soviet way of life. The image of the American Other helped shape Soviet gender and political orders. Internal enemies’ “groveling before the West” on political matters was depicted as causing gender deviancy, and the breaking of Soviet gender norms was shown to lead to political crimes.
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Agus Dediansyah and Basuki Wibowo. "History and Culture of the Gado Dayak Community As a Source of Environmental-Based History Learning." Santhet: (Jurnal Sejarah, Pendidikan, dan Humaniora) 6, no. 2 (November 1, 2022): 172–78. http://dx.doi.org/10.36526/santhet.v6i2.2188.
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The people of West Kalimantan make nature a buffer for the economy. The Gado Dayak community is one of the people who make nature be it forests, rivers, and fields as the fulfillment of life. Friendly nature management needs to be passed on to the younger generation through environmental-based history learning. This study aims to determine (1) the history of the Daya Gado Community in Landak Regency (2) Culture of the Gado Dayak Community (3) The historical potential of the Gado Dayak as a source of environmental-based history learning. The research method used is historical research which includes heuristics, source criticism, interpretation, and historiography. The results of the study explain that the history of the Dayak Gado community cannot be separated from the process of community migration due to natural disasters which finally made the Dayak Gado community separated into 3 Ketemenggungan. The shift of the Gado people from their initial place of refuge due to natural disasters made them separated but they still maintain the traditions of their ancestral heritage in the form of farming, hunting and finally the arrival of missionaries. The Capuchins who teach rubber plantations and the Chinese who teach the clearing of rice fields have changed the culture of cultivators to farmers to meet the rice needs of gold miners in the Monterado and Mandor areas. The history of the Gado Dayak community can be used as environmental-based history learning. The life of the Gado Dayak community can be used as a learning resource that is developed in junior high school through social studies subjects and high school through history subjects. The application of integrated learning models, such as in social studies subjects, can increase students' knowledge of environmental conditions so that they can be ready if something unexpected happens, such as a natural disaster.
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Kholidah, Nur Isnaini. "“BANJIR DAN BANTUAN DI SURAKARTA” FILANTROPI DALAM BANJIR SOLO TAHUN 1966." Al-Isnad: Journal of Islamic Civilization History and Humanities 3, no. 1 (July 28, 2022): 15–30. http://dx.doi.org/10.22515/isnad.v3i1.5255.
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ABSTRACT This research discussed aboute the philanthropic practices that occurred in the Solo flood in 1966. The city of Solo and the surrounding area is an area that is often subject to flooding. This happens because Solo City is one of the areas crossed by the Bengawan Solo River, where Bengawan Solo is the longest river in Java Island. If at any time there is a significant increase in rainfall and for a long time, the worst risk caused is the occurrence of a flood disaster. One of the major floods that hit Solo City and the surrounding area was the flash flood that occurred in 1966. The incident hit six inner districts and caused considerable losses. The problem studied this time is how the philanthropic practices of the Indonesian people remain intertwined in the midst of unstable political conditions, because 1966 was a fairly crucial period. To conduct this research, the author used the historical research method. This method includes the selection of titles, data collection, criticism or selection and filtering of data, interpretation or interpretation of the data that has been obtained, and the last step is historiography or the stage of writing history. In addition to using historical research methods, the author also uses the concept of social roles as a theoretical basis in carrying out the research. The concept was chosen by the author because it is able to help the author in seeing how the role of each individual and group in the recovery of the Solo City Area and its surroundings after the flash flood disaster. The results of this reseach is explain how the flood disaster that hit the Solo region and its surroundings in 1966 could move a sense of humanity and empathy among the Indonesian people in the midst of unstable political conditions. Until the people of Solo City and also the surrounding areas who are victims of the disaster can bounce back from the slump caused by the flood disaster. The participation of the Indonesian people as a reaction to the flood event that hit Solo and its surroundings was able to restore the state of Solo City and the surrounding area as before. Keywords: Bengawan Solo, flood, philanthropy
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GAINTY, CAITJAN. "‘Items for criticism (not in sequence)’: Joseph DeLee, Pare Lorentz and The Fight for Life (1940)." British Journal for the History of Science 50, no. 3 (September 2017): 429–49. http://dx.doi.org/10.1017/s0007087417000620.
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AbstractIn the late 1920s, the American obstetrician Joseph DeLee brought the motion-picture camera into the birth room. Following that era's trend of adapting industrial efficiency practices for medical environments, DeLee's films give spectacular and unexpected expression to the engineering concept of ‘streamlining’. Accomplishing what more tangible obstetric streamlining practices had failed to, DeLee's cameras, and his post-production manipulation, shifted birth from messy and dangerous to rationalized, efficient, death-defying. This was film as an active and effective medical tool. Years later, the documentarian Pare Lorentz produced and wrote his own birth film, The Fight for Life (1940). The documentary subject of the film was DeLee himself, and the film was set in his hospitals, on the same maternity ‘sets’ that had once showcased film's remarkable streamlining capacity to give and keep life. Yet relatively little of DeLee was retained in the film's content, resulting in a showdown that, by way of contrast, further articulated DeLee's understanding of film's medical powers and, in so doing, hinted at a more dynamic moment in the history of medicine while speaking also to the process by which that understanding ceased to be historically legible.
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BANERJEE, DWAIPAYAN, and JACOB COPEMAN. "Ungiven: Philanthropy as critique." Modern Asian Studies 52, no. 1 (January 2018): 325–50. http://dx.doi.org/10.1017/s0026749x17000245.
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AbstractDrawing on field research principally from contexts of medical blood donation in North India, this article describes how gifts that are given often critique—by obviation—those that remain ungiven: the care not provided by the Indian state for Bhopal survivors, the family members unwilling to donate blood for their transfusion-requiring relative, and so on. In this way, giving can come to look like a form of criticism. The critiques that acts of giving stage are of absences and deficits: we present cases where large paper hearts donated by survivors of the 1984 Bhopal Gas Disaster to the prime minister of India signal his lack of one, where donated human blood critiques others' unwillingness to do so, where acts of blood donation critique and protest communal violence, and where similar acts of giving over simultaneously highlight a deficit in familial affects and an attempt to resuscitate damaged relational forms. We thus illustrate how critique can operate philanthropically by way of partonomic relations between the given and not-given.
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Sattelmacher, Anja. "“Self-testimony of a Past Present”: Reuses of Historical Film Documents." NTM Zeitschrift für Geschichte der Wissenschaften, Technik und Medizin 29, no. 2 (May 12, 2021): 143–70. http://dx.doi.org/10.1007/s00048-021-00300-z.
