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Este artigo aborda a visão contemporânea da sociedade sobre os eventos do ano de 1968. Para tanto, utilizamos como fonte o filme Os Sonhadores, de Bernardo Bertolucci. Em nossa análise, destacamos a interlocução do elemento fílmico com o contexto de 1968 – tanto na França como na sua relação com os Estados Unidos. Além disso, procuramos relacionar a película com a música e a produção cinematográfica representada na obra analisada.

This article examines epistolary enunciation in the recent cinema of former Soviet republics (Russia, Ukraine, and Estonia), and in particular how filmmakers use the letter device in their engagements with their nations' past, present, and future. After discussing the post-Soviet epistolary through the prism of the region's history, with reference to Altman (1982) and Naficy (2001), the article analyses the device in specific films. Recent examples often follow the Soviet-era model of the letter as a medium for contact not only (or primarily) between individuals, but also for more abstract kinds of contact, between distinct realms of human existence and consciousness: East and West, Public and Private, Life and Death/Afterlife, Freedom and Captivity, Science and Superstition, Authenticity and Imposture, History and Contemporaneity. The meanings created via epistolary efforts to bridge such gaps – by the characters and the filmmakers – are central to the post-Soviet cinematic project of national and individual introspection.

In 2008, actor Chiranjeevi founded the political party Praja Rajyam (People's Rule) and carried the emotional style of the compassionate angry man from the silver screen onto the electoral platform of the South Indian state Andhra Pradesh. Although Chiranjeevi had secured his place as the most successful star of popular Telugu cinema through the genre of the mass film in the 1980s, the 'Megastar' failed to mobilise a majority of his fans to become his voters. The article addresses the tensions between the politics of representation on the screen and on the campaign trail by focusing on the image of Chiranjeevi as a leader figure and the feeling community that complemented his emotional style. It suggests that when the star suddenly transformed his image from an angry rebel to that of a compassionate patron, his emotional style stopped resonating with the feeling community his own films had created.

In the mid-nineteenth and early twentieth centuries, hundreds of women allegedly died from laughing too hard. Any activity in modern life—going to the circus, playing bridge, or salting pork in the kitchen—could become a gateway to the convulsions of hysterical laughter for women. In this article, I look at death from laughter as a limit case that blows open the long-standing separation between laughter and hysteria in scholarship on these topics. I argue that women's hysterical laughter failed to register as either laughter or hysteria. Whereas laughter allegedly killed regular women, female hysterics could endure multiday laughing, barking fits without so much as a trace on their bodies. Finally, I think about the striking oppositions between the female laughing hysteric and the hysterically laughing woman through the archives of early cinema. Film spectatorship not only offered women a space to laugh safely but also represented a potential visual cure to nervous hysteria.

Mazierska's and Rascaroli's From Moscow to Madrid is a fascinating experiment in imaginary cartography, which explores the representation of cities in contemporary European cinema while drawing freely on film history, sociology, politics and cultural studies. The authors choose the postmodern discourse as a theoretical framework to analyze the complex psyche of modern European cities as it is filtered through the cinematic medium. Their cities are postmodern spectacles testifying to the death of God, to the collapse of any overarching and unifying myths and ideologies and to the ensuing fragmentation and diversification. Although the authors are fascinated by the scale of social, economic and political changes which orchestrated the shift from modern to postmodern city, they do not celebrate it but rather count the losses in sensibilities and examine the cracks in ideologies. What strikes in their account is sadness and nostalgia for some lost city which no longer has place.

Venezuela, one of the least-known countries in Latin America, is brilliantly spotlighted in Culture and Customs of Venezuela. This oil-rich nation sustained a stable democracy until the economic downturn in the 1980s, and changes in the social and political spheres will bring the country under increasing scrutiny from the outside world. Dinneen captures the sharp contrasts and immense variety of modern Venezuela. Students and interested readers will find engaging and authoritative overviews of the land, people, and history; religions; social customs; media; cinema; literature; performing arts

American Culture in the 1990s focuses on the dramatic cultural transformations of the last decade of the millennium. Lodged between the fall of Communism and the outbreak of the War on Terror, the 1990s was witness to America's expanding influence across the world but also a period of anxiety and social conflict. National traumas such as the Los Angeles riots, the Oklahoma City bombing and the impeachment of President Clinton lend an apocalyptic air to the decade, but the book looks beyond this to a wider context to identify new voices emerging in the nation. This is one of the first attempts to bring together developments taking place across a range of different fields: from Microsoft to the Internet, from blank fiction to gangsta rap, from abject art to new independent cinema, and from postfeminism to posthumanism. Students of American culture and general readers will find this a lively and illuminating introduction to a complex and immensely varied decade. Key Features 3 case studies per chapter featuring key texts, genres, writers and artists Chronology of 1990s American Culture Bibliographies for each chapter 10 black and white illustrations

The present religious revival in the Arab world has not only initiated new politics or individual devotedness and piety, but has also resulted in a rise of mediated religious memories. Hence, as a promoter of a community revival, the Egyptian Coptic Orthodox Church has disseminated narratives about the Coptic saints to the members of the church. During my fieldwork among the Copts in Egypt in the nineties, I was continuously presented with these saint stories without really taking notice. But, as the storytellers seemed to insist on being heard, I started listening. Meanwhile, I had become aware of the Coptic cinema which since 1987 till today has produced and distributed more than thirty screen versions (in Arabic) about the life stories of sacred figures of the Coptic Church.

After a century of cinema, accounts of this cultural form see it as divided between documentation and animation (the real and the magical). Yet the challenge that cinema presented in terms of a relocation of perception from the eye to the machine has become occluded. The shock of cinema in its earliest manifestations resided in the body of the spectator, no longer the site of primary perception, but dependent on an other (the camera, the projector) lacking in human qualities. This article argues that the newly configured body–machine relationship provided by cinema became a marginalized feature of cinematic culture, an ex-centric cinema relegated to the sub-fields of science and educational film. In the mid-20th century the project surfaces spectacularly in the work of pioneering designers Charles and Ray Eames, most poignantly in their film Powers of Ten (first made in 1968, remade in 1977) , a journey into the cosmos and back again into the body of a man. Bringing together discourses of space travel, cartography, physics and cinema, the film moves us towards an understanding of visual culture as an apparatus of calculated possibilities, where visualization replaces representation. If we take the Powers of Ten as a non-representational film, an ex-centric cinematic practice, we uncover non-linear and non-representational ways of apprehending the relationship between bodies and matter. This literal line of flight is one path that cinema may have taken. Its presence, however, is detectable outside of the cinema, in the software programs of electronic cartography copyrighted as Google Earth. The human body is not made virtual by its engagement with calculated visualization but is in turn part of the field of enquiry, equally porous, and definable in various scales and in different dimensions.

Over the past decade, social network sites have experienced dramatic growth in popularity, reaching most demographics and providing new opportunities for interaction and socialization. Through this growth, users have been challenged to manage novel privacy concerns and balance nuanced trade-offs between disclosing and withholding personal information. To date, however, no study has documented how privacy and disclosure evolved on social network sites over an extended period of time. In this manuscript we use profile data from a longitudinal panel of 5,076 Facebook users to understand how their privacy and disclosure behavior changed between 2005---the early days of the network---and 2011. Our analysis highlights three contrasting trends. First, over time Facebook users in our dataset exhibited increasingly privacy-seeking behavior, progressively decreasing the amount of personal data shared publicly with unconnected profiles in the same network. However, and second, changes implemented by Facebook near the end of the period of time under our observation arrested or in some cases inverted that trend. Third, the amount and scope of personal information that Facebook users revealed privately to other connected profiles actually increased over time---and because of that, so did disclosures to ``silent listeners'' on the network: Facebook itself, third-party apps, and (indirectly) advertisers. These findings highlight the tension between privacy choices as expressions of individual subjective preferences, and the role of the environment in shaping those choices.

This book approaches the topic of the state of post-cinema from a new direction. The authors explore how film has left the cinema as a fixed site and institution and now appearsubiquitous - in the museum and on the street, on planes and cars and new digital communication platforms of various kinds. The authors investigate how film has becomemore than cinema, no longer a medium that is based on the photochemical recording and replay of movement.Most often, the state of post-cinema is conceptualized from the 'high end' of the most advanced technology; discussions focus on performance capture and digital 3-D, 4-K projection and industrial light magic. Here, the authors' approach is focused on the 'low-end' circulation of filmic images. This includes informal networks of exchange and transaction, such as p2p-networks, video platforms and so called 'piracy' with a special focus on the Middle East and North Africa, where political and social transformations make new forms of circulation and presentation particularly visible. Malte Hagener is professor for film at Philipps-Universität Marburg.Recent publications includeMoving Forward, Looking Back: The European Avant-garde and the Invention of Film Culture(2007),Film Theory: An Introduction through the Senses(2010, with T. Elseasser) andThe Emergence of Film Culture(2014, as editor). Vinzenz Hediger is a professor of cinema studies at Gothe Universität Frankfurt. He is the founding editor of the Zeitschrift für Medienwissenschaftand one of the co-founders of the European Network of Cinema Studies(NECS). Alena Strohmaier is a Research Fellow in the BMBF research network 'Re-Configurations'. She is currently a member of the NECSSteering Committee and in the editorial team of METAJournal.