The article enhances Frida Haug's theses on Marxism-feminism by discussing a silence in the theses regarding the internal colonialism of the feminist movement that continue creating racialised hierarchies among White feminist and indigenous people and women of colour and their struggles. The author contends that Marxism-Feminism is failing to find new ways to understand diversity due to the influence of traditional Eurocentric Marxism. To tackle the problem, Marxism-feminism requires a decolonising Marxism that draws on 'late Marx' and recent Marxist and feminist theoretical developments aiming to criticise and de-Westernise and de-Eurocentralise Marxism. The author explores four elements for a 'decolonising' Marxism (value theory, subsumption and social formation, linear development of radical change and temporality of struggles) and discusses its implications on Marxism-feminism towards a possible thesis 14 on Marxism-feminism.
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I didn't watch that many 2023 movies this year, particularly through October. However, I did sign up for Letterboxd and have been writing brief reviews there. It obviously serves to log all the films I've seen, not merely those released in 2023. It appears I watched 86 films in 2023; thus, the list of new films below reflects only a small portion of my total movie viewing. As longtime readers know, this is an annual list and here is a link to last year's post if you want to work backwards through my viewing experiences. Films from this first set will probably receive award nominations, or at least deserve strong consideration.Leave the World BehindMay DecemberScrapperMaster GardenerAre You There God? It's Me, MargaretShowing UpI doubt Leave the World Behind is the best picture of 2023, but I think it is outstanding and am certain to see it again -- and will strongly consider it for viewing in my class on Global Politics Through Film. Amidst all the paranoia are some interesting reactions to uncertainty, threats, cyber-terror, and ecological catastrophe. May December is an interesting film with strong acting performances and both subtle and unsubtle messages. At least the filmmaker had something of potential importance to say.Scrapper is sort of a British version of The Florida Project, though I think the young girl lead actor is older in this film. The story is interesting, there are some funny moments, and the human connections seem real. Master Gardener was one of the stranger movies I've seen in awhile and the romantic connection that the title character ultimately forms is unpredictable, but believable. Joel Egerton is a talented actor that I also saw this year in The Stranger. He plays very complex characters in both films. Are You There God? It's Me, Margaret (based on the Judy Blume book) was entertaining, despite the fact that I was likely not the target audience. Kathy Bates steals her scenes, which are often hilarious. Showing Up is a character study with a thin plot and terrific acting performances. The artists in the film are friends and family who inspire and infuriate one another, depending upon the moment. In the end they seem to be able to live with that dichotomy even if some are particularly gifted and have talent that "shows up" others. My spouse and I are big fans of director Kelly Reichardt. Check out her other films, perhaps beginning with First Cow or Wendy and Lucy. We saw Certain Women a few weeks prior to seeing Showing Up. These films were quite good and might receive award consideration:SharperThe KillerThey Cloned TyroneRealityBarbieThe Pez Outlaw (documentary)Sharper is a pretty good crime film with con-man (woman) vibes. The Killer is well-executed, but ultimately the story is a basic revenge plot for an unsympathetic character. It lacks heft. They Cloned Tyrone isn't really a comedy, despite Jamie Foxx's performance, but it is entertaining and fairly clever at times. Reality was interesting and based on a true story, but the true story felt a little thin for a feature film. Everyone saw Barbie, right? I liked it, more or less, but there are significant shortcomings inherent in the source material. This film's success proves that Margot Robbie and Ryan Gosling have enough star power (and talent), and Greta Gerwig sufficient directing skill, to make an entertaining film out of almost nothing substantial. I would have liked to see those 3 remake something like The Pez Outlaw as a feature film, rather than a small documentary. Bet that would be interesting. It's a fun tale on its own. These were less interesting to me:Asteroid CityNo Hard FeelingsIndiana Jones and the Dial of DestinyAsteroid City is an interesting visual experience, but Wes Anderson's mannered style becomes a bit tedious in this mediocre film. In all honesty, I didn't think that much of Wes Anderson's previous film, The French Dispatch, and wonder if he's trying a bit too hard to be quirky at the expense of story-telling. Keep in mind that I loved Moonrise Kingdom and The Grand Budapest Hotel. I also saw his short The Wonderful Story of Henry Sugar this fall and found it merely OK. Jennifer Lawrence is always worth watching, and there's much of her to see in No Hard Feelings (you probably read about the beach scene even if you didn't see the movie), but this is not a particularly funny comedy. Maybe it would have been better in a theater. Nothing in Indiana Jones seemed particularly novel, but I guess it was worth using the IP for one last payday. I kind of wish the character Jones had been handled more like James Bond, with younger actors portraying him after a few films with more frequent releases. An adventuresome archaeologist is a great premise, but they could have used more creativity reflecting on the world. I'm obviously missing a large number of highly rated films from 2023 and plan to see them through 2024 (and beyond). I used to provide a list (and I still might) of top-rated films that I have not yet seen, but I didn't do it last year and no one complained. Visit this blog's homepage.
