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2. Armed Guerrilla Media Ecologies from Latin America to Europe -- Introduction: Contra 'Mass Mediated Terrorism' -- Revolution in the Revolution: The Urban Guerrilla Concept from Latin America to Europe and North America -- Brigate Rosse and Armed Struggle in Italy -- The 'Baader Meinhof Complex' and the June 2nd Movement -- Weather Variations: Weatherman, the Weather Underground, and the Symbionese Liberation Army -- 3. Autonomy Movements, the Nexus of 1977, and Free Radio -- Introduction: Radical Politics, Bifurcations, and the Event -- Italian Workerism and Autonomia -- 1977 as Nexus: The Movement of 1977, Creative Autonomia, and Punk -- Rebellious Radio from Marconi to Free Radios -- Media beyond 'Socialist Strategy': Enzensberger, Baudrillard, and the Genealogy of Radio Alice -- The Media Ecology of Radio Alice -- 4. Militant Anti-Cinemas, Minor Cinemas and the Anarchive Film -- Introduction: Destroying the (Cinema) Apparatus, Transforming the (Audiovisual) Machine -- Militant Anti-Cinemas in the 1970s -- Minor Anti-Cinemas: Anti Psychiatric, Heretical, Feminist, and Postcolonial -- The Counter-Public Sphere, Anarchival Film, and Documentary Symptomatologies -- 5. Ecologies of Radical and Guerrilla Television -- Introduction: Cinema/Television/Video or Cain vs. Abel Revisited -- Sonimage, Fassbinder, and Radical Auteur Television -- Ecologies of Guerrilla Television: Ant Farm, Raindance Corporation, TVTV, and Radical Software -- Conclusion: Terms of Cybernetic Warfare -- Endnotes -- Bibliography -- Key Film, Television, and Video Cited -- Index.

Beginning with the mid-1990s when a visual opulence saturated in color and light appeared on the Hindi film screen, a battle between visuality and performativity ensued so as to regulate the star-body while retaining its ability to withstand different orders of investable capital. This article argues that the multiplex economy made multiple tiers of stardom possible so as to shift Hindi cinema away from the high-risk industry that revolved around major stars featuring in action melodramas. The animated visuality—a result of cinematographic and editorial intensifications—was then devised to regulate minor stars' appeal within emerging genre films. Engaging with the resultant configurations of form, style, sovereign representation, and masculinity, this article maps the analytical trajectory of mise-en-scène, performativity, and stardom in Hindi cinema. In the end, it highlights the agitated restlessness of contemporary Hindi film form as a symptom of its inability to find a stable formal dwelling. Instead of doing formal analysis alone, this article then aspires to bring the formal, technological, economic, and political imperatives together in the analytics of Hindi cinema.

La tesi analizza il ruolo degli internet meme nel panorama dei nuovi media digitali online, in un sistema caratterizzato dalla radicale connettività i meme sono un fenomeno di particolare successo nel creare motivi ricorrenti, segnati diffusi, capaci di condividere informazioni compresse con grande facilità La differenza con il contenuto virale risiede nella sua capacità di modificarsi e diventare linguaggio. Il meme diventa una sorta di codice appunto che sfruttiamo per raccontarci e parlare di noi o per esprimere la nostra opinione con minor rischio adeguando il messaggio al medium utilizzato. In questa tesi il meme viene esplorato come strumento di marketing e di comunicazione politica, la sua capacità di confondere la nostra percezione per apparire come contenuto amatoriale e non come pubblicità, creando un grado di empatia più efficace dell'advertising comune, in più permette ad un messaggio di essere modificato e diventare linguaggio se usato bene creando così tormentoni e nuove narrazioni.

