Mitte der Sechziger Jahre hatten in Happenings die verschiedensten Kunstformen zu einander gefunden. Im Moment verankerte Ausdrucksformen waren entstanden, die die Verschmelzung von Kunst und Körper, Kunstproduktion und Erfahrung vorantrieben, oft spartenübergreifend operierten und sich im grösseren politischen Zusammenhang als "Underground" verstanden. Der Begriff Expanded Cinema, der sich in der Filmszene für diese Art Veranstaltungen einbürgerte ist bis heute ein "elastischer Name für viele Arten von Film- und Projektionsveranstaltungen" (Rees 2011, S.12) geblieben, unter welchem Filmemacher/innen und Filmkünstler/innen wiederholt auch Projekte subsummierten, die formal nur noch wenig mit traditionellen Filmvorführungen gemein haben. Experimente mit dem Dispositiv des Kinos und ihrer Kontextualisierung stehen im Zentrum der Tournee Underground Explosion die 1969 Musik, Performance, Theater sowie Licht- und Filmprojektionen kombinierte. Dieser Beitrag versucht diese Tournee als Expanded Cinema zu begreifen und fragt sich, wieso diese Veranstaltungsreihe ephemer bleiben musste und keine Fortsetzung fand. ; + ID: 586504 + Reihentitel: subTexte + PeerReviewed: Peer Reviewed
Based on a research project funded by the Swedish Research Council, this book analyses 40 years of post-war independent immigrant filmmaking in Sweden. John Sundholm and Lars Gustaf Andersson consider the creativity that lies in the state of exile, offering analyses of over 50 rarely seen immigrant films that would otherwise remain invisible and unarchived. They shed light on the complex web of personal, economic and cultural circumstances around migrant filmmaking, and discuss associations that became important sites of self-organization for exiled filmmakers: The Independent Film Group, The Stockholm Film Workshop, Cineco, Kaleidoscope and Tensta Film Association.
The concept of "collective enunciation," which Deleuze and Guattari propose in delineating their idea of minor literature/cinema, remains regrettably underdeveloped for the purpose of exploring the political investment of a given film. In the context of cinema, the concept designates the possibility of attaining a collective voice in film under a set of negative conditions, such as the crisis of a private poetics and the objective disintegration of the category of the "people," through the transformation of both parties involved in these conditions, the author and real characters as her people. In this way, it becomes possible to imagine the political dimension of a film in such a way that goes beyond the merely thematic treatment of political issues. In the end, this refers to the politics of what is called minor cinema. This paper reflects on the place of such a politics in the cinema of two contemporary Turkish cinematographers, Zeki Demirkubuz and Nuri Bilge Ceylan, who are rarely imagined as political filmmakers. It proposes a theoretical framework which enables reading their films as two different aesthetic responses formulated within cinema against the fragmentation of what made the classical political cinema possible: the "people." For this purpose, it is necessary to show that Gilles Deleuze's concept of "missing people" or "minorities," which made modern political cinema possible according to Deleuze, is not restricted to the historical period chosen by him. The paper demonstrates that an analysis of certain aspects of Ceylan's and Demirkubuz's films, such as real characters, formation in series, national allegory, autobiography, interiors and outdoor landscapes, warrants an understanding of the work of these two authors as instances of a second generation, minor political cinema. ; Deleuze ve Guattari'nin minör edebiyat/sinema fikrini açıklamak için ortaya attıkları "kolektif bildirim" kavramından, verili bir filmin siyasi katmanlarını araştırmak için yeterince yararlanılmadı. Bu kavram sinema baŞlamında, yazarın kendini içinde bulduŞu kişisel bir dil yokluŞu krizi ile "halk" kategorisinin nesnel olarak zayıflayıp parçalanmaya yüz tutması gibi olumsuz koşullar içinde kollektif bir söze ulaşabilme olasılıŞını anlatır. Öyle ki, bu olasılıŞın gerçekleşmesi sözkonusu koşullara tâbi olan iki tarafın da (hem sanatçı hem de sanatçının halkı olarak gerçek hayattan oyuncu) başkalaşması demektir. Böylece bir filmin siyasi boyutunu sadece siyasi meselelerin konu edildiŞi tematik bir sinema anlayışının ötesinde düşünmek mümkündür. Sonuçta minör sinema diye adlandırılan da bu tür bir kollektif söz siyasetiyle belirlenir. Bu yazı, pek de siyasi sinema örneŞi olarak görülmeyen Zeki Demirkubuz ve Nuri Bilge Ceylan filmlerinde işleyen bu türden bir siyasetin yeri üzerine düşünmeye çalışıyor. Burada önerilen kuramsal çerçeveye göre Demirkubuz ve Ceylan sineması, klasik siyasi sinemayı olanaklı kılmış "halk" kategorisinin parçalanması karşısında geliştirilmiş farklı iki estetik cevap olarak görülebilir. Bu sorunsalı açmak için Deleuze'ün "kayıp halk" ya da "azınlıklar" kavramına başvurarak bu kavramların Deleuze'ce uygulandıŞı tarihsel dönem dışında da geçerli olduŞunu gösteriyoruz. Yazı, Demirkubuz ve Ceylan'da rastlanan profesyonel olmayan oyuncular, serileşme, ulusal alegori, otobiyografik öŞeler, iç mekânlar ile dış manzaralar gibi bazı özelliklerden yola çıkan bir analizin bu sinemacıların ikinci kuşak, minör bir siyasi sinemanın örnekleri olduŞunu gösterebileceŞini iddia ediyor.