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In this archivally informed work, Jennifer S. Clark explores the multiple ways in which the feminist priorities of the 1970s were strengthened by women who labored in the American television industry. Carefully synthesizing an array of interviews and primary sources—from television network memos to programming schedules, production notes to executive meeting agendas—Clark tells the story of how women organized in the workplace to form collectives, affect production labor, and develop reform‑oriented policies and philosophies that reshaped television behind the screen. She urges us to consider how interventions, often at localized levels, can collectively shift the dynamics of media workplaces and the cultural products created therein. "A terrific model of feminist media historiography. Jennifer Clark expands our understanding of 1970s American television, the women's liberation movement, and the deep connections among gender, labor, and activism while innovating new strategies to examine the media industries." — Elana Levine, author of Her Stories: Daytime Soap Opera and US Television History "A massively important and enlightening contribution to the field, offering a nuanced treatment of industry cooperation and compromise. Clark uses rare archival findings and a wide range of cultural objects and case studies to generate fresh, bold conclusions around second-wave feminism and American television." — Annie Berke, author of Their Own Best Creations: Women Writers in Postwar Television
In contemporary popular culture, armed women take center stage - but how can they be read from a feminist perspective? How do films, comics, and TV series depict the newly fashionable gunwomen between objectification and feminist empowerment? The contributions to this volume ask this question from different vantage points in cultural and literary studies, film and visual culture studies, history, and art history. They examine military and civic gun cultures, the rediscovery of historical armed women and revolutionaries, cultural phenomena such as gangsta rap, narcocultura and US politics, Bollywood and French cinema, and distinct genres such as the graphic novel, the romance novel, or the German police procedural Tatort.
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The graphic below identifies the top 25 films from 2023 that critics ranked on their end-of-year "best of" lists. The full list goes to 100 and if you are interested in seeing it, I'm sourcing the list from a different website this year. The methodology for compilation is ostensibly the same. Here's the detail:Films are sorted by the percentage of lists they are included on.* This is typically the same as sorting by number of lists included, but can vary when films make lists across multiple years. For example, if one film makes 10 lists in a year with 100 lists available, it's ranking will be higher than a film that makes 15 lists when 200 lists are available. The times a film appears at the top of a list is used as a tie-breaker.*punctuation errors corrected Basically, this is an annual best films comment that I'm posting for 2023. This is the post about the best films of 2022. Below this graphic, you'll find my rankings of these films (by tiers) with a list of the ones I still need to see. As I watch them over time, I'll edit the post but note the changes with yellow highlighting. This "best of" comment is distinct from both the annual post on "films of 2023," which is my end-of-year musing about all the films I saw in a calendar year and my annual Oscar post. Top-tier films. These are very serious Oscar contenders:Killers of the Flower MoonOppenheimerPast LivesAmerican FictionThe HoldoversMay DecemberI've seen all but May December since the new year, which means they were not on the December list for 2023. The top 4 5 on this are excellent and are well worth your time. Warning: Oppenheimer is exceptional, but it is both very long and about a subject that I have studied off-and-on since the 1980s. Your interest may vary from mine. Incidentally, I joined Letterboxd last October and you can find my brief reviews of films there. I think I backfilled for all of 2023 and most of the films used in my political science course. Second-tier films. These are very good and may garner Oscar support:Maestro Showing UpBarbieMaestro was well-made and well-acted, but I wasn't nearly as interested in this story as I was in the stories from the first-tier of films. I didn't find Bernstein's life especially interesting. The 2 films after Maestro were both