Suchergebnisse

Abstract
This article examines Zhang Yimou's Yingxiong/Hero (2002), Chen Kaige's Mei Lanfang/Forever Enthralled (2008) and Hu Mei's Kongzi/Confucius (2010), and discusses how they respectively reconstruct narratives of a mythical national spirit via sublimated portrayals of guoxue and how such re-presentations respond to both earlier cinematic traditions and the more and more intense trend of commercialization in the Chinese film industry. What makes these films' shared investment in guoxue even more interesting is the fact that all these three directors are representative figures of the so-called 'Fifth Generation', a group of film-makers who were best known for their self-consciously critical approaches towards Chinese cultural traditions in the 1980s. Their recent collective enthusiasm for guoxue and much more positive re-presentations of it not only indicate a revisit to the heated discussions over indigenous cultural roots two to three decades ago but also reflect the restructured relationships among film-makers, their audiences and the state.

During and after the 1960s, representations of sex proliferated on French and American screens and became increasingly explicit. By bringing sexual images into the public sphere of representation, cinema, in a literal sense, made images of sex more public. Cinema also began to figure forms of sexuality which were no longer associated strictly with domesticity nor limited to heterosexual relations between loving couples. This transformation in the relation between sex and publicity, I argue, brought a new political focus to sexuality and both occasioned and evidenced a broad cultural conjoining of sexual and political imaginaries. Making Sex Public explores the deeper significance of this transformation in the ways French and US visual culture imagined and represented sex, in a historical span beginning with the Brigitte Bardot vehicle Et Dieu créa. la femme [And God Created Woman] (France, Roger Vadim, 1956) and ending with Shortbus (US, John Cameron Mitchell, 2006). Through readings of a generically diverse range of films that brought the body and its pleasures into view in important new ways, I develop three main arguments about this chapter in the history of sexual representation in the West. First, I show how cinema produced images of a pleasure now understood as a quantifiable property of an individual subject. In films which celebrated sex as both a private property and a public good, representations of sexuality converged with liberal concepts of freedom, equality, and autonomy, fashioning a newly sexualized version of the liberal subject. Second, I show how a countervailing discourse brought sex and the body into view as a site of radical contradiction in the liberal premise of equality. Feminist artists and film-makers developed new figures of bodily difference that rendered the body a site of political critique and even political impasse. Meanwhile, new figures of queerness alternately integrated queerness into a liberal imaginary or invested it as what could not be so integrated. Throughout these readings, I show how a fundamental tension characterized the way sex came into public view, between sex as emancipatory vs. sex as unfreedom, sex as individual property vs. sex as scene of relationality, sex as public good vs. sex as antisocial, sex as equality vs. sex as instrumentalization. Spanning these oppositions I argue, finally, that the elaborate cinematic discourse on sexuality that plays such a prominent role in post-`60s French and US cinema renders sex a problem not of the subject but of the social . In some cases, this "on scene" cinema perversely fulfills Michel Foucault's call for an experience of "bodies and pleasures" that would be liberated from a discourse of desire. Ultimately, however, I suggest that the untethering of sex from desire leads not to liberation but to an ethos of transparency that renders even pleasure a site of neoliberal rationalization.

The latest practices of social and psychological engineering are significantly changing the mental environment of modern societies: the human brain is becoming the battlefield. Achievements in the sphere of high technology, associated with information operations and using the tools of "soft power", make it possible to introduce false paradigms, falsify meanings and values into the minds of large masses of people. The article shows the evolution of the concept of "cognitive warfare" on the basis of analytical materials, analyzes the methods of forming the image of a hostile "alien".

O presente artigo propõe uma discussão acerca da produção audiovisual de Cláudio Assis. Buscamos em Assis poemas na forma de imagens cinematográficas, a partir da noção genérica de "razão-poesia" (Castro & Dravet, 2015). Esta forma de entender as imagens nos leva a uma questão que nos parece acerca do papel do espaço nas construções visuais do cineasta, que é a de compreender as imagens cinematográficas como criações poéticas e espaços de flutuação e de intermitência do sensível.

Der Beitrag, der den Wasserlandschaften gewidtmet ist (besonders Flusssystemen) hat das folgende Ziel: das Unterstreichen der aktiven Rolle, die Wasserlandschaften auf die Strassenbaupolitik haben koennten (und sollten) und, in allgemeneinen, auch in der Kultur des Taeglichen haben, um eine bessere Landschaftqualitaet zu erreichen, die auf dem ganzen Gebiet verbreitet sein sollte. In diesem Sinn stellt der Beitrag die Wiederentdeckung und Wiederbewertung dieser Wirklichkeit an die erste Stelle. Er will dem Fluss seine Gesamtheit als wiederbelebendes Element des Gebietes zurueckzugeben, als Strukturachse der Landschaft, als Reichtum einer Identitaetsform der Stadt- und Landsysteme, die er durchquert. ; This paper deals with water landscapes (and with river waterways in particular) and has the following objective: to underline the active role which could (should) be taken by the "silent" reality of waterplaces in urban politics and more in general in everyday life, in order to attain landscapes of quality throughout the entire territory. In this sense, this paper puts in the forefront the rediscovery and the appraising of these elements in order to give back to the river its key role as generator of territoriality, the structural axis of the landscape, and patrimony of its identity consequent to its relation with the urban systems and landscapes it passes through. ; El artículo, dedicado al paisajes de las aguas ( en particular a los sistemas fluviales) pretende hacer hincapié en la centralidad que lo lugares acuaticos "silenciosos" deberían tener en las políticas urbanisticas y, en general, el la cultura cotidiana, para alcanzar una calidad paisajista difusa en todo el territorio. En este sentido, el artículo se centra en el redescubrimiento y en la valorización de esas realidades, para restituir al río su identitad compleja de generador de territorialidad, eje maestro del paisaje, valiosa expresión de una identitad procedente de la relación con los sistemas urbanos y paisajistas que atraviesa. ; Cette étude consacrée aux paysages des eaux et aux systèmes fluviaux en particulier se propose l'objectif suivant: souligner le rôle actif que les réalités ("silencieuses") des lieux d'eau pourraient (devraient) recouvrir dans les politiques urbanistiques et – en sens plus large – dans la culture du quotidien, afin d'obtenir une qualité diffusée du paysage sur tout le territoire. En ce sens cet essai place au premier plan la redécouverte et la mise en valeur de ces réalités pour rendre au fleuve sa complexité d'élément générateur de territorialité, d'axe structurant le territoire, de patrimoine d'une forme identitaire étroitement liée aux systèmes urbains des pays traversés. ; Il contributo, dedicato ai paesaggi delle acque (e ai sistemi fluviali, in particolare), si pone il seguente obiettivo: sottolineare il ruolo attivo che potrebbero (dovrebbero) assumere le realtà ("silenziose") dei luoghi d'acqua nelle politiche urbanistiche e, più in generale, nella cultura del quotidiano, al fine del raggiungimento di una qualità paesaggistica diffusa dell'intero territorio. In questo senso, il saggio mette in primo piano la riscoperta e la messa in valore di tali realtà, al fine di restituire al fiume la sua complessità quale elemento generatore di territorialità, asse strutturante il paesaggio, patrimonio di una forma identitaria conseguente alla relazione con i sistemi urbani e paesistici attraversati.

AbstractSince 1968 a racially-defined conservative populism – what Richard Nixon called the "Silent Majority" – has been a durable part of Republican political identity. Yet across this era the GOP has continued to move away from protecting the rights and livelihoods of the very middle and working-class whites through which they built the modern party. For decades these whites have been experiencing falling or stagnant wages, the deterioration of collective bargaining, and the largest wealth gap in US history – an economic reality that was made worse by the Great Recession of 2008. Today the Silent Majority that made the rise of modern conservatism possible over the last half century is no longer a reliable element of national Republicanism. A combination of downward economic pressure, demographic changes, and political abandonment by GOP elites has created deep rifts that have destabilized the Republican Party and left its future uncertain.

China has had an important impact on the political mobilization of other forms of diplomacy in the Canadian province of Quebec. Quebec's missionaries and Maoists have used cinema for propaganda purposes aimed at forging political opinions towards China. Quebec's modest non-state actor (nsa) — the Quebec cinema lobby — has developed expertise and links with other institutions or actors — both non-state and state — and has had an impact on international relations. Quebec's cinema is an important lobby participating in a coalition of nsas that triggered and monitors the unesco Convention on the Protection and Promotion of the Diversity of Cultural Expressions. This article examines how Quebec's cinema lobby has evolved, whether it has tried to influence Canadian government policies towards China and, more broadly, asks what the experience of Quebec filmmakers as non-state diplomatic actors suggests about the ways in which 'other diplomacy' can influence international relations.

This dissertation delineates cinema in China prior to WWI into five periods and interprets this section of history under references of up-to-date early film theories. The spreading of cinema is treated as a continuation of the lantern tradition, and is contextualized and conventionalized in the late Qing sociopolitical milieu. It synchronizes with the colonial process and Manchu government's progressive reforms. The central argument here is that early cinema in China shows a developmental pattern, which bears a high similarity to Jean Piaget's knowledge development, and is characteristic of intermediality and internationality. From a mechanic novelty to a mass medium, to a profitable commodity, although cinema in China begins as an attachment to other existing entertainments, after about two decades' development its subjectivity has already been secured and an incipient film industry is formed in prewar era, featuring a strong foreign monopoly and regional imbalance.