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AbstractHas the history of film digitization ever been incorporated in questions of evidence and knowledge production? The digitization of thousands of films from the former Institute for Scientific Film (IWF) that is currently underway gives an occasion to think about the provenance and reuses of filmic images as well as the ways in which they claim to produce scientific (or in this case, historical) evidence. In the years between 1956 and 1960, the German Social Democrat, historian and filmmaker Friedrich “Fritz” Terveen initiated a film series that used historical found film footage in order to educate university students about contemporary history. The first small series of films was entitled Airship Aviation in Germany which consisted of four short films using found footage of zeppelin flights, of which the earliest images stem from around 1904 and the latest from 1937, the moment of the “Hindenburg disaster.” This article explores how Terveen sought to shape the political landscape of history teaching in the new Federal Republic of Germany by first setting up nation-wide visual archives to host historical film documents, and secondly by seeking to improve the political education of a new generation of young Germans with the aid of the moving image.
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Serravalle de Sá, Daniel. "Gótico brasileño: el cine de Walter Hugo Khouri y José Mojica Marins." Catedral Tomada. Revista de crítica literaria latinoamericana 9, no. 17 (January 10, 2022): 177–96. http://dx.doi.org/10.5195/ct/2021.516.
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This paper seeks to connect the concepts of “terror” and “horror” proposed by Gothic novelist Ann Radcliffe to films by Brazilian directors Walter Hugo Khouri and José Mojica Marins. It will be discussed here how such concepts manifest themselves in the national context and in which senses, trapped somewhere between repetition and difference, Khouri and Mojica’s films can be deemed expressions of a Brazilian Gothic. Stemming from elements derived from Anglo-American criticism, but, highlighting the different meanings that these elements gain in Brazil. To interpret Brazilian films in the light of the Gothic means addressing the issue of “construction of meaning” in national history, as the Gothic has the potential to revive old traumas and generate discussions about specific social contexts.
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Jazli, Muhammad Alfan, and Emy Wuryani. "BENCANA DAN PERUBAHAN IDENTITAS DESA BULAK 1971-2000an." SASDAYA: Gadjah Mada Journal of Humanities 4, no. 1 (March 1, 2020): 48. http://dx.doi.org/10.22146/sasdayajournal.54567.
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This article discusses the history of the disaster that struck the Bulak Village in the area of Jepara, Central Java, Indonesia in the 1971-2000s period. Disasters that continue to occur in the village of Bulak force villagers to move to the new village location. The new village was named after Desa Bulak Baru as a sign that the name of Desa Bulak Baru was not part of the expansion of the old village, but as a collective memory of the name of their previous village. To see that change, the writer sees it in the lens of migration in the local definition, namely village bedol. Bedol Desa is a term for the people of the villages in Java who migrate. The study of village bedol events in the perspective of social history studies. In 1981 a village bedol event occurred in Bulak Village, Jepara Regency. The destination of the bedol desa is the location Desa Bulak Baru. Naming that includes a change of identity, but does not eliminate the old name as the historical basis of a Bulak Village. The method used in this study is the historical method, which includes: (1) heuristics or source tracking, (2) source criticism to verify the information obtained, (3) analysis, and (4) historiography or historical writing.
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Turan Özgür Güngör. "Vengeance of Nonhuman Beings: An Ecocritical Reading of Samuel Taylor Coleridge’ Work, “The Rime of the Ancient Mariner”." International Journal of Social, Political and Economic Research 7, no. 2 (June 2, 2020): 359–71. http://dx.doi.org/10.46291/ijospervol7iss2pp359-371.
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These days environmental issues are among the most commonly reported ones in the world. The dangerous effects of the environmental problems, which are as old as the history of humanity, began to be felt more profoundly after the Industrial Revolution. In former times the environmental problems were felt only at a local level with the destruction of forests in order to facilitate hunting places and clear lands for farming areas. After the Industrial Revolution the extent of the problem rose and reached the catastrophic disaster level with the extensive fossil fuel use. Nowadays, when environment problems come into question, many people prefer using the term environmental disaster in place of the term environmental problems. This term, environmental disaster, may be remarkable enough to discern the severity of the problem. The role of literature in reaching the public cannot be denied. Ecocriticism tries to make use of this ability of literature in setting forth and expressing environment problems. Since both fictional and non-fictional literature can reach many people, the works which concern with the environmental problems may be beneficial to raise awareness and contribute to inform many people all over the world about the severity of these problems. Creating awareness is an important issue since many people are not aware of the fact that the nature is destroyed by humans, and they neglect that the harm to nature causes the harm to humanity concurrently since there has always been an indissoluble bond between ecosystem and humans. Humans cannot be dissociated from the natural world. In this study, some brief information about human related environment disasters, social organizations which were established to fight for the rights of nonhuman beings in nature, the function of literature in creating awareness among human beings, the efforts of creating ecological reading and the emergence of ecocritical literary criticism will be given. After discussing Samuel Taylor Coleridge’s contribution to nature writing and Romanticism briefly, “The Rime of the Ancient Mariner” will be evaluated from an ecocritical perspective.
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Hastie, Amelie. "Wandering around the ’70s." Feminist Media Histories 8, no. 3 (2022): 61–74. http://dx.doi.org/10.1525/fmh.2022.8.3.61.
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Informed by three interlocking texts—Nathalie Sarraute’s Tropisms, Agnès Varda’s 1985 Vagabond, and Lesley Stern’s Dead and Alive: The Body as Cinematic Thing—this essay attends to a series of scenes from US films of the 1970s. Visually oriented and guided by movement, these analytic descriptions develop together a context of feminist associations that in turn runs counter to the mastery of textual analysis that is so often implicitly aligned with the “masterful” auteurs and works of the era. By moving between a series of cinematic images that home in on women’s experiences, the essay at once recognizes their shared resonances and imagines a counter narrative to dominant histories of the era and an alternative or extension to dominant theoretical fields that emerged from the era. This form of speculative criticism allows for readers to engage in acts of speculation themselves.
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Kahan, Jerome. "Future of FEMA – Preparedness or Politics?" Journal of Homeland Security and Emergency Management 12, no. 1 (January 1, 2015): 1–21. http://dx.doi.org/10.1515/jhsem-2014-0048.
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AbstractThroughout its history, the Federal Emergency Management Agency (FEMA) has been subjected to periods of criticism – notably, its response to Hurricane Katrina – sprinkled with peaks of praise – notably, its handling of Hurricane Sandy. As currently articulated, FEMA’s primary purpose is to better prepare states and local entities to respond to disasters by mitigating the consequences of those disasters and helping to start the recovery process. If first responders cannot adequately handle a situation, then federal operational assistance led by FEMA would come into play. FEMA is now on the proper path toward meeting realistic expectations of its role as the federal agency in charge of leading and coordinating efforts to ensure that the nation is well prepared to cope with natural disasters, accidents, and terrorist attacks. However, political forces have always buffeted FEMA. Within the politically charged atmosphere of the forthcoming presidential election, questions of whether FEMA should once again become independent are emerging, with hints of the more extreme suggestion that the agency be abolished. FEMA’s goal of continuing to effectively meet its disaster relief responsibilities can be reached only if political influences are not allowed to complicate and perhaps even halt its progress.