Digital Platforms and Feminist Film Discourse -- Acknowledgements -- Contents -- About the Author -- Acronyms -- List of Figures -- 1 New Technologies of Gender: Women and Film in the Digital Era -- The Geopolitics of Women's Cinema 2.0 -- Women's Cinema on the Web as Minor Cinema -- Feminist Film Discourse in the Digital Sphere -- Feminist Grass-Roots Practices, Post-Feminism, and Neo-Liberal Economy -- Digital Platforms and Feminist Film Discourse: An Overview -- Notes -- References -- 2 Women Make Movies on the Web: Digital Platforms as Alternative Circuits -- The Internet as a New Resource for Women Filmmakers -- Digital Networking: The Women in Film and Television International -- Women in Crowdfunding Production: Emily Best's Seed&Spark -- Sally Potter: Making Films in the Age of Digital Reproduction -- Ava DuVernay and the Digital Promotion of African-American Cinema -- Notes -- References -- 3 Engendering the Global Market: Women's Cinema as a Creative Industry -- Women's Film Culture on the Web: Contexts and Debates -- Promoting Women's Cinema Today: Film Festivals as Market Makers -- Mobilizing Women+'s Cinema: bildwechsel's Digital Archive -- Notes -- References -- 4 Women and Online Porn in North America: New Media, Old Debates -- Feminism and Pornography -- Feminist Porn 2.0: New Practices, New Ethics -- Anita Sarkeesian and the Pro-/Anti-Porn Feminist Debate -- Notes -- References -- 5 Conclusions: Women Film Scholars Online -- Feminist Film Scholarship and Digital Networks -- Notes -- References -- Index
Access options:
The following links lead to the full text from the respective local libraries:
This thesis is concerned with popular music's working of time. It takes the experience of time as crucial to the negotiation of social, political or, more simply, existential, conditions. The key example analysed is the funk style invented by legendary musician James Brown. I argue that James Brown's funk might be understood as an apprehension of a minor temporality or the musical expression of a particular form of negotiation of time by a minor culture. Precursors to this idea are found in the literature of the stream of consciousness style and, more significantly for this thesis, in the work of philosopher Gilles Deleuze on the cinema in his books Cinema 1: The Movement-Image and Cinema 2: The Time-Image. These examples are all concerned with the indeterminate unfolding of lived time and where the reality of temporal indeterminacy will take precedence over the more linear conventions of traditional narrative. Deleuze's Cinema books account for such a shift in emphasis from the narrative depiction of movement through time the movement-image to a more direct experience of the temporal the time-image, and I will trace a similar shift in the history of popular music. For Deleuze, the change in the relation of images to time is catalysed by the intolerable events of World War II. In this thesis, the evolution of funk will be seen to reflect the existential change experienced by a generation of African-Americans in the wake of the civil-rights movement. The funk groove associated with the music of James Brown is discussed as an aesthetic strategy that responds to the existential conditions that grew out of the often perceived failure of the civil rights movement in the 1960s. Funk provided an aesthetic strategy that allowed for the constitution of a minor temporality, involving a series of temporal negotiations that eschew more hegemonic, common sense, compositions of time and space. This has implications for the understanding of much of the popular music that has followed funk. I argue that the understanding of the ...