calendar year 2023 viewings. Honestly I thought about putting Barbie in the following tier. Third-tier films. These are entertaining but flawed films:The KillerAre You There God? It's Me, MargaretAsteroid CityAgain, nothing new here yet. My spouse and I are trying to find time to see the Oscar nominated movies. Fourth-tier films. I found these to be disappointing and do not recommend (if necessary, could remain blank):N/AFilms yet to see (16 of 25 as of today):AfireAll of Us StrangersAnatomy of a FallThe Boy and the HeronFallen LeavesGodzilla Minus OneJohn Wick: Chapter 4PassagesPoor ThingsPriscillaSaltburnSpider-Man: Across the Spider-VerseThe Zone of InterestGlancing through the rest of the top 100, I've seen the following films already and rank them roughly in this order:Tar (tier 1, a remnant from last year's list for some critic)Fair Play (tier 2 or 3)They Cloned Tyrone (tier 2 or 3)Reality (tier 2 or 3)Mission Impossible: Dead Reckoning Part I (Tier 4 material)
Wie begegnen wir Figuren in Filmen und Comics? Für Zuschauende und Lesende sind sie intuitiv zugänglich, nicht aber für die Analyse. Die vorliegende Studie grenzt sich von narratologisch und kognitionstheoretisch geprägten Theorien und Analysemethoden ab, die Figuren als fertige Subjekte denken, welche in ein mediales Gewand gekleidet den Zuschauenden und Lesenden gegenübertreten. Stattdessen werden Film-Sehen und Comic-Lesen als dynamische, von Subjektivität durchzogene Situationen untersucht. Konzipiert als Film- beziehungsweise Comic-Verhalten, bilden diese subjektivierten Dynamiken die Grundlage für das Entstehen von Figuren für Zuschauende und Lesende. Die Studie entwickelt eine phänomenologische Theorie und Methode, die es ermöglicht, über Beschreibungen dieser Verhalten die Begegnung mit Figuren zu analysieren. Sie diskutiert ausgehend von Maurice Merleau-Pontys Wahrnehmungsphilosophie filmphänomenologische Positionen und expliziert einen phänomenologischen Diskurs für die Comicforschung, den diese bislang vermissen lässt. Im Zentrum stehen Arbeiten von Chris Ware, Riad Sattouf und Marc Forster, deren Filme und Comics nicht nur Gegenstand analytischer Fallstudien sondern integraler Bestandteil der Theoriearbeit sind. ; Wie begegnen wir Figuren in Filmen und Comics? Für Zuschauende und Lesende sind sie intuitiv zugänglich, nicht aber für die Analyse. Die vorliegende Studie grenzt sich von narratologisch und kognitionstheoretisch geprägten Theorien und Analysemethoden ab, die Figuren als fertige Subjekte denken, welche in ein mediales Gewand gekleidet den Zuschauenden und Lesenden gegenübertreten. Stattdessen werden Film-Sehen und Comic-Lesen als dynamische, von Subjektivität durchzogene Situationen untersucht. Konzipiert als Film- beziehungsweise Comic-Verhalten, bilden diese subjektivierten Dynamiken die Grundlage für das Entstehen von Figuren für Zuschauende und Lesende. Die Studie entwickelt eine phänomenologische Theorie und Methode, die es ermöglicht, über Beschreibungen dieser Verhalten die Begegnung mit Figuren zu analysieren. Sie diskutiert ausgehend von Maurice Merleau-Pontys Wahrnehmungsphilosophie filmphänomenologische Positionen und expliziert einen phänomenologischen Diskurs für die Comicforschung, den diese bislang vermissen lässt. Im Zentrum stehen Arbeiten von Chris Ware, Riad Sattouf und Marc Forster, deren Filme und Comics nicht nur Gegenstand analytischer Fallstudien sondern integraler Bestandteil der Theoriearbeit sind. ; How do we encounter characters in films and comics? While audiences might relate to characters intuitively, film and comics scholars cannot analyze them in the same intuitive way. Theories and analytical methods influenced by narratology and cognitive theory often conceptualize characters as finished subjects presented in a medial disguise. This study argues instead that film-watching and comic-reading are dynamic situations permeated by subjectivity. Conceptualized as film- or comic-behavior, these subjectivized dynamics form the basis for the emergence of characters for viewers and readers. The study develops a phenomenological theory and method that allows us to analyze encounters with characters through descriptions of film- and comic-behaviors. Drawing on Maurice Merleau-Ponty's philosophy of perception, it discusses current phenomenological positions in film studies and articulates an extensive phenomenological framework for comic research. The works of Chris Ware, Riad Sattouf, and Marc Forster, which it discusses, are not only the subject of analytical case studies but also an integral part of this study's theoretical framework.
