Da ficção científica para a ficção religiosa: ideias para pensar o cinema de ficção científica como o culto da religião vivida (From Science Fiction to Religious Fiction: ideas to think on Science Fiction cinema as the cult of lived religion). DOI - 10.5752/P.2175-5841.2012v10n26p552 Este artigo tem como objetivo refletir sobre a chamada religião vivida como uma forma de repensar o papel da teologia e das ciências da religião na contemporaneidade. O estudo da religião vivida será investigado na (...) relação entre o cinema de ficção científica e a religião, propondo que, nesta relação, há uma forma de religião vivida intensa e viva. Sugere-se, assim, que o cinema seja hoje uma forma de culto e ritual, cumprindo parte do papel que os mitos e ritos sagrados desempenham na vida das pessoas, ao longo dos tempos. O artigo contém quatro partes: introdução sobre a religião vivida; religião vivida no caso específico do cinema; o cinema de ficção científica como uma forma de religião; aplicação da teoria no filme “Contato” (Robert Zemeckis, USA 1997); conclusões sobre a vivência religiosa em forma de mito e rito nos filmes de ficção científica e as consequências disso para a teologia e as ciências da religião. Palavras-chave : Cinema de ficção científica. Religião. Culto e rito. Religião vivida.: This article aims at reflecting about the so-called lived religion as a way of rethinking the role of theology and religion in contemporary society. The study of the lived religion will investigate the relationship between the cinema of science fiction and religion, suggesting that, in this relation, there is particular and intensive form of lived religion. The present article suggests that cinema today is a form of cult and ritual which performs part of the role that sacred rites play in the lives of people along the time. The article contains four parts: introduction about the lived religion; lived religion in the specific case of cinema; the cinema of science fiction as a form of religion; the application of theory in the movie “Contact” (Robert Zemeckis, USA 1997); conclusions on the religious experience in the form of myth and rite in science fiction movies as well as the consequences for theology and religious studies. Keywords : Science fiction cinema. Religion. Cult and rite. Lived religion. (shrink)

Retrato de uma jovem em chamas, filme de Céline Sciamma, propõe a discussão sobre o “olhar feminino”, tanto na pintura quanto no cinema. O artigo parte da perspectiva dos Estudos Feministas e busca correlações entre o filme e o cânone da literatura, da pintura e do cinema e o sistema patriarcal que lhes dá suporte. Observa como esse cânone instrumentaliza um culto à passividade feminina e sua inscrição enquanto objeto na História, estetizando “a mulher morta” como índice dessa (...) representação. Parte da hipótese de que a imagem da mulher pode ser aprofundada pela narrativa de autoria feminina enquanto lugar de resistência política. Busca posicionar-se contra o apagamento das experiências lésbicas, ao torná-las visíveis e construir sentido sobre elas.Palavras-chave: Olhar Feminino. Cinema. Pintura. Cânone. Experiência Lésbica. AbstractPortrait of a lady on fire, film by Céline Sciamma, proposes a discussion on the “female gaze”, both in painting and in cinema. The article is based on the Feminist Studies perspective and seeks correlations between film and the canon of literature, painting, and cinema, and the patriarchal system that supports them. It observes how this canon instrumentalizes a cult of female passivity and its inscription as an object in history, aestheticizing “the dead woman” as an index of this representation. It is based on the hypothesis that the image of women can be deepened by the female authorship narrative as a site of political resistance. It seeks to position itself against the erasure of lesbian experiences, by making them visible and building meaning upon them.Keywords: Female Gaze. Cinema. Painting. Canon. Lesbian Experience. (shrink)

Deleuze, Japanese Cinema, and the Atom Bomb establishes the first ever sustained encounter between Gilles Deleuze’s Cinema books and post-war Japanese cinema, exploring how Japanese films responded to the atomic bombings of Hiroshima and Nagasaki. From the early days of occupation and political censorship to the social and cultural freedoms of the 1960s and beyond, the book examines how images of the nuclear event appear in post-war Japanese cinema. -/- Using Deleuze’s taxonony of cinema, each (...) chapter begins by focusing upon one or more of three key Deleuzian themes – image, history and thought – before going on to look at a selection of films from 1945 to the present day. These include movies by well-known directors Kurosawa Akira, Shindo Kaneto, Oshima Nagisa and Imamura Shohei; popular and cult classics – Godzilla (1954), Akira (1988) and Tetsuo (1989); contemporary genre flicks – Ring (1998), Dead or Alive (1999) and Casshern (2004); the avant-garde and rarely seen documentaries. A series of tables clarify the conceptual components deployed within the text; and each film is illustrated with a number of stills. (shrink)