Introduction -- CONFIGURATIONS OF STEREOTYPES AND IDENTITIES: NEW METHODOLOGIES. Daniela Berghahn: My big fat Turkish wedding: from culture clash to romcom -- David Gramling: The oblivion of influence: mythical realism in Feo Alada's When we leave -- Marco Abel: The minor cinema of Thomas Arslan: a prolegomenon -- MULTIPLE SCREENS AND PLATFORMS: FROM DOCUMENTARY AND TELEVISION TO INSTALLATION ART. Angelica Fenner: Roots and routes of the diasporic documentarian: a psychogeography of Fatih Akin's We forgot to go back -- Ingeborg Majer-O'Sickey: Gendered kicks: Buket Alakus's and Aysun Bademsoy's soccer films -- Nilgan Bayraktar: Location and mobility in Kutlu Ataman's site-specific video installation Kuba -- Brent Peterson: Turkish for beginners: teaching cosmopolitanism to Germans -- Brad Prager: "Only the wounded honor fights": Zili Alada's rage and the drama of the Turkish German perpetrator -- INSTITUTIONAL CONTEXTS: STARS, THEATERS, AND RECEPTION. Randall Halle: The German Turkish spectator and Turkish language film programming: Karli Kino, maximum distribution, and the interzone cinema -- Berna Gueneli: Mehmet Kurtulu and Birol Ünel: Sexualized masculinities, normalized ethnicities -- Karolin Machtans: The perception and marketing of Fatih Akin in the German press -- Ayìa Tunì Cox: Hyphenated identities: the reception of Turkish-German cinema in the Turkish daily press -- THE CINEMA OF FATIH AKIN: AUTHORSHIP, IDENTITY, AND BEYOND. Mine Eren: Cosmopolitan filmmaking: Fatih Akin's In July and Head-on -- Roger Hillman and Vivien Silvey: Remixing Hamburg: transnationalism in Fatih Akin's Soul kitchen -- Deniz Gukturk: World cinema goes digital: looking at Europe from the other shore
Taiwan's history : an introduction / Andrew D. Morris -- Fowl play : chicken-beheading rituals and dispute resolution in Taiwan / Paul R. Katz -- Pop in hell : Chinese representations of purgatory in Taiwan / David K. Jordan -- From hidden kingdom to rainbow community : the making of gay and lesbian identity in Taiwan / Scott Simon -- Taiwan's mass-mediated crisis discourse : pop politics in an era of political TV call-in shows / Alice R. Chu -- The other woman in your home : social and racial discourses on "foreign maids" in Taiwan / Chin-Ju Lin -- Hot and noisy : Taiwan's night market culture / Shuenn-Der Yu -- Disciplined bodies in direct selling : Amway and alternative economic culture in Taiwan / Chien-Juh Gu -- Baseball, history, the local and the global in Taiwan / Andrew D. Morris -- Yang-sucking she-demons : penetration, fear of castration, and other Freudian angst in modern Chinese cinema / Marc L. Moskowitz
One of the most telling examples of the afterlives of Mexico's movement of 1968 was the emergence of a significant number of art and film collectives that sought to articulate aesthetics and politics. The Marginal Film Coop (Cooperativa de Cine Marginal, 1971-1975) was the first of this kind of collectives, and probably the most politically committed of them. Created in 1971 as a grouping of young independent filmmakers, students, political activists, film clubbers and critics that had played different roles in the brigades of the 1968 movement, the Coop soon became a national network of production, distribution and exhibition of radical political cinema composed of more than 35 people, with solid relations with workers and unions across the country.Based on interviews, personal archives of some of its members, film journals and scattered Super 8 materials held at Filmoteca UNAM, my reading of the Coop explores how the "unsustained nature" of Mexican political cinema was part of a political and aesthetic operation of contesting a prevailing metaphor of Latin American's political cinema, the camera as a weapon, and the temporality associated to it. ; Uno de los casos más paradigmáticos de la supervivencia del movimiento estudiantil mexicano de 1968 fue la emergencia, durante los años setenta, de un número significativo de grupos artísticos y colectivos cinematográficos que trataron de articular la política con su práctica estética. La Cooperativa de Cine Marginal (1971-1973/75) fue el primero de estos colectivos fílmicos, y probablemente el más comprometido políticamente. Conformado en 1971 como una agrupación de cineastas independientes, estudiantes, activistas políticos, cineclubistas y críticos que habían participado de diferentes maneras en las brigadas del movimiento estudiantil, la cooperativa se transformó rápidamente en una red nacional de producción, distribución y exhibición de cine político, compuesta por más de treinta y cinco personas, con relaciones sólidas con trabajadores y organizaciones sindicales en todo el país. A partir de entrevistas, archivos personales, revistas de cine y materiales fílmicos a resguardo en la Filmoteca de la UNAM, mi lectura de la cooperativa explora cómo la naturaleza asumida como menor del tercer cine mexicano sería parte de una operación estético-política de cuestionamiento de una de las metáforas más extendidas del cine político latinoamericano –la cámara como fusil–, así como de la temporalidad de los procesos revolucionarios que pone en juego.