"The early Frankfurt School and feminism can and should inform each other. This volume presents an original collection of scholarship bringing together scholars of the Frankfurt School and feminist scholars. Essays included in the volume explore ideas from the early Frankfurt School that were explicitly focused on sex, gender, and sexuality, and bring ideas from the early Frankfurt School into productive dialogue with historical and contemporary feminist theory. Ranging across philosophy, sociology, gender and sexuality studies, science studies, and cultural studies, the essays investigate heteropatriarchy, essentialism, identity, intersectional feminism, and liberation. Set against an alarming context of growing gender and related forms of authoritarianism, this timely volume demonstrates the necessity of thinking these powerhouse approaches together in a united front"--
'Freedom and Equality' explores foundational concepts for liberalism and feminism. Clare Chambers argues that the doctrines are compatible, but feminism is necessary because liberalism has been incapable of securing gender equality and women's liberation alone.
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Hacker: Hauptsache Kapuzenpulli. – Gemeinfrei-ähnlich freigegeben durch unsplash.com Richard PattersonWas hat die Darstellung von Hackern im deutschen Film und Fernsehen eigentlich mit der echten Welt zu tun? Und welche Klischees werden in Hackerfilmen bedient? Diesen Fragen widmet sich Buchautor William Mahan im Gespräch mit Caspar Clemens Mierau, Constanze Kurz und Marcus Richter. Wir sprechen insbesondere über die Filme "23", "Who am I" und "The Billion Dollar Code".
Abstract The Soviet campaign in support of the Democratic Republic of Vietnam in the Vietnam War saturated Soviet public culture in the late 1960s and early 1970s. It was the longest solidarity action in Soviet history and the first to reach mass television audiences. This article examines the production and reception of a televised documentary film about the Vietnam War made by Konstantin Simonov – a celebrity writer who played a crucial role in Soviet culture during World War II, and then, in the post-war period, in the struggle to come to terms with terrible truths about Stalinism and the chaos and trauma that war had rendered. Simonov's film presented the Vietnam War in lyrical rather than analytical terms, calling upon viewers to draw connections between the suffering of the Vietnamese and the Soviet wartime experience and to enact their solidarity with the Vietnamese in terms of feeling. The film proposes a solidarity of pain and an understanding of war and wartime suffering as elemental and overwhelming. In dozens of letters to Simonov, we find an understanding and appreciation of this vision, which decentres Vietnam and instead sends viewers on a journey back to Soviet history and trauma.
"This book explores the work of activists in the Americas who are documenting feminicide, arguing that feminist activists at the margins have much to teach mainstream data scientists about data ethics: how to work with data ethically amidst extreme and durable structural inequalities"--
Feminist movements from the Americas provide some of the most innovative, visible, and all-encompassing forms of organizing and resistance. With their diverse backgrounds, these movements address sexism, sexualized violence, misogyny, racism, homo- and transphobia, coloniality, extractivism, climate crisis, and neoliberal capitalist exploitation as well as the interrelations of these systems. Fighting interlocking axes of oppression, feminists from the Americas represent, practice, and theorize a truly "intersectional" politics. Feminisms in Movement: Theories and Practices from the Americas brings together a wide variety of perspectives and formats, spanning from the realms of arts and activism to academia. Black and decolonial feminist voices and queer/cuir perspectives, ecofeminist approaches and indigenous women's mobilizations inspire future feminist practices and inform social and cohabitation projects. With contributions from Rita Laura Segato, Mara Viveros Vigoya, Yuderkys Espinosa-Miñoso, and interviews with Anielle Franco (Brazilian activist and minister) and with the Chilean feminist collective LASTESIS.