Il s'est passé quelque chose avec notre corps dont nous n'avons pas encore pris toute la mesure. Il était le "tombeau de l'âme" pour Socrate, la source du péché pour les chrétiens, ce dont il fallait apprendre à se détacher parce qu'il nous voue à la souffrance, à la maladie et à la mort. Ayant gagné quarante ans d'espérance de vie en un siècle, nous voyons au contraire dans le corps le lieu de notre salut. Il n'est plus notre ennemi, (...) mais notre double : nous l'écoutons, nous le consultons, nous demandons à la science et aux technologies, mais aussi au droit et à la politique, de l'entretenir et de le protéger, au sport d'augmenter sa puissance, à la mode de l'embellir, au cinéma de le glorifier... Notre époque aurait-elle accompli la "divinisation du corps" que Nietzsche appelait de ses voeux? Cet essai intempestif, nourri d'une très intime fréquentation de l'oeuvre nietzschéenne et portant un regard aiguisé sur les transformations de notre sensibilité, soutient que le corps est bien plutôt devenu une nouvelle idole, un fétiche idéalisé en regard duquel notre corps réel, fini, souffrant, multiple et obscur, se sent toujours en défaut, inaccompli, coupable même. Reste alors à imaginer, au-delà de tout moralisme, ce que serait l'existence d'un individu qui se conformerait vraiment à la formule de Zarathoustra: "Je suis corps tout entier et rien d'autre.". (shrink)

This article tries to explore the shifts in contemporary urban Bengali cinema and map and historicize the main trends in relation to changes in the political fortunes of the city. In this context, the article tentatively wishes to accomplish two things: one, to show the main trends in urban Bengali film-making, post-1990s; and two, to read closely two recent Bengali films, in a search for ways of mapping this newness. The article first identifies three new possibilities in Bengali (...) class='Hi'>cinema: first, the inward-looking, often apolitical sketches that celebrate liberal development and psychosomatic indulgences, second, the sentimental, community-based films that sometimes take political changes on board as well, and attempt to bridge the rural-urban divide; third, cult-ish films of a newer pedigree that show impatience with old Left and progressive values, and are also technically experimental and avant-garde. The second objective of the article is to discuss specifically two contemporary filmmakers – Moinak Biswas and Suman Mukhopadhay – and place their films within this ferment. (shrink)

This article tries to explore the shifts in contemporary urban Bengali cinema and map and historicize the main trends in relation to changes in the political fortunes of the city. In this context, the article tentatively wishes to accomplish two things: one, to show the main trends in urban Bengali film-making, post-1990s; and two, to read closely two recent Bengali films, in a search for ways of mapping this newness. The article first identifies three new possibilities in Bengali (...) class='Hi'>cinema: first, the inward-looking, often apolitical sketches that celebrate liberal development and psychosomatic indulgences, second, the sentimental, community-based films that sometimes take political changes on board as well, and attempt to bridge the rural-urban divide; third, cult-ish films of a newer pedigree that show impatience with old Left and progressive values, and are also technically experimental and avant-garde. The second objective of the article is to discuss specifically two contemporary filmmakers – Moinak Biswas and Suman Mukhopadhay – and place their films within this ferment. (shrink)

A review of Joan Hawkins' Cutting Edge: Art-Horror and the Horrific Avant-gard.