One of the most telling examples of the afterlives of Mexico's movement of 1968 was the emergence of a significant number of art and film collectives that sought to articulate aesthetics and politics. The Marginal Film Coop (Cooperativa de Cine Marginal, 1971-1975) was the first of this kind of collectives, and probably the most politically committed of them. Created in 1971 as a grouping of young independent filmmakers, students, political activists, film clubbers and critics that had played different roles in the brigades of the 1968 movement, the Coop soon became a national network of production, distribution and exhibition of radical political cinema composed of more than 35 people, with solid relations with workers and unions across the country.Based on interviews, personal archives of some of its members, film journals and scattered Super 8 materials held at Filmoteca UNAM, my reading of the Coop explores how the "unsustained nature" of Mexican political cinema was part of a political and aesthetic operation of contesting a prevailing metaphor of Latin American's political cinema, the camera as a weapon, and the temporality associated to it. ; Uno de los casos más paradigmáticos de la supervivencia del movimiento estudiantil mexicano de 1968 fue la emergencia, durante los años setenta, de un número significativo de grupos artísticos y colectivos cinematográficos que trataron de articular la política con su práctica estética. La Cooperativa de Cine Marginal (1971-1973/75) fue el primero de estos colectivos fílmicos, y probablemente el más comprometido políticamente. Conformado en 1971 como una agrupación de cineastas independientes, estudiantes, activistas políticos, cineclubistas y críticos que habían participado de diferentes maneras en las brigadas del movimiento estudiantil, la cooperativa se transformó rápidamente en una red nacional de producción, distribución y exhibición de cine político, compuesta por más de treinta y cinco personas, con relaciones sólidas con trabajadores y organizaciones sindicales en todo el país. A partir de entrevistas, archivos personales, revistas de cine y materiales fílmicos a resguardo en la Filmoteca de la UNAM, mi lectura de la cooperativa explora cómo la naturaleza asumida como menor del tercer cine mexicano sería parte de una operación estético-política de cuestionamiento de una de las metáforas más extendidas del cine político latinoamericano –la cámara como fusil–, así como de la temporalidad de los procesos revolucionarios que pone en juego.
This article offers a critical analysis of Matthew Baren's 2018 film Extravaganza, a documentary about drag scenes in Shanghai. By focusing on some drag characters represented in this film, in tandem with an examination of the social and industry contexts of the film, as well as my interviews with the filmmaker and performers, I problematise the gender identity of the performers and the national identity of the film. Drawing on Deleuze and Guattari's notion of 'becoming' and Song Hwee Lim's discussion of 'trans', I propose to think about certain modes of transnational production with the critical concept of 'becoming trans'. 'Becoming trans' offers a productive way to conceptualise new modes of 'minor' transnational cinematic connections in a globalised world without having to resort to identity politics.
In: Nordic Journal of Media Studies: Journal from the Nordic Information Centre for Media and Communication Research (Nordicom), Volume 1, Issue 1, p. 67-84
Abstract The technocultural disruption triggered by digitization has radically changed the way in which we consume films outside cinemas and transformed content providers' business models. In Norway, between 2010 and 2016, DVD/Bluray and subscription-based streaming services switched places as major and minor platforms for home video consumption. Hence, home video consumption has migrated from a high-yielding platform at the head of the home video release cycle to a low-yielding platform at the tail end, where films also face tougher competition from drama series and international content tends to surpass local content. A case study of the earnings generated by local films released by a major distributor in this period suggests that home video revenues have diminished, making local films much more dependent on theatrical revenues and vulnerable to changes in cinema-going behaviour.
Abstract During the 1950–70s, film production in Iraq was relatively prolific. Private industry eventually gave way to nationalization under Ba'th Party rule. Not unlike Iraqi cinema of the colonial era, most post-independence Iraqi cinema had the ideological aim of propping up the new regime while supplying light entertainment to the populace. A minor auteur cinema did develop, which produced a small number of critical independent films, but the movement was short-lived. The bulk of quality film production in Iraq occurred during the period of nationalization. This development eventually led to the establishment of a film school in Baghdad. Since the Iran–Iraq War, national film production in Iraq effectively ended. This is not to say that films publicized as 'Iraqi' have not been produced in recent years; on the contrary, a small but noteworthy number of 'Iraqi' films have been made, primarily for international distribution, largely by Iraqi ex-patriots to (and from) Europe and with financial support from private foreign sources. This article discusses two such films, Zaman: The Man from the Reeds (Alwan, 2003), and Ahlaam (al-Daradji, 2006), comparing and contrasting their differing but overlapping strategies, which evidence the suffering of Iraqis living under conditions of war and violence. These strategies at the same time in varying ways distract or distort attention from the real determinants of those conditions. By extension the article draws critical connections between the aims and orientations of new 'Iraqi' cinema and the hasbara cultural initiatives of contemporary Israel.