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Zvijer, Nemanja. "Movie treatment of social past in "post-Yugoslavia"." Socioloski godisnjak, no. 11 (2016): 21–40. http://dx.doi.org/10.5937/socgod1611021z.
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The break-up of socialist Yugoslavia caused, among other things, the dissolution of a common past of people who lived on that territory. Newly independent states were needed a new past for creating a new collective identities. This need caused a powerful wave of reinterpretation of history but also the specific attitude towards the recent socialist past. As these processes have had a relatively wide scale, that also reflected on popular culture, what can be seen in the case of films, as one of the most important segments of popular culture. In this regard, it will be considered the ways in which treated socialist past in terms of criticism or nostalgia in films made during the last decade of the twentieth century in the countries formed after the breakup of socialist Yugoslavia.
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Cufurovic, Mirela. "Popular Imagination Versus Historical Reality." Public History Review 25 (December 27, 2018): 1–16. http://dx.doi.org/10.5130/phrj.v25i0.6157.
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Historical films have been subject to controversy and criticism within the discipline of history upon the rise of popular interest in new and innovative forms of historical representation. The five to seven years between the release of Gladiator (2000) and Rome (2005-2007) saw an upsurge of historical films focusing on the ‘epic’: the spectacular, monumental and immersive periods of history that exude a mix of historical reality and speculative fiction. This paper argues that it is not historical accuracy or film as historical evidence that matters, but the historical questions and debates that film raises for its audience and the historical profession regarding the past it presents and its implication on history. Such questions and debates base themselves around the extent to which filmmakers are able to interpret history through images and what kind of historical understandings it hopes to achieve. This paper analyses the complexity of public history through a comparative study of reviews on five online message boards, such as IMBD, Amazon, TV.com and Metacritic, relating to HBO’s Rome – chosen due to its unique ability of igniting historiographical debate by presenting history as an accident, thus allowing audiences to question and reinterpret the outcome of historical events.
KEYWORDSHBO; Rome; Film; Historiography; Public History; Popular Imagination
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Ibagere, Elo, and Osakue Stevenson Omoera. "The Nigerian Film Plot." Matatu 48, no. 2 (2016): 435–49. http://dx.doi.org/10.1163/18757421-04802012.
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The Nigerian film industry, otherwise known as Nollywood, has been acknowledged to be the second-largest in the world in terms of volume of production. This fact presents an interesting vista worthy of investigation, especially with regard to the quality of the films produced. It is in respect of this premise that this article examines the plot of the Nigerian film—a feature capable of affecting the popularity of the film. The essay, having dwelt on what plot is, critically examines the Nigerian film plot and finds that Nollywood films mostly adopt an episodic structure, thereby making them unnecessarily long. Besides (and this is systemically related to episodic structure and to a natural tendency in Nigerian rhetoric), many of the films tend to be too wordy, too chatty, over-padded, thus often earning them scathing criticism. The challenges of scriptwriting in this regard are examined, culminating in recommendations for how to improve the quality of scripts through plot construction in this vibrant film culture.
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Sanyal, Debarati. "A Soccer Match in Auschwitz: Passing Culpability in Holocaust Criticism." Representations 79, no. 1 (2002): 1–27. http://dx.doi.org/10.1525/rep.2002.79.1.1.
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IT HAS BECOME SOMETHING of a commonplace in recent criticism to claim that the Holocaust inaugurates a ''crisis of representation.'' To read, understand, and transmit a historical trauma of this magnitude is to confront the boundaries of the thinkable and the sayable. This essay critically examines the emergence of a theoretical current that presents the Holocaust primarily as a trauma that - as trauma - opens up unlocatable and unrepresentable forms of knowledge. It argues that the overwhelming focus on trauma as an optic for viewing the Nazi genocide leads to a dangerous conflation of the differences between victims, executioners, witnesses (primary and secondary); between literal and metaphorical survival and culpability; and between historical event and metaphorical, transhistorical condition. For a generation that did not live through the Holocaust but encountered it as secondary witnesses, as readers and viewers of films and documentaries, a sense of metaphorical survival and second-hand guilt seems to be an inescapable condition of Holocaust reception. Theoretical approaches to representations and testimonies of the Holocaust, especially in the wake of deconstruction, increasingly rely on models of contamination, complicity, and trauma. Such models complicate not only the difference between victims and executioners within the camps, but also the differences between witnesses, bystanders, and successive generations of secondary witnesses. Primo Levi's description of a ''gray zone'' in the concentration camp (in The Drowned and the Saved) has played a crucial role in this recent focus on the traumatized culpability of the secondary witness. The ''gray zone'' describes situations that blurred and even dismantled the opposition between victims and executioners (as in the case of the Special Squads, or Sonderkommando s, composed primarily of Jewish prisoners working in the crematorium). This essay argues that Levi's ''gray zone'' is now deployed as a figure in the recent work of Giorgio Agamben, Cathy Caruth, and Shoshana Felman. Identifying proximities in their views of trauma and testimony, the essay shows how Levi's ''gray zone'' is transformed into an overarching metaphorical framework for thinking not only about the Holocaust, but more broadly, about history, subjectivity,and ethics in the fields of psychoanalysis, political philosophy, and literary criticism. This hypostasis of the ''gray zone'' not only erases the historical specificity of the Nazi genocide, but also subsumes the irreducibly distinct positions of victim, executioner, witness, accomplice, and proxy-witness under a general condition of traumatic complicity. The essay concludes with a paired reading of Albert Camus's La chute and Levi's The Drowned and the Saved, suggesting that Camus's novel, while often read as an exemplary testimony to historical trauma, instead stages some of the ethical and political problems of reading history through the optic of trauma.
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Murphy, Daniel P. "The Golden Age of Disaster Cinema: A Guide to the Films, 1950‐1979NikHavert. McFarland & Company, Inc. 2019." Journal of American Culture 45, no. 1 (March 2022): 102–3. http://dx.doi.org/10.1111/jacc.13316.
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Perloff, Marjorie. "What Really Happened? Kenneth Goldsmith’s “7+ Deaths and Disasters,” Sophie Calle’s, Take Care of Yourself." Synthesis: an Anglophone Journal of Comparative Literary Studies, no. 11 (October 18, 2019): 72. http://dx.doi.org/10.12681/syn.20894.
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In Seven American Deaths and Disasters (2013), Kenneth Goldsmith recounted a set of tragic and unanticipated events in recent American history by using transcriptions of radio and TV broadcasts, usually from minor networks. Designed to be an “eighthAmerican disaster,” Goldsmith presented The Body of Michael Brown, a performance based on the St. Louis autopsy report at the “Interrupt 3” conference at Brown University(13 March 2015), eliciting widespread criticism and controversy. Seemingly very different from Goldsmith—Sophie Calle’s projects, for the past few decades, set up particularprocedural processes that raise pressing epistemological questions, especially about the nature of relationships, personal and political. One of her recent projects, Prenez soin de vous (Take Care of Yourself) that was based on her installation for the Venice Biennale in 2007, comprises comments by 107 women on an email that Calle received from her then lover. In this project, Calle uses the “real” words of others to create a montage of possible interpretations of the discourse that confronts us in our daily lives. For Calle, as for Goldsmith, the most troubling gap is that between information and knowledge, while the issue, that a conceptual poetics can take as a premise, is that the body most difficult to getinside of turns out to be one’s own.