Over the last thirty years, once staunchly film history scholars such as Thomas Elsaesser, Jane Gaines, Siegfried Zielinski, André Gaudreault and Benoît Turquety (to name just a few) have abandoned history for historiography and film studies for media archaeology. Considering the heightened attention given to kulturtechnik (Siegert), the database as a dominant symbolic metaphor,1 and the decentered networked tenants of the postmodern global present, cinema is taking on the characteristics of new media, existing in increasingly intertextual space. Thus, the (...) term “post-cinema” has been co-opted as a viable intermediary that accounts for new media conditions, as cinema is no longer emblematic of our cultural climate. It was once presaged in 1992 that “[t]he end of the cinema truly sounds the death knell of the ultimate metaphysical adventure of Dasein. In the twilight of post-cinema, of which we are seeing the beginning, human quasi-existence, now stripped of any metaphysical hypostasis and deprived of any theological model, will have to seek its proper generic consistency elsewhere.” Accordingly, we are no longer “moviegoing animals” who seek images of ourselves among a collective in the dark but, rather, users interfacing within a network of moving images. By locating post-cinema within the semblance of social media, we are allocated a newfound series of theoretical interventions, the most marked of which is that of media archeology vis-à-vis dialectical materialism. This is a lens through which Brian Winston has recently deftly decried Virtual Reality’s “empathy machine” utopic illusionism, bolstered by Chris Milk and a slew of neurohumanities researchers, steadily maintaining that the fundamental myth of “technologies of seeing” is in disguising “their artifice, their cultural formation and their ideological import.” However, this approach, which illuminates the bifurcation between Max Horkheimer/Theodor Adorno and Walter Benjamin, neglects what Benjamin identified as occurring to the work of art in the age of its technological reproducibility—a shift from a technology’s “cult value,” associated with the unique work, to its “exhibition value,” associated with the social act of viewing as part of a mass. Speaking to this divarication, Benjamin Barber, in Strong Democracy, foresaw new media’s two-fold potential—as they are organized and networked, new media and communications technologies possess the possibility to both energize citizen information and political participation but, simultaneously, to supplement the deterioration of public debate. As evinced by Mark Adrejevic’s concept of Infoglut, this two-pronged possibility has only been exacerbated by the interlocking relationship between the advent of a “glut” of information, post-truth politics, the demise of symbolic efficiency, and a renewed focus on the role of affect and emotion as “alternative modalities for thinking about the role of communication in a post-referential era.” Manuel Castells qualifies Barber’s pessimism, noting that the Internet can “be an appropriate platform for informed, interactive politics, stimulating political participation.. […] beyond the closed doors of political institutions,” but that the Internet, like any technology, “is shaped by its uses and users.” Thus, if there exists a positive correlation between exposure to post-cinema media artifacts and political participation, then I seek to explore the revelatory political possibilities of “exhibition value” by way of a particular “post-cinema” case study: the Marxist-Leninist Turkish hacktivist group Redhack’s YouTube-circulated documentary RED! (2013), a project that demanded—by way of the moving-image—to galvanize cyberprotest and democratize a “hacktivist commons. (shrink)

A internet nos joga imagens que chegam de mau jeito. No Facebook, pode-se deparar com um carro vermelho, parecendo esportivo, e olhando melhor, vê-se que é um carro sem capota, rasgado num desastre, com cinco passageiros decapitados. Mas boas coisas também chegam de forma inesperada. Achei uma relíquia, um filme de 1936/37, sem áudio, com duração de 14 minutos, gravado por Benjamin Abrahão, retratando Lampião, o Rei do Cangaço em carne e osso. Hoje é Cult, mas naquela época os (...) cangaceiros barbarizaram por todo o nordeste, exceto Piauí e Maranhão. Ver a sua rotina, de há 84 anos, foi despir um mito. (shrink)

The paper leans on a movie cult from the 1960s, Blow-Up (1966) by Michelangelo Antonioni, of which a famous sequence is often mentioned, the one in which the protagonist, the photographer Thomas (considered here as a "conceptual character"), repeatedly enlarged the photographs he made in a park, in order to find an answer to the mystery surrounding the murder of a man: magnification which leads, on the one hand, to a gradual loss of definition of images, with the grain (...) of the picture becoming more and more evident, but also, on the other, in the emergence, from the very material of the print, of a fundamental detail that will help solve the mystery. What interests is the link between indicative referentiality and evidence documentary, between degrees of definition and authentication powers. The paper also analyzes the links that intertwine, in the film, between the photographs of Thomas (by Don McCullin) and paintings painted by another character of the movie, Bill (directed by Ian Stephenson), but also, outside the film, with all a series of examples from artistic production and visual culture of the time: very low definition images of the Kennedy assassination in Dallas (the famous Zapruder Film), the portrait of Lee Harvey Oswald directed by Sigmar Polke by simulating the halftone technique, the war photographs of Don McCullin and David Bailey's Fashion Photographs, Random Earths Studies by Mark Boyle and Joan Hills, Materialologies and Texturologies by Jean Dubuffet, as well as Zen for Film by Nam June Paik. Fimiani's text addresses also two contemporary installations which have tried to return to the issues from the photographic sequence of Antonioni's film: Blow-Up Blow-Up (2010) by Joan Fontcuberta and Portrait Landscape (from the Object Classifier series) (2015) by John Houck, an installation in which photograms of Blow-Up are analyzed through facial recognition software. (shrink)