The article considers cinema as a way of thinking. It explores three modalities of the cinema to develop contributions to the teaching of philosophy. The first modality is based in classical cinema. It is connected with an instrumental perspective of the use of cinema in teaching, aiming either to enhance logical-rational skills, or to constitute a critical tool of instrumental reason. The second modality corresponds to the explorations of modern cinema. This thinking is linked to the modalities of work in philosophy education synthesized in the concept of "minor pedagogy" (Gallo, 2003). Finally, the digital cinema thought allows to incorporate the realization of audiovisuals as a working method in the philosophical class. In the first place, the aesthetic-political foundations of this way of working are developed, appealing to the type of circulation that images have in contemporary culture. Then, the experience of a video-minute workshop is systematized in which we worked from that perspective. ; En este artículo se considera al cine como una forma de pensamiento. Se exploran tres modalidades del pensar cinematográfico basadas en clasificaciones teóricas generales surgidas en los estudios cinematográficos, con el propósito de desarrollar posibles aportes a la enseñanza de la filosofía. La primera se funda en el cine clásico y se conecta con una perspectiva instrumental del uso del cine en la enseñanza, que apunta a potenciar habilidades lógico-racionales o a ser una herramienta crítica de la razón instrumental. La segunda modalidad corresponde a las exploraciones propias del cine moderno. Se vincula este pensar con las modalidades de trabajo en enseñanza de la filosofía, que apuntan a realizar experiencias abiertas a los afectos, los cuerpos y otras perspectivas propias de exploraciones pedagógico-filosóficas contemporáneas. Finalmente se propone, a partir del cine digital, incorporar la realización de audiovisuales como una modalidad de trabajo en el aula de filosofía. Se desarrollan los fundamentos estético-políticos de esa necesidad y se hace referencia al tipo de circulación que tienen las imágenes en la cultura contemporánea. Luego se sistematiza la experiencia de un taller de realización de videominutos en el que se trabajó desde esa perspectiva. ; L'article considère le cinéma comme une façon de penser. Il explore trois modalités de la même chose pour développer des contributions à l'enseignement de la philosophie. La première modalité est basée sur le cinéma classique. Il est lié à une perspective instrumentale de l'utilisation du cinéma dans l'enseignement, visant soit à valoriser les capacités logico-rationnelles, soit à constituer un outil critique de la raison instrumentale. La seconde modalité correspond aux explorations du cinéma moderne. Cette réflexion est liée aux modalités de travail de l'enseignement de la philosophie qui visent à réaliser des expériences ouvertes aux affections, aux corps et à d'autres perspectives synthétisées dans le concept de «mineure pédagogie» (Gallo, 2003). Enfin, il est proposé, à partir du cinéma numérique, d'intégrer la production audiovisuelle comme modalité de travail dans la classe de philosophie. Premièrement, les fondements esthétiques et politiques de ce besoin sont développés, faisant appel au type de circulation des images dans la culture contemporaine. Ensuite, l'expérience d'un atelier vidéo-minute est systématisée dans laquelle nous avons travaillé dans cette perspective. ; O artigo considera o cinema como uma forma de pensar. Explora três modalidades do mesmo para desenvolver contribuições ao ensino da filosofia. A primeira modalidade é baseada no cinema clássico. Está ligada a uma perspectiva instrumental da utilização do cinema no ensino, quer seja para potenciar capacidades lógico-racionais, quer seja para constituir um instrumento crítico da razão instrumental. A segunda modalidade corresponde às explorações do cinema moderno. Esse pensamento está vinculado às modalidades de trabalho no ensino de filosofia que visam realizar experiências abertas aos afetos, corpos e outras perspectivas sintetizadas no conceito de "pedagogia menor" (Gallo, 2003). Por fim, propõe-se, com base no cinema digital, incorporar a produção de audiovisuais como modalidade de trabalho nas aulas de filosofia. Em primeiro lugar, desenvolvem-se os fundamentos estético-políticos dessa necessidade, apelando para o tipo de circulação que as imagens têm na cultura contemporânea. Em seguida, sistematiza-se a experiência de uma oficina de vídeo-minuto em que trabalhamos nessa perspectiva.

Preliminary Material -- Identity, Recognition and Conflict /Giorgio Bertolotti -- Two Liberal Theories of Minority Rights: Universal or Particular? /Omid Hejazi -- The Doctrine of Substantive Equality and the Democratisation of Diversity /Puja Kapai -- Mapping Hybrid Identities: A Matrixing Model for Transculturality /Michael Kearney and Setsuko Adachi -- Construction of Identity in the Philosophy of Hannah Arendt /Elmé Vivier -- Reification in the Census? Multiculturalist Policies and Identity Markers in 36 Democracies /Caroline Duvieusart-Déry -- Belonging to the World: Cosmopolitanism as a Remedy against Strangeness /Janyne Sattler -- Being an African: Some Queer Remarks from the Margins /Paul Prinsloo -- Entangled in Memory: Six Variations on the Israeli-Palestinian Conflict /Na'ama Sheffi and Amir Har-Gil -- Dirt: A Social Mirror /Meghna Haldar -- The Space of Salsa: Theory and Implications of a Global Dance Phenomenon /Katherine Wilson -- The Potentiality of the Faceless: A Minor Reflection on Philosophy and Cinema /Tina Rahimy -- Social Tragedy: Zidane's Role in France's Tragic Epic /Stephanie-Alice Baker -- Index -- Notes on Contributors.

Deleuze and Guattari's rejection of Conceptual art is well known, and sits awkwardly with the current hegemony of 'post-conceptual' artistic practices. Equally awkward is Deleuze's ontological and political dislike of photography, which produces a 'snapshot' or representation of becoming, placing cliched images directly into our brains, controlling our actions and reactions by denying us the power to think creatively. In Cinema 2 Deleuze will extend this argument to the new 'electronic image', which like Conceptual art turns the plane of composition into a 'flatbed' plane or 'screen' that simply formats information, and with it our interfaced brains. Today, conceptual practice, photography and digital technologies are all simply taken for granted by contemporary art, which is also happy to use "D&G" as well. But doesn't Deleuze and Guattari's thought require a more critical application? Doesn't it demand a minor war-machine? What would this be in the case of contemporary artistic practice? Amongst various possibilities this paper will explore the sublime ramifications of a Deleuzean image of 'thought', and its position as the 'immanent outside' of art's post-conceptual trajectory.

The term "anthropocene," emerging around the time of Derrida's death, implies a shift in reference that his late production does not address or anticipate—and thus, if it is to be taken seriously as a ghost term, it poses today a question of a selective translation effect as regards "deconstruction." This essay finds in Derrida's "last" interview and the "war with myself" that it avows a cipher and entry point for this broader question. Given official "deconstructions" withdrawn, conservative, and fallow state today, as a minor academic camp dedicated to Derridean theology, the essay asks whether the arrival of the term is not a catalyst for the re-organization of deconstructive memes (if not proper names). It examines not only Derrida's systematic avoidance in his writing of eco-catastrophism, but how that occlusion parallels others—specifically, a certain "materiality" that lies outside binaries and, more surprisingly, cinema. In examining this "war" between the two Derridas the essay speculates on whether the anthropocene moves us beyond the sort of soft Derrideanism that, since his death, has paralyzed the franchise (deconstruction™) and fulfilled his prediction of his work's disappearance.

Intro -- Preface -- Contents -- About the Author -- List of Graphs -- List of Tables -- Chapter 1: Introduction -- Chapter 2: The Balkans and South Caucasus - Eurasia Minor -- Ethnic and Religious Composition -- Ethnicities and Nations -- Religions -- Economic, Political, and Social Transformations -- Difficult Economic Transition -- Employment and Unemployment -- Gender Wage Gap -- Labour Migration -- Sex Work and Trafficking -- Legal Issues of Gender and LGBTIQ Equality -- Women in Politics -- Women in Parliaments -- Counter Force: Organised Women -- References -- State of Research -- Theoretical Orientations and Hypotheses -- References -- Chapter 3: Patriarchies, Femininities and Masculinities -- Patriarchal Landscapes -- Qualitative Evidence -- Quantitative Evidence -- Being Man and Woman - Ideologies and Discourses -- Gender Discourses -- Religious Discourses on the Complementarity of Men and Women -- Gender Stereotypes in Education -- Motherhood and Chastity as Hegemonic Femininity -- Violent and Repressive - Hegemonic Masculinity and Domestic Violence -- Gays, Lesbians, and Transgenderism -- Pride Parades -- Demography and Marriage Arrangements -- On the Way to the Second Demographic Transition? -- Sexual Life -- Contraception and Abortion -- References -- Chapter 4: Producers, Agents, and Transmitters -- Media Landscapes -- Television -- Internet -- Newspapers and Magazines -- The Cinema Industry -- Advertising -- The Fashion Industry -- Religious Entrepreneurs -- References -- Chapter 5: Veiling-Chic Cultures -- The Embattled Public Space -- Veiling -- Unveiling -- Re-veiling -- Depicting Femininities in Secular Islamic Countries -- Advertising and 'Tesettür' Companies -- Television -- Film -- Magazines, Newspapers, and Textbooks -- Islamic Dress and Lifestyle -- New Muslim Femininity -- References -- Chapter 6: Porno-Chic Cultures.

This paper looks at the importance of rhythmic creativity for the African-American musician as a means of counteracting the inherent "non-space" of diasporic existence. Drawing upon the work of Deleuze and Guattari, as well as from the fields of cultural studies and diaspora theory, this paper examines the immanent existential and territorial concerns of the "minor" subject, as might be witnessed in the music of James Brown. Rather than attribute Brown's African-American identity as the defining characteristic of his musical style, as many previous academic accounts have done, I will instead look at his work as the product of a lack of an identity, and how this idea might be understood in relation to Augé's "non-places", the idiosyncratic interpretation of Augé by Deleuze in his Cinema books, and the possible correspondence of this concept of the "non-place"/"any-space-whatever" with the rhizomorphic, post-national. The Black Atlantic subject described by Paul Gilroy. Rather than simply attribute Brown's music as a reiteration of African diasporic musical legacy, the paper instead attempts to define Brown's funk as the work of a becoming-subject, where the creativity of the minority in these "any-space-whatevers" is due to being thrown into the creative chaos of an intolerable position.

"What is the nature of slavery as practiced and at times reintroduced over the past two centuries in the Middle East and North Africa? In spite of the rich regional diversity of the areas studied - from Morocco to the Indian Ocean to Iran - this anthology demonstrates clear commonalities across the super-region. These include the regulation of slavery by Islam and local traditions, the absence of a rigid racial hierarchy as in North American slavery, the management of the sexuality and reproductive capacity of female slaves, and views on identity and heritage among descendants of slaves. Authors also examine the economic and theological underpinnings of contemporary slavery and human trafficking. The book is among the first to focus on slavery across the Islamic world from the 19th century to the present - a period constituting the endgame of institutionalized slavery in the region but also the persistence of forms of de facto enslavement. Each chapter scrutinizes from a different vantage point - institutions, economics, the abolitionist movement, literature, folklore, and the moving image - creating a multi-dimensional picture of the phenomenon. The authors have mined government archives and statistics, memoirs, interviews, photographs, drawings, songs, cinema and television. Not only are Arabic, Persian and Turkish sources leveraged, but a variety of materials in minor and endangered languages, such as Soqotri, Balochi and Sorani Kurdish, in addition to European languages"--

AbstractMussolini is considered in this article as a figure around whom narratives have been developed for a century or more. Several biographies were published shortly after he came to power and many others have appeared in the decades since his death in 1945. This article explores the place of anecdotes in the construction of a legendary Mussolini in the 1920s and in the demystification that marked the period after World War Two. It is shown that early biographies were marked not only by hero worship but also by a commercially driven need to humanize and to amuse. After the war, humanization persisted as former Fascists and associates of Mussolini spread stories and anecdotes that made the dictator appear not as an evil tyrant but as a flawed and fallible human being. The agenda here was to make support for Fascism and its leader forgivable. A comparison of the anecdotes shows that both adulatory and demystificatory ones reserved a place for minor stories orpetite histoire.The resulting image, which placed some emphasis on his sex life, proved influential. It presented a challenge to historians and found its way into the biographical films that were made for cinema and television between the 1970 and the 2000s. It is suggested that, via anecdotes, Mussolini occupied an ambiguous and continuous place in the moral universe of Italians, functioning variously as a political and a gender exemplar.

Más allá de la multitud de interpretaciones que han generado las versiones literaria y cinematográfica de Memorias del subdesarrollo, estas tres notas pretenden acercarse al modo en que dichas versiones se insertan y hasta cierto puntoresuelven conflictos planteados al intelectual cubano en la Revolución. La polémica en torno a la prohibición de P.M., la influencia de la figura de Ernest Hemingway entre los escritores de la Isla y el papel de un autor atípico y de un texto menor en la configuración del protagonista de Memorias… permiten vislumbrar el modo en que la literatura y el cine cubanos abordan temas como la censura, la figura y el papel del intelectual o la configuración de políticas culturales en épocas de inflexión histórica. ; Més enllà de la multitud d'interpretacions que han generat les versions literàries i cinematogràfiques de Memorias del subdesarrollo, aquestes tres notes pretenen apropar-se a la manera en què aquestes versions s'insereixen i finsa cert punt resolen conflictes plantejats a l'intel·lectual cubà en la Revolució. La polèmica al voltant de la prohibició de P.M., la influència de la figura d'Ernest Hemingway entre els escriptors de l'Illa i el paper d'un autor atípic i d'un text menor en la configuració del protagonista de Memorias. permeten entreveure la manera en què la literatura i el cinema cubans aborden temes com la censura, la figura i el paper de l'intel·lectual o la configuració de polítiquesculturals en èpoques d'inflexió històrica. ; Beyond the multitude of interpretations that have generated the novel Inconsolable Memories and its film versionMemories of underdevelopment, these three notes are intended to approach the way in which such versions are inserted and to some extent resolve conflicts raised to the Cuban intellectual in the Revolution. The controversy surrounding the ban of the short film P.M., the influence of the figure of Ernest Hemingway among the writers of the Island and the role of an atypical author and of a minor text in the configuration of the protagonist of Memories… allow us to glimpse the way in which Cuban literature and cinema approach topics such as censorship, the figure and role of the intellectual or the configuration of policies cultural in times of historical inflection.

Is control the cultural logic of the 21st century?The most extensive examination yet of control across disciplines and cultural modes of expressionAn important collection for anyone interested in the relation between present-day politics and cultureInterrogates control as a cultural logicIncludes incisive readings on Foucault's and Deleuze's conceptions of discipline and control Contributes to ongoing interrogations into the fate of biopoliticsStarting from Deleuze's brief but influential work on control, the 11 essays in this book focus on how control mechanisms influence, and are influenced by, cultural expression today. They also collectively re-evaluate Foucault and Deleuze's theories of discipline and control in light of the continued development of biopolitics.Written by an impressive line-up of contemporary scholars of philosophy, politics and culture, the essays cover the particularity of control in relation to various fields and modes of expression including literature, cinema, television, music and philosophy.Case studies include:Ray Bradbury's short story 'The Pedestrian'M. NourbeSe Philip's 2008 poetry book ZONG!French Renaissance philosopher and author Michel de MontaigneUndoing the Demos: Neoliberalism's Stealth Revolution by Wendy Brown (2015)the band The Grateful DeadThe Bourne Identitythe TV show SpooksRedeployment, an award-winning book of short stories of conflict in Iraq and Afghanistan by ex-marine Phil Klay Gilles Deleuze and Felix Guattari's influential 1986 philosophy book Kafka: Toward a Minor LiteratureContributorsNeel Ahuja, University of California-Santa Cruz, USA. Frida Beckman, Stockholm University, Sweden. Colleen Glenney Boggs, Dartmouth College, USA.Gregory Flaxman, University of North Carolina, Chapel Hill, USA.Seb Franklin, King's College, London, UK.Carin Franzén, Linköping University, Sweden. Colin Gardner, University of California, Santa Barbara, USA.Gregg Lambert, Syracuse University. Paul Patton, The University of New South Wales, Australia.Jeffrey T. Nealon, Penn State University, USA. Cary Wolfe, Rice University, USA."

This research was aimed to develop and to evaluate the quality of the innovative multimedia through social lab to promote perception of good citizenship according to democratic values, to evaluate the perception results, to evaluate the sampling group’s satisfaction towards the development of innovative multimedia and to evaluate the feedback by the organizer. The sampling group in this study consisted of 2 groups. The first group was 30 state enterprise entrepreneurs from the Community under the Bridge Zone 1 at soi Pracha-Utit 76, the Community at the Back of the Suanthonburirom Park and the Community Moo 3 in the Bang Mod area. They were chosen using purposive sampling method out of those who were filmed in a short film and were willing to be models for a desk calendar and to fill out the questionnaires. The second group was 50 students from the ETM 358 Marketing Communication course and the ETM 361 Presentation Skill 2 course in the second semester of the academic year 2018. They were chosen using purposive sampling method out of those who participated in at least 2 social labs and participated in all the short film events at the cinema. The statistical methods in this research were mean score, standard deviation and feedback by the organizer. The results from the research and development were as follows:

The results from the development of the innovative multimedia through social lab to promote perception of good citizenship according to democratic values contained 3 phases with the following major media, minor media and supporting media: short film, desk calendar and facebook page, vinyl banner for publicity with QR code and events to preview the short film and to screen the film at Major Cineplex cinema at Tesco Lotus Bangpakok. The quality of the media contents as evaluated by the expert panel was at a good level (x  = 4.25, S.D. = 0.72). The quality of the media presentation as evaluated by the expert panel was at a very good (x  = 4.61, S.D. = 0.32). The sampling group’s perception of the innovative multimedia was at a high level ( x  = 4.42, S.D = 0.68). The sampling group’s satisfaction towards the innovative multimedia was at a high level ( x  = 4.36, S.D = 0.72). These values confirmed the research hypotheses. The feedback or after action review by the learners showed that the majority had a good attitude towards service learning in conjunction with community-based learning in accordance with the research hypothesis. It was found that social work made students stronger and allowed them to think, analyze and engage in real work. They could communicate collaboratively through presentation and social media network for this course.