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Gao, Xiang. "‘Be a real man for our motherland’: Masculinity and national security in Chinese Korean War films." Film, Fashion & Consumption 11, no. 2 (November 1, 2022): 121–37. http://dx.doi.org/10.1386/ffc_00043_1.
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There has been increasing societal discussion and criticism on the ‘lack of masculinity’ among Chinese young men. In response, the Chinese Ministry of Education in 2021 advised schools to ‘foster the students’ masculinity’. The Chinese National Radio and Television Administration also set strict rules for casting and choosing performing styles, custom and makeup in order to eliminate the ‘abnormal aesthetic’ and the ‘male feminization’ in Chinese television, film and advertisement. At the same time, various war films and television shows present characters and circumstances that highlight an ‘ideal’ masculine archetypes as well as the quality of a Chinese male character – patriotism, heroism, selflessness, strength, loyalty and intelligence. This article examines and compares the male images in two Chinese Korean War films, Shangganling and Changjinhu. It analyses the changing portrayal of male war characters based on three levels of analysis, namely nationhood, leadership and individuals. This study argues that the ‘masculinity crisis’ has led to the securitization of Chinese masculinity, a process and outcome driven by the Chinese government’s continued efforts to control and channel the broad social and cultural changes which have impacted popular culture, sexuality, gender and women’s rights and roles across Chinese society over the past several decades.
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Uelzmann, Jan. "Building Domestic Support for West Germany's Integration into NATO, 1953–1955." Journal of Cold War Studies 22, no. 2 (May 2020): 133–62. http://dx.doi.org/10.1162/jcws_a_00941.
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Konrad Adenauer's government in the Federal Republic of Germany (FRG) engaged in a large-scale media campaign to create political consent for the FRG's integration into the West, a policy that rested to a large extent on rearmament and entry into the North Atlantic Treaty Organization. To counter public criticism of rearmament, the West German authorities used Mobilwerbung, a company that maintained a fleet of mobile film screening vans. Clandestinely financed by the government, Mobilwerbung brought government-commissioned films and political speakers into the FRG's remotest areas. Based on archival records on deployments in Lower Saxony and North Rhine-Westphalia, this article traces Mobilwerbung's role as a government unit that reacted dynamically to competing events. Through highly detailed reporting on audience reactions, Mobilwerbung served both as a public relations vehicle to foster consent and as an analytical tool that allowed the mapping of public sentiment regarding rearmament.
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Gaycken, Oliver. "‘Beauty of Chance’: Film ist." Journal of Visual Culture 11, no. 3 (December 2012): 307–27. http://dx.doi.org/10.1177/1470412912455618.
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A lesser-known aspect of André Bazin’s film criticism is his love of science films. Bazin’s key reflection in this regard, ‘Le film scientifique: beauté du hasard’, argues that the science film is not just another kind of filmmaking; rather, placed under the scrutiny of Bazin’s cinephilic, Surrealist gaze, the science film is revealed as the repository of true cinematic beauty. A similar approach to the science film is evident in contemporary avant-garde practice. Gustav Deutsch’s Film ist. 1–6 (1998), the first part of an ongoing compilation project, reveals an affinity with Bazin’s appreciation of the science film. Taken together, these approaches suggest an alternative strand of documentary history that is located at the intersection of scientific and avant-garde filmmaking practices.
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Solis, Luis. "Three Voices in the Wake of an Earthquake." University of Bucharest Review. Literary and Cultural Studies Series 9, no. 2 (November 19, 2020): 34–43. http://dx.doi.org/10.31178/ubr.9.2.4.
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Like practically every single country, Mexico has had its fair share of pain and trauma. Bloodshed and utter devastation are rife in Mexico’s modern history. To civil wars and —in recent years— drug-related violence, one has to add the destruction and horror caused by earthquakes. The seism that devastated Mexico City on the 19th of September was the most destructive and painful in living memory. As an uncanny coincidence, also on the 19th of September, but in 2017, another earthquake hit the capital. Perhaps not surprisingly, Mexican novelists and poets have written profusely about their country’s long history of seismic destruction. Poet and journalist Manuel Gutiérrez Nájera —who ushered Mexican letters into Modernism— chronicled the earthquake of the 2nd of November 1894. For his part, Juan Rulfo — arguably Mexico’s most important fiction writer of the twentieth century— penned the “The Day of the Earthquake”, included in his collection of short stories The Plain in Flames, published in 1953. Rulfo uses a natural disaster and its toll as a metaphor for the unbridgeable gap between the political elites and the dispossessed. Finally, José Emilio Pacheco published a series of poems on the 1985 earthquake, the aftermath of which was felt not only in terms of human suffering, but also as a watershed event that ultimately resulted in social and political upheaval. An idiosyncratic brand of humour, trenchant criticism, and a sense of the ineffable before the enormity of utter devastation are some of the ways three of Mexico’s best poets and writers have found to cope with catastrophe and trauma.
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Capar, Mustafa. "The Views of the Prospective Teacher of Visual Arts on using the Films about Artists to Teach Art Criticism, Aesthetics, Art History and Art Production." Procedia - Social and Behavioral Sciences 51 (2012): 204–8. http://dx.doi.org/10.1016/j.sbspro.2012.08.146.
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Kozlovic, Anton Karl. "Exploring Sacred and Secular Serpent Symbolism in Cecil B. DeMille’s The Ten Commandments (1956)." Postscripts: The Journal of Sacred Texts, Cultural Histories, and Contemporary Contexts 7, no. 2 (August 20, 2014): 149–69. http://dx.doi.org/10.1558/post.v7i2.149.
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Cecil B. DeMille was an unsung auteur and master of the American biblical epic whose feature films were eagerly awaited by the paying public and filled Paramount’s purse. And yet, he was routinely ignored, dismissed or devalued by critics unappreciative of the enormous artistry deliberately engineered therein, especially his penchant for serpent symbolism. This particular omission is in need of belated attention. Consequently, using humanist film criticism as the guiding analytical lens, this essay selectively reviews the critical DeMille, film and religion literature, locates DeMille’s place and reputation in Hollywood history, explores The Ten Commandments (1956), and explicates numerous exemplars of his trademark serpent signature under five heuristic headings. The essay concludes that DeMille was a far more insightful and accomplished biblical filmmaker than has been previously appreciated.
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Hao, Jin. "The Myth of Shangri-La and Its Counter-discourses: (Anti-)Utopian Representations of China’s Southwest Frontier in the Twenty-First Century." Modern Chinese Literature and Culture 34, no. 1 (June 2022): 202–37. http://dx.doi.org/10.3366/mclc.2022.0009.
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In the early twenty-first century, the southwest frontier, especially the Sino-Tibetan borderlands, has been imagined as a particular utopian space, or “Shangri-La,” in China’s popular culture, but there are also literary works and films that debunk this conception. This paper is a study of these different discourses. I argue that the utopian and anti-utopian representations of China’s Southwest in these works are socially and intellectually significant. The myth of Shangri-La promises a fantasized utopian solution to social problems and a miraculous cure for personal afflictions. In contrast, Ge Fei’s End of Spring in Jiangnan ( Chun jin Jiangnan, 2011) and Ning Ken’s Sky·Tibet ( Tian·Zang, 2010) debunk the myth of Shangri-La as a utopian solution and cure. In this way, these two novels retain their critical stance toward China’s history and reality. Meanwhile, some anti-Shangri-La works can be more ambivalent: Zhu Wen’s South of the Clouds ( Yun de nanfang, 2004) and Han Han’s The Continent ( Houhui wuqi, 2014) appear to challenge the utopian construction to form their social criticism in the beginning, only to compromise this criticism in the end as they affirm the existence of utopia either in the rural Southwest or in urban China. All these utopian and anti-utopian elements make the southwest frontier a site of contestation and contradiction.
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Marcus, Alan. "Reappraising Riefenstahl‘s Triumph of the Will." Film Studies 4, no. 1 (2004): 75–86. http://dx.doi.org/10.7227/fs.4.5.
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Leni Riefenstahl was one of filmmakings most contentious directors. The power of her epic documentaries, Triumph of the Will (1935) and Olympia (1938), have cemented her place in film history. More criticism has been written about Riefenstahl than any other director, except perhaps Hitchcock and Welles. Publicity surrounding the publication of an illustrated book marking her centenary reawakened debates about Riefenstahl‘s career in film and her involvement with the Third Reich. In this article, I focus on one of the key films which emerged from that relationship, Triumph of the Will (Triumph des Willens), which I discussed at length in my interview with Riefenstahl. Her recollections were sharp and I was intrigued by some of her answers, not for what new insight they offered, but for how they reaffirmed how she wished others to interpret her films and motivations. In particular, I was interested in the way she considered Triumph of the Will to be a realistic portrayal of the Nazi‘s 1934 Nuremberg Rally and the events surrounding it, and her role as a filmmaker in shaping that representation.
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McAuley, Kyle. "George Eliot's Estuarial Form." Victorian Literature and Culture 48, no. 1 (2020): 187–217. http://dx.doi.org/10.1017/s1060150319000512.
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This essay recasts the central locale of The Mill on the Floss in order to show how the geography and society of George Eliot's novel function together as a conjoined ecological system. I show that the port at St. Ogg's is set on an estuary, and from this observation, I claim that the entanglement of multiple estuarial waters provides a formal model for the overall ecology of the novel. Referring to this system as “ecological form,” the essay shows how the characters’ misunderstanding of the estuarial nature of the St. Ogg's hydrography is the primary source of the communal divisions with which the novel is so famously riven. In so doing, this essay makes two methodological interventions, one local, and one slightly more global. In the first, I show how unsticking the progression of our criticism from that of a novel's plot—especially one with such a catastrophically strong telos as Mill’s—can allow us to view form and, particularly, geography as newly vital to literary history. This leads to the second intervention, in which I suggest that reading practices in an age of environmental collapse should look beyond disaster itself and toward affected communities’ systemic ties to those extraneous systems—economic, legal, imperial—that aid and abet disasters elsewhere and even ignore the potential for catastrophic reoccurrence in the near future. In other words, reading for water readily yields a wide-ranging map of global capitalism perhaps unexpectedly centered on a small town in Lincolnshire.
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Kartika, Bambang Aris, Nanik S. Prihatini, Sri Hastanto, and D. ,. Dharsono. "ANALYSIS OF DOCUDRAMA HISTORY AND REFERENTIAL RECONSTRUCTION OF SANG KIAI MOVIES: ADAPTATION OF BIOGRAPHICAL HISTORIOGRAPHIC TEXTS TO BIOPIC FILM." Capture : Jurnal Seni Media Rekam 10, no. 2 (April 23, 2019): 20–44. http://dx.doi.org/10.33153/capture.v10i2.2366.
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This article discusses about the conception of adaptation of biographical historiographic texts into the medium text in the Sang Kiai film which is a type of historical docudrama film. Adaptation conception shows a transposition pattern of content from historical biographical narrative texts constructed into the text medium of Sang Kiai film. By conducting a study on the Sang Kiai film through approaches of adaptation and heuristic, hermeneutic, and internal criticism methodology has produced a pattern of referential reconstruction in the production of historical genre film texts, especially in the types of biopic films. The Sang Kiai film is a moving picture biography of the K.H. Hasyim Asy'ari figure who narrated historical facts about the nationalism of the founder of the Nahdlatul Ulama (NU) against the colonialist hegemony of Japanese and Allied fascist armies. Thus, the docudrama film which is positioned as a document of visualization of the historical facts about the past that is presented today through the reproduction of historical texts in the biopic film medium. The pattern of referential reconstruction shows that the biopic film of the Sang Kiai is a representation of the truth of the biographical facts of the K.H. Hasyim Asy'ari figure, although it was produced and presented through historical fiction film text
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Ward, Julian. "Mainstream Film Production in a Country on the Cusp of Change." British Journal of Chinese Studies 8, no. 2 (March 13, 2019): 63–88. http://dx.doi.org/10.51661/bjocs.v8i2.7.
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In June 1984, the journal Dianying pingjie (Film Criticism) published a short article titled “An Open letter to the August First Film Studio”, written by an army officer called Xu Gewei, in which he described The Colourful Night, The Last Military Salute and Star of the Battleground, three of the studio’s recent productions, as mediocre, inept and crudely made. This paper will look at the three films in the context of the early 1980s, a period in the history of filmmaking in Communist China, which, in spite of being critical for the subsequent development of the Chinese film industry, still receives comparatively little attention. The paper will show how, although the films rely for the most part on out-moded techniques and narrative forms, there are moments that display an interest in new film techniques and reveal an understanding of the evolving world of China in the early 1980s.
At time of publication of this article, the journal operated under the old name. When quoting please refer to the citation on the left using British Journal of Chinese Studies. The pdf of the article still reflects the old journal name; issue number and page range are consistent.
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Roche, Mark W. "Cultural and Religious Reversals in Clint Eastwood’s Gran Torino." Religion and the Arts 15, no. 5 (2011): 648–79. http://dx.doi.org/10.1163/156852911x596273.
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Abstract Clint Eastwood’s Gran Torino is one of the most fascinating religious films of recent decades. Its portrayal of confession is highly ambiguous and multi-layered, as it both mocks confession and recognizes the enduring importance of its moral core. Equally complex is the film’s imitation and reversal of the Christ story. The religious dimension is interwoven with a complex portrayal and evaluation of multicultural America that does not shy away from unveiling elements of moral ugliness in American history and the American spirit, even as it provides a redemptive image of American potential. The film reflects on the shallowness of a modern culture devoid of tradition and higher meaning without succumbing to an idealization of pre-modern culture. The film is also Eastwood’s deepest and most effective criticism of the relentless logic of violence and so reverses a common conception of Eastwood’s world-view.
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Dansou, Bertin Y. "Appraising the Origins of British Language and the Challenges of Business Communication." Advances in Social Sciences Research Journal 9, no. 5 (May 17, 2022): 98–107. http://dx.doi.org/10.14738/assrj.95.12300.
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The English language has shown the same history and development as Anglo-Saxon and British peoples. English ancestors were great warriors and business people. They showed great achievements in Germanic, Scandinavian, Greek, Roman ,French ,English and American wars ,and other activities. This makes English a relevant and suitable language for Wars, social and economic activities; hence the sociolinguistic origins and dimensions of English and business. Nevertheless, this well-known and important language is challenged by business demands that shape and reshape English for communication in the direction of modernity and globalization. The purpose of this analysis is to use structuralism criticism to revisit the diachronic and synchronic aspects of the language to demonstrate connections and interconnections between the origins of the language ,its development and the use of business communication for the promotion of social, political and economic activities. Languages promotion and business development or success are then interdependent for sustainable development
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Kovaleva, A. Y. "THE PHENOMENON OF SILVIO BERLUSCONI." MGIMO Review of International Relations, no. 4(49) (August 28, 2016): 117–30. http://dx.doi.org/10.24833/2071-8160-2016-4-49-117-130.
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Silvio Berlusconi, former Italian Prime Minister, is about to turn 80 this September. He has dominated Italian politics since 1994 and is now Italy's longest-serving PM since Mussolini. He has survived countless forecasts of his imminent departure. Political researchers argue that despite his personal success, he has been a disaster as a national leader. Nevertheless, to call Berlusconi a failure would be absurd, particularly in terms of his political presence. Having provided the country with four governments that lasted for a total of almost ten years, Berlusconi left a profound mark on Italian political history and even defined the era of Berlusconism. This article is based on the assumption that there is considerable political substance to Berlusconism, the substance of Berlusconi's public discourse. In 1994 he launched "Forza, Italia", a political party that within the span of a couple of months would become one of the biggest in Italy. From the outset, the party has evoked both praise and criticism amongst political communications scholars. Most of the discussion was centered on party's antiestablishment rhetoric, its lack of traditional organization, consistent political agenda and controversial nature of the main leader. Interestingly, the celebratory interpretations surrounding the Berlusconi phenomenon have focused on the leaders' ability to create a mass support base primarily through the use of TV; all of this whilst bypassing traditional institutions. This article is about the communicational strategy Berlusconi employed and why it was successful. Berlusconism is a true political phenomenon, which deserves to be analyzed carefully.
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Etkind, Alexander. "Stories of the Undead in the Land of the Unburied: Magical Historicism in Contemporary Russian Fiction." Slavic Review 68, no. 3 (2009): 631–58. http://dx.doi.org/10.1017/s003767790001977x.
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Combining ideas from cultural studies, psychoanalysis, and literary criticism, this essay proposes an interdisciplinary approach to the emerging field of post-Soviet memory studies. Sociological polls demonstrate that approximately one-fourth of Russians remember that their relatives were victims of terror, yet the existing monuments, museums, and rituals are inadequate to commemorate these losses. In this economy of memory, ghosts and monsters become a prominent subject of post-Soviet culture. The incomplete work of mourning turns the unburied dead into the undead. Analyzing Russian novels and films of the last decade, Alexander Etkind emphasizes the radical distortions of history, semihuman creatures, fantastic cults, manipulations of the body, and circular time that occur in these fictional works. To account for these phenomena, Etkind coins the concept “magical historicism” and discusses its relation to the magical realism of postcolonial literatures. The memorial culture of magical historicism is not so much postmodern as it is, precisely, post-Soviet.
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Harrow, Kenneth. "Time and ecology in African cinema: Pumzi and Felix in Exile." International Journal of Francophone Studies 23, no. 3 (December 1, 2020): 289–306. http://dx.doi.org/10.1386/ijfs_00023_7.
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This article examines how time and space-time relate to eco-critical films and their charge of intervening in issues dealing with environmentalism. From the earliest films the question of capturing the truth gave impetus to the desire to represent reality accurately, including its social and political ‘truths’. Increasing concerns over the environment have come to mean that filmmakers have also felt the necessity to present eco-critical dramas. The drama has been how to create environmentally significant films without condescending to the viewers. The key question Rob Nixon poses in Slow Violence and the Environmentalism of the Poor might be how the social-economic order, over time, informs the health of the environment and the conditions of life for the working class. Two short films and the Green Belt Movement extend that question: Pumzi asks how a future marked by nuclear disaster might be survived by the sacrifice of an exceptional woman; Felix in Exile asks how the brutal practices of Apartheid might be survived. In both cases the questions of space and time prove to be basic, opening the possibility of joining the concept of space-time to eco-critical thought.
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Igaeva, Ksenia. "Transformations of Hegemonic Masculinity and Functions of Female Images in Contemporary Western Films." Logos et Praxis, no. 4 (April 2020): 78–83. http://dx.doi.org/10.15688/lp.jvolsu.2020.4.7.
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The controversy about modern transformations of consumer society typically is not related to gender studies. At the same time, the spread of mass culture in the consumer society has had a significant impact on the redistribution of gender roles. Gender studies have long been dominated by the study of women's history through criticism of hegemonic masculinity as a system for the distribution of social roles, and economic inequality was only their derivative. Moreover, starting from the first decade of the XXI century, many researchers appear (M. Kimmel, S. Bordeaux, S. Robinson) striving to move away from the established tradition. Thus, according to modern researchers, the concept of "hegemonic masculinity" is controversial. However, it is generally well established in gender studies to describe the power of middle-class white men, their everyday behavior, and normative representations in culture. The purpose of this article is to identify the feedback – the growing influence of the consumption laws, as well as the consumer culture formed on their basis, on the distribution of gender roles in popular Western cinema, which is both a representation and a reinforcement of normative models of social behavior. In modern cinema, the image of a man belonging to the hegemonic type of masculinity undergoes several stylistic changes that allow preserving the former normative ideal. Male images are mimicking in the new social space that has developed in the post-industrial economy, imitating changes in the dominant type of masculinity, which, however, does not lose its power positions. At the same time, the female heroine in popular cinema fails to fundamentally change the established model of normativity: she tries on traditional male roles and becomes a consumer of established stereotypes, refusing to try to change the very system of hegemony.
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Nushur, Rizki Dhian, and Diyana Dewie Astutie. "THE PERCEPTION OF ACEH DOCUMENTARY TRAINING PARTICIPANTS ON IMPROVING CRITICAL THINKING THROUGH DOCUMENTARY FILM APPLICATION." Getsempena English Education Journal 8, no. 1 (May 28, 2021): 81–95. http://dx.doi.org/10.46244/geej.v8i1.1245.
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The times are progressing rapidly so that the need for critical thinking is increasing. Some experts argue that those who think critically are able to solve problems responsively. Therefore, education practicer take various ways to create nowdays critical generation, as well as the Aceh Documentary (ADC) Foundation in Banda Aceh. The documentary film production training which is conducted annually by the ADC Foundation is believed to be able to improve the critical thinking of the participants. This study aims to determine the perceptions of four participants of Aceh Documentery Foundationabout improving their mindset after attending the documentary film production training. This is a qualitative research. The data for this study was collected from early June to August 2019, which the Data collection techniques used in the research were interview and FGD. The data analysis stage was carried out on September 2019 after the documentary film training was completed. The data analysis is carried out by using the Miles & Hubermen style, in which activities in the analysis include data reduction, data display, and conclusion drawing / verification. From this research, it can be concluded that the use of documentary films as a learning medium can improve the participants' critical thinking, eventhough the level of criticism obtained by each individual is different.
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Nery, Robert. "The Hero Takes a Walk: Two excerpts from a memoir on growing up in the Philippines in the sixties." Thesis Eleven 145, no. 1 (April 2018): 120–33. http://dx.doi.org/10.1177/0725513618766441.
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The Hero Takes a Walk is a philosophical memoir of a Philippine childhood and teenage years in the sixties and the first few years of the seventies. Two chapter extracts are presented here: the first on Beatlemania and what it meant to Filipinos, a cosmopolitanism they desired and sought to practice; the second, on the reception of Marxism in the Maoist version promulgated under the influence of Jose Maria Sison. The first raises its central question while telling the story of the Beatles’ visit in 1966, when they were chased out of the country, an account drawing on neglected local reports. The second remembers how Marxism-Maoism, like any theory, was interpreted against the background of pre-existing belief – in this case, Philippine Catholicism. In his memoir, the author looks back critically on the intellectual movements that deeply affected him, on certain books and writing and his reception of the films and popular music of the time. The Hero Takes a Walk diverges at various points into literary criticism and history, before coming to an end in present-day Greater Manila.
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Kisantal, Tamás. "The Practical Past as a Field of Metahistorical Approach. Some Remarks on the Contemporary Situation of Historical Theory." Acta Universitatis Sapientiae, Philologica 11, no. 1 (November 1, 2019): 109–23. http://dx.doi.org/10.2478/ausp-2019-0008.
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Abstract The narrative theory of history that studies historical works from the viewpoint of their narrative, rhetorical devices, and ideological strategies highly emphasized the necessity of renewing historiography. In his early essays, the trend’s founding father, Hayden White, positioned history between art and science or fiction and reality and defined the role of historical theory as a kind of “critical historiography” that is both a criticism of actual historical works and a prescriptive theoretical approach with which the contemporary historical discipline can reform itself. This renewal basically meant a formal reorganization with which the historical works and the historical discipline itself could come closer to literature by using narrative methods and rhetorical devices of recent literary works and films. However, after the 1990s, White and his followers had to face some radical problems that compelled them to rethink the role of recent historiography and their theoretical positions as well. Firstly, the so-called “new” historiography did not actually come into existence, or at least not in a way they suggested. Secondly, new forms of “unofficial” history, from varieties of public history through conspiracy theories to contemporary historical fictions, forced to reconceptualize the task of historical theory and its approach to the social and ideological functions of “official” history. Analysing some recently published works of this trend (above all, Hayden White’s concept of “modernist event” and his distinction between two forms of the past, theoretical and practical), my essay tries to define the situation of historical theory among the forms of contemporary historical experience.
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Ndede,, Lencer Achieng’, Simon Peter Otieno, and Miriam Musonye. "Film as an Artefact." Journal of African Theatre, Film and Media Discourse 1, no. 1 (February 12, 2020): 57–72. http://dx.doi.org/10.33886/kujat.v1i1.126.
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Films are important sites to access materials about a community's history and heritage. This paper, from an Afrocentric point of view and guided by post-colonial literary criticism, interrogates the two films; Nairobi Half Life and The Kitchen Toto with a view to establish the extent to which filmic representations can reflect the society. It looks at how the forces that were /are present in colonial and post-colonial Kenya have been developed in the two films. The paper, specifically looks at the issues of governance and identity in the Kenyan society and focuses on how the forces present in the colonial and post-colonial Kenyan government divided people in terms of ‘us’ and the ‘other’ (colonizer-colonized in The Kitchen Toto and haves and have-nots in Nairobi Half Life) with the process of ‘othering’ resulting into alienation and loss of identity. It traces the protagonists’ conscious struggle and move to relocate themselves from the strictures and imprisoning experiences of ‘othering’, appraising the protagonist’s denial of this alienation in his acceptance of homecoming. Thus the issue the study tackles is that of Kenyans loss, the subsequent alienation from their culture and their own selves and the struggle to reclaim these selves once the realization of that loss is made. The paper lays bare social issues such as how socio-economic issues can contribute to one becoming a criminal; in Nairobi Half Life, and how a specific class/group of people in the society can be ‘criminalized’ in The Kitchen Toto. The conclusion reveals that the protagonists find their identity and fulfilment in the totality of their religions, culture ancestral heritage and a sense of belonging. The paper is based on the argument that films mirror the society.
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Zhezhko-Braun, Irina. ""Project 1619" as an alternative to "American project"." Ideas and Ideals 13, no. 1-1 (March 19, 2021): 80–111. http://dx.doi.org/10.17212/2075-0862-2021-13.1.1-80-111.
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This article is the second in a series on the birth of a new elite in the United States, called ‘the minority elite’. The previous article hypothesized that what is happening is not so much the replenishment or evolution of the old elite, but the emergence of a new one, grown on the basis of the Affirmative Action Program, the culture of ‘woke capitalism’ and decades of the minority protest. The process of elite change intensified on the wave of protest activity of black minority, primarily ‘Black Lives Matter’ movement, in the summer of 2020, which coincided with elections to all branches of government. The new elite need to create their own version of American history and their liberation mission. The ideological paradigm of the black movement includes several social doctrines: ‘The 1619 Project’, critical race theory, Black liberation, theories of white privilege, white supremacy and anti-racism. ‘The 1619 Project’ clearly demonstrates how the new elite understand the past, present and future of the United States and their place in the social structure. This article analyzes the theses of ‘1619’, and also contains the main conclusions of the professional criticism of this project. The goal of the project, according to its authors, is to reframe American history. It places slavery and systematic racism at the very center of US history and thereby denies the foundations on which the ‘American project’ is based. ‘1619’ is considered in the article as a socio-engineering project that includes various programs: curricula for colleges and schools, podcasts for radio, TV shows and films, interviews and speeches in universities, exhibitions, press publications, ideological themes for elections and trainings for organizations and social movements. The unprecedented speed of implementation and the scale of financing of the new version of American history in all spheres of society without its professional assessment indicate that this large-scale action was prepared in advance. The article deals with the fundamental factual errors in the presentation of history, analysis and interpretation of economic data in ‘1619’, including those that were uncritically borrowed from the school ‘New History of Capitalism’. It also addresses the doctrine of anti-racism. The analysis of the project showed a low level of evidence of the revision of history conceived in it. The author shows by the example of ‘1619’ that scientific research is not combined with ideological tasks, since the latter inevitably lead to adjustment to the given answer, a decrease in the level of the applied scientific apparatus and simplification of the conclusions drawn. Criticism of the project was heard only in the academic sphere, but did not get into the media. One of the most serious consequences of the project is the creation of a new mythology, supplanting from the public consciousness a version of American history based on the Declaration of Independence, the Constitution and proven historical facts. The black movement, albeit temporarily, managed to impose its own narrative on public opinion and create a rationale for moving into power and receiving new privileges.
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Ely. "Ghosts in the Closet: Catastrophizing and Spectral Disability in Anne Charlotte Robertson’s Apologies." Arts 8, no. 4 (October 24, 2019): 142. http://dx.doi.org/10.3390/arts8040142.
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Anne Charlotte Robertson, who died in 2012, was a Super 8 experimental filmmaker whose primarily diaristic films record her experience with a diagnosis of manic depression and the corresponding nervous breakdowns. This article specifically addresses Robertson’s film Apologies (1983–1990), which features 17 min of the filmmaker apologizing to the camera for everything from drinking non-organic coffee to returning her camera a day late to her eventual nervous breakdown in the final scene of the film. Beginning with the psychological concept of catastrophizing, this paper shows how Robertson’s film engages with larger contemporaneous philosophical conceptions of disaster, or apocalypse, and its corresponding temporality. Drawing upon Jacques Derrida and Maurice Blanchot, mental disability is shown to be more thoroughly understood through shifting and multiple temporalities, termed as ‘spectral disability’ within this paper. Apologies not only reveals the personally specific details of Robertson’s experience and identity, but also responds to a larger history of representing madness in photography and film. Robertson’s engagement with the moving image is not only related to philosophy and history, but predates similar techniques devised in psychology as well. Ultimately, through disability theorist Rosemarie Garland-Thomson’s concept of misfitting, this paper explores how Apologies exposes the creative possibilities of mental disability.
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Zvegintseva, Irina Anatolyevna. "The Silent Era in Australian Cinema." Journal of Flm Arts and Film Studies 6, no. 1 (March 15, 2014): 88–97. http://dx.doi.org/10.17816/vgik6188-97.
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The article focuses on the first period in the history of Australian cinema. It is well-known that the present is always rooted in the past. This is true of any national cinema, and the Australian one is no exception. This subject is relevant in the light of the fact that, in the first place, the reasons for the contemporary boom in Australian cinema are impossible to understand and analyze unless they are derived from the awareness of the first steps of Australian cinema. It was in the very first years of the existence of Australian cinema that there emerged a special worldview, inherent in the cinematographic messages of this nation, that would later become iconic of Australian cinema: addressing the reality of Australia, love for its wild and beautiful nature and for the people who civilize this severe land. In their works the filmmakers of the Green Continent have almost always unflaggingly introduced two protagonists, an animate one, a manly, daring human being, and an inanimate one, the nature, magnificent, powerful, unexplored... At the same time, there was formed an image of a Hero: a fair, proud man, for whom honor and dignity are closely linked to striving for freedom. A conflict between the Individual and a soulless system is manifested in the early bushranger films and in the contemporary ones alike, now that the films by the Australian filmmakers come out again and again featuring the Individuals attempts at breaking his bondage. The novelty of this research lies in the fact that while the contemporary period of Australian cinema is well-covered in the global film criticism, the past of this national cinema is almost unknown. Considering the interest in the phenomenon of the contemporary cinema of the Green Continent, the author concludes that the global success of the Australian films today is largely linked to the accomplishments of the cinema pioneers, who against tough competition from American and English films, have laid a foundation for the future victories of this special national cinema.
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Koketsu, Kazuki. "Introduction to Professor Usami's Review in 1974." Journal of Disaster Research 1, no. 3 (December 1, 2006): 415. http://dx.doi.org/10.20965/jdr.2006.p0415.
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Tatsuo Usami, now professor emeritus at the University of Tokyo, published a paper entitled “Earthquake Studies and the Earthquake Prediction System in Japan” in the March 1974 issue of Technocrat. I was impressed by Professor Usami’s comprehensive review and healthy criticism of earthquake prediction in Japan, which appears fresh even today. He gave an overview of the 1923 Kanto earthquake and Program 1 to 2 of the earthquake prediction project in Japan. The motivation and research for the project in its early stage are well summarized in the paper. The Tokai earthquake hypothesis [1] was proposed during Program 3, so the budget for the project at national universities was approximately tripled in Program 4 and increased to about 12 billion yen in Program 7 (Table 1). The 1995 Kobe (Hyogo-ken Nanbu) earthquake occurred during Program 7 killing 6,434 people and completely destroying 104,906 houses [2]. Since this unexpected earthquake was as destructive as the 1923 Kanto earthquake, the earthquake prediction project was reformed in New Program 1 (Table 1). The Headquarters for Earthquake Research Promotion was established, moving emphasis from empirical short-term prediction to long-term earthquake forecasting and prediction of strong ground motion [3]. Dr. Hiroe Miyake and I reviewed this situation in a preceding article [4], taking over the mission of writing a recent history of Japanese seismology from Professor Usami's paper. References: [1] K. Ishibashi, “Did the rupture zone of the 1707 Hoei earthquake not extend to deep Suruga Bay?,” Rep. Subcomm. Tokai Distr., Coord. Comm. Earthq. Predict., Geogr. Surv. Inst., pp. 69-78, 1977 (in Japanese). [2] K. Koketsu, “Chronological table of damaging earthquakes in Japan,” in Chronological Scientific Tables 2007, Maruzen, pp.698-729, 2006 (in Japanese). [3] N. Hirata, “Past, current and future of Japanese national program for earthquake prediction research,” Earth Planets and Space, 56, pp. xliii-l, 2004. [4] K. Koketsu and H. Miyake, “Earthquake Observation and Strong Motion Seismology in Japan from 1975 to 2005,” Journal of Disaster Research, Vol.1, No.3, pp. 407-414, 2006. Kazuki Koketsu Professor, University of Tokyo