Yetta Howard's queer-radical monograph Ugly Differences: Queer Female Sexuality in the Underground presents in its four chapters and conclusion a critical discussion of queer radicality in underground art productions. The chapters engage with Slava Tsukerman's camp cult movie Liquid Sky, Sapphire's poetry, Roberta Gregory's and Erika Lopez's comics, A. L. Steiner and Narcissister's collaborative art installation Winter/Spring Collection, and New Queer Cinema's High Art. In this volume, Howard unearths a spectrum of aesthetic pleasure derived from survival and self-destruction, (...) to tragic romance and kink intimacies. In all the material that Howard chooses for her discussions, “ugliness” enacts a powerful, political premise, which makes this book not only a captivating manifesto of queer punk aesthetics but also a thoughtful exploration of the importance of subcultural, queer-feminist politics antagonizing the norms of mainstream LGBT inclusion politics and homonormative pink-washing tendencies. Ultimately, as the key term of this volume, “ugliness” unfolds in the chapters, specifically in the analogy of three textual elements: as the “disagreeable and pejorative traits” conventionally attributed to queerness (2); a critique of the abjection and stigmatization of all bodies outside of the Western norms of white, able-bodied, cis masculinity (2); and third, as the angry, creative, punk, and anti-aesthetic textual practices of subcultural queer life (2). (shrink)

Comment l’art vient-il aux personnes, aux objets, aux activités? Comment passe-t-on d’une activité quelconque à un art, d’un simple artefact à une oœuvre et d’un praticien à un artiste? C’est cette opération qu’explore ce livre, sous le nom d’« artification » : un déplacement durable et collectivement assumé de la frontière entre art et non-art. Conditions pratiques, techniques, sémantiques, juridiques, institutionnelles, organisationnelles... Les enquêtes réunies ici explorent ces différentes dimensions avec les outils de la sociologie pragmatique, attentive à la matérialité (...) des actions observées en situation. Le lecteur circulera ainsi de la danse hip-hop à la photographie, du graf aux métiers d’art, de l’art naïf à l’art brut, des arts primitifs au théâtre, du cirque à la magie, de la typographie au cinéma, de la mode aux objets de culte et de la bande dessinée au patrimoine. Et c’est au terme de ce petit voyage en artification qu’il aura enfin réponse, précisément, à la question : quand y a-t-il art? (shrink)

This chapter argues that in addition to being a hilarious stoner comedy, one of the most beloved cult films of all time, and a trenchant genre critique of film noir detective cinema, as well as American Westerns, Ethan and Joel Coen’s film, The Big Lebowski (1998, TBL), also presents reflections on several important philosophical themes. First, as a matter of feminist and gender philosophy, TBL examines and criticizes prominent ideals of masculinity, especially as they appear in US (...) class='Hi'>cinema, exploring the question of what a better kind of man might be. Second, that project is woven together with an investigation of virtue as exemplified by the film’s protagonist, Jeffrey “The Dude” Lebowski. TBL portrays in The Dude a man whose virtues include Epicurean-like excellences related to contented poverty, equality, community, and friendship. Friendship is also a virtue among Aristotelians, and The Dude’s culture of friendship, from an Aristotelian perspective, bears significant political import. By positioning The Dude at a mean between the extremes of his friend Walter Sobchak’s excess and the nihilists’ deficiencies, TBL explores the way rules and rule-following properly fit into virtuous moral life. In The Dude, the film shows how moral virtue not only requires intellectual excellences but also the right kind of character. And third, perhaps most centrally, TBL engages the problem of modern European nihilism and the effect it has had upon US culture. By means of the “abiding” virtues it valorizes, existential repetition, comedy itself, and the way its characters inhabit time, TBL confronts the death, despair, and disillusionment nihilism yields. (shrink)

