Search Results for: cinema

The involution of photography

...aphic art. First, Wall’s, Sherman’s and Hiroshi Sugimoto’s engagement with cinema in the 1980s is formalized in the terminology of ‘absorption’ and ‘anti-theatricality’; a depoliticizing shift away from categories such as ‘spectatorship’, ‘distraction’ and ‘fascination’ through which these engagements have, productively, tended to be read. An account of the emergence of the photographic tableau as a recasting of relations between artwork and ‘beho...

Surveillance and class in Big Brother

...tabloid press ran at least 1,300 stories on Big Brother 2.9 Live feeds to cinema-size screens in public places further spread the Big Brother text into every pore of the public sphere. The phone votes are the other important ʻinteractiveʼ dimension of the programme. This generated yet more cash for Channel Four, Endemol and BT (around another £4 million for the second series). The programmeʼs spin-off series, Big Brotherʼs Little Brother uses the...

Fear of heights: Bolivia’s constituent process

...at the beginning of this year. It was only appropriate that Oliver Stone, cinematic master of political affect, should have been present at least for the first, botched, incarnation of the mission dubbed ‘Operation Emmanuel’ in honour of the child hostage the world was led to believe that the FARC still held. In Bolivia, the situation remains more complex and more fluid. In part this is because Morales is a very different leader from Chávez. He h...

The philosophical disability of reason: Evald Ilyenkov’s critique of machinic intelligence

...o, in search of a new discipline, decides to combine canine expertise with cinematic theory (kino) to construct a new meta-theory of kinologia (kinologia). The science of kinologia would generalise not only dogs but those who generalise dogs in relation to another discipline: сinema. Ultimately, Ilyenkov’s fictional pseudo-scientist lists several academicians he intends to collaborate with, which happen to be the distorted names of some of the mos...

Masses, class and the power of suggestion

...ti-suggestive technique. Once again, as logic suggests, the arts, that is, cinema and earlier still theatre, will be the battlefield and field of experimentation of such a technique. Brecht’s epic theatre, as is widely known, was central to Benjamin’s thought in this period. What is then the revolutionary class? It is an Auflockerung, Benjamin says, a loosening up of the tensions that excite the crowd, made possible by solidarity. The best definit...

The attack on civil rights in West Germany

...ru Cine-Tracts, vol. 1, no. 2, Special issue: ‘Theoretical perspectives in cinema’ Das Argument. No.104, July-August 1977 No.105, September-October 1977 Economy and Society, Vol.6, No.4, Nov 1977 Ideology and ConSCiousness, No.2, September 1977 MERIP Reports. Nos. 58 ana 60, Middle East Research and Information Project New Left Review, No.l04, July-August 1977 No.105, Sept-October 1977 Philoso hY Tod1Ji’ Vol,21, nos.1-4 science or theeople, Vol.9,...

The problem is proletarianisation, not capitalism: A critique of Bernard Stiegler’s contributive economy

...t (London: Routledge, 2017), 64. ^ Bernard Stiegler, Technics and Time, 3, Cinematic Time and the Question of Malaise, trans. Stephen Barker (Stanford: Stanford University Press, 2011), 191–2. ^ Andreas Malm, Fossil Capital: The Rise of Steam Power and the Roots of Global Warming (London: Verso, 2016). ^ Tom Bunyard, ‘Technoreformism’, Radical Philosophy 174 ( 2012), 36. ^ John Hutnyk, ‘Proletarianisation’, New Formations 77 (Winter 2012), 127–49....
Stone mosaic showing a boot, hammer, pliers and the letters 'E. L.'

(T)error and poetry: Dossier: Art and Immaterial Labour

Dossier: Art and Immaterial Labour

...f the century with no future. In the expression of contemporary poetry, in cinema, video art and novels, the marks of an epidemic of psychopathology proliferate. In her videos, Elja Liisa Athila (Wind, If 6 was 9, Anne Aki and God) narrates the psychopathology of relations, the inability to touch and to be touched. In the film Me and You and Everyone We Know, Melinda July tells the story of a video artist who falls in love with a young man and of...

The Eupsychian Impulse: Psychoanalysis and Left politics since '68

...purposes, in the political institutions of society as in the literary and cinematic text and its deconstruction, but it is none the less transcendent for that, as can be seen in its precursors in the Surrealist movement (Macey, 1983). Thus, although Sally Alexander (1984) suggested that Lacan’s thought may yield insight into the utopian ‘mentality of transcendence’, this possibility cannot be understood as one of psychodynamic clarification of a...

Freedom and Alienation

...me LIterary Misconceptions Art Against Imperialism Brecht, Godard and Epic Cinema Reflections on Literary Theory and Culture A Shift in Weather (poem) Art, Censorship and Socialism Gene H. Bell E. San Juan Naomi Greene John Fekete Ruth Lechlitner Stefan Morawski ~:~;~:,s~~~ Death of a Revolutionary John Berger and Anya Bostock Art as Humanizing Praxis Marx W. Wartofsky Theodore Shank The Living Theatre in Brazil The Education to Despair: • Duncan...

Virtual sexes and feminist futures: The philosophy of 'cyberfeminism'

...se with which commentators equate the abstract cyborg con- dition with its cinematic incarnations and the facility with which they equate technology with domination. Not only is this a failure to engage with Haraway’s deliberately formal use of the term ‘cyborg’; to ask whether it should be regarded literally or metaphorically is to persist with a specific distinction between the real and the imaginary which her argument resists. It would seem tha...

Replies to Richard Rorty’s ‘Feminism and Pragmatism’: 1. How Did the Dinosaurs Die Out? How Did the Poets Survive? 2. Richard Rorty: Knight Errant

...fer – albeit not with much difficulty – from the modem novel and the modem cinema, as well as popular media: that male reflective subjectivity and male agency are often experienced against the foil of objectified, conquered, Radical Philosophy 62, Autumn 1992 violated, or merely surpassed and transcended, women. But this ‘instinctive and ineffable horror’ can, if essentialism is rejected, only be a feature of time, place, and circumstances. Do we...

The politics of equal aesthetic rights: Dossier: Spheres of action - Art and politics

Dossier: Spheres of action - Art and politics

...ue of representation directed against the naive belief in photographic and cinematic truth, we are now ready to accept certain photographed and videotaped images as unquestionably true, again. We are confronted here with a strategy that is historically quite new. The traditional warrior was interested in the images that would be able to glorify him, to present him in a favourable, positive, attractive way. And we, of course, have accumulated a lon...

Rhetorics of populism: Ernesto Laclau, 1935–2014

...society was imposed by feudal landowners. 19. ^ See John Kraniauskas, ‘The Cinematic State: Eva Perón as the Image of Peronism’, Verksted 9: ‘ISMS: Recuperating Political Radicality in Contemporary Art II Populism and Genre’, Office for Contemporary Art Norway, Oslo, 2008, pp. 27–46. 20. ^ For example, the front page of Lucha Obrera of 14 January 1963 refers to the PSIN’s ‘four aims’. 21. ^ In Politics and Ideology the notion of articulation refer...

The Philosophy of Merleau-Ponty

...Michel Foucault The following interview originally appeared in Cahiers du Cinema (251-2), July-August 1974. It has been translated by Martin Jordin. The di~cussion is introduced by PB and ST of Cahiers Lacombe Lucien, Night Porter, The Chinese in Paris, The Infernal Trio, etc, films whose avowed aim is to rewrite history, are not isolated occurrences. They are themselves part of history, a history in the making; they have (as we are sometimes rep...

The affinities of Richard Rorty and Edward Bellamy: A response to Jonathan Rée

...likely that, ʻYou can close the book with a tear for these folk, leave the cinema feeling “awful”, turn away from the set appalled at what people in countries “like that” are able to bring themselves to do.ʼ [20] Moreover, ʻsentiment can as well attach itself to tradition as such, the word of a poet, indeed anything, as it can to the dignity of strangers or to the existence of a common humanity.ʼ [21] Draper on the two souls of socialism: bellamy...

Commodity aesthetics revisited: Exchange relations as the source of antagonistic aesthetization

...by the feedback of success or failure. In this sense, Brecht compared the cinema box office with the film critic: the financial hit stays in the repertory and finds imitators; the flop disappears and any similarity to it is avoided. ʻThat counts as correct which has already been photographed once and ʻmade itʼ, and that counts as good, which raised a fee.ʼ [12] It is sufficient that the market actors hold on to their programme of profit maximizing to gi...

Agonized liberalism: The liberal theory of William E. Connolly

...rent Lacanian film theory and an introduction to the study of contemporary cinema.“Focused on films of recent vintage and workingfrom the later texts of Lacan, these essays auscultate the racing heart of contemporary culture and come up with surprising diagnoses. An enjoyable, informative, and highly recommended collection.”—Joan Copjec, author of Imagine There’s No Woman1590510844 • PAPERBACK • $28.00 Four lessons ofpsychoanalysis MOUSTAFA SAFOUA...

Strategies of distinction: Rancière's Aisthesis and the two regimes of art

...en a fragment becomes totality itself, sculpture an art of time, dance and cinema forms of writing, matter a symbol, an image a thing, furniture a temple, and a living thing a machine. As a whole, Aisthesis seeks to probe this great metamorphosis, this becoming-life of art, which constitutes, unifies, dehierarchizes and autonomizes itself, whilst all the while identifying itself with everyday practices, as both part and expression of collective li...

Grounding Deleuze

...se devoted in the 1970s to the Capitalism and Schizophrenia project and to cinema, his lecture courses were expositions and interpretations of major modern philosophers, such as Kant, Spinoza or Leibniz. This course concerns grounding, the great theme of modern philosophy: the starting point, the beginning. How does one begin in philosophy? Which is the privileged approach in modern philosophical thought – the epistemological, the logical, the eth...

Jean-Luc Nancy, 1940-2021

...ilm with the same name, L’intrus (2004). A concern for an immediacy of the cinematic image is even more salient in his extended study of the cinematography of Abbas Kiarostami, The Evidence of Film (2001). Nancy’s thinking is often associated with two provocative phrases: the ‘inoperative community’, which he explores in the wake of the writings and commitments of Georges Bataille and Maurice Blanchot, in proximity to those of Lacoue-Labarthe; and...
Photograph of Jean Luc Nancy speaking in a grand venue and projected on a screen behind