Since trauma is a thoroughly relational phenomenon, it is highly unpredictable, and cannot be made to fit within the scientific framework Freud so admired. In _Toward a Psychology of Uncertainty: Trauma-Centered Psychoanalysis,_ Doris Brothers urges a return to a trauma-centered psychoanalysis. Making use of relational systems theory, she shows that experiences of uncertainty are continually transformed by the regulatory processes of everyday life such as feeling, knowing, forming categories, making decisions, using language, creating narratives, sensing time, remembering, forgetting, and fantasizing. (...) Insofar as trauma destroys the certainties that organize psychological life, it plunges our relational systems into chaos and sets the stage for the emergence of rigid, life-constricting relational patterns. These trauma-generated patterns, which often involve denial of sameness and difference, the creation of complexity-reducing dualities, and the transformation of certainty into certitude, figure prominently in virtually all of the complaints for which patients seek analytic treatment. Analysts, she claims, are no more strangers to trauma than are their patients. Using in-depth clinical illustrations, Dr. Brothers demonstrates how a mutual desire to heal and to be healed from trauma draws patients and analysts into their analytic relationships. She recommends the reconceptualization of what has heretofore been considered transference and countertransference in terms of the transformation of experienced uncertainty. In her view the increased ability of both analytic partners to live with uncertainty is the mark of a successful treatment. Dr. Brothers’ perspective sheds fresh light on a variety of topics of great general interest to analysts as well as many of their patients, such as gender, the acceptance of death, faith, cult-like training programs, and burnout. Her discussions of these topics are enlivened by references to contemporary cinema and theatre. (shrink)

There’s a certain pleasure in fantasizing about possessing knowledge, especially possessing secret knowledge to which outsiders don’t have access. Such fantasies are typically a source of innocent entertainment. However, under the right conditions, fantasies of knowledge can become epistemically dangerous, because they can generate illusions of genuine knowledge. I argue that this phenomenon helps to explain why some people join and eventually adopt the beliefs of epistemic communities who endorse seemingly bizarre, outlandish claims, such as extreme cults and online conspiracy (...) theory groups. It can be difficult to grasp how members of such groups come to believe the theories they endorse. I argue that one route to such beliefs is via deep absorption in fantasies of knowledge, which can lead entire groups to become collectively detached from reality. (shrink)

Boredom, in cinema as well as in our everyday experience, is usually associated with a generalised loss of meaning or interest. Accordingly, boredom is often perceived as that which ought to be avo...

In this paper, I develop a unified account of cinematic representation as primary depiction. On this account, cinematic representation is a distinctive form of depiction, unique in its capacity to depict temporal properties. I then explore the consequences of this account for the much-contested question of whether cinema is an independent representational art form. I show that it is, and that Scruton’s argument to the contrary relies on an erroneous conception of cinematic representation. CiteULike Connotea Del.icio.us What's this?

This article examines the breathing and breathless body in Camille-Vidal Naquet’s Sauvage. Respiration has been characterised by Peter Sloterdijk, in the first volume of his Sphären trilogy, as the first extension of the womb. The air we breathe is a “nobject” that escapes the subject-object relation, like the placenta before it. Sauvage engages the respiratory, alongside the placental and the acoustic, as three pre-oral “nobjects” for exploring what Leo Bersani has termed the body’s “somatic receptivity”. Duration, framing, lighting, and camera (...) movements cultivate a spectator’s receptivity to these “nobjects” and participate in acts of sphere formation. This provides a framework for thinking about how cinema itself might function as a “nobject”: a connective medium or sphere that supports and augments a subject, providing a field of protection and attention. However, the film’s presentation of breathlessness also signals a blocked receptivity, an inability to take in, introducing friction and resistance to the discourse of immediacy and exchange that characterises philosophical reflections on breath. Breathlessness has implications for thinking about bodily autonomy and forms of freedom that speak to the queer politics of Sauvage, as well as questions about movement and stillness, animation and lifelessness, that reflect back on the medium of film itself. (shrink)

À travers l’étude du système à effet intégrateur de rituels et de cérémonials célébrant la présidente de l’UFF et de la FDIF Eugénie Cotton, promue en autorité universelle dont les vertus renvoient au modèle marial, le présent travail explore la mise en place dans le monde communiste de la guerre froide du versant féminin du culte du leader. Afin d’en saisir les spécificités par rapport à un phénomène historique dont la riche production historiographique des vingt dernières années consacre naturellement et (...) exclusivement la masculinité, y sont examinés plus particulièrement les circonstances qui lui donnèrent naissance, les temps forts qui scandent son cheminement, les mécanismes de sa diffusion et les glissements genrés opérés dans le processus de son invention. (shrink)

Description: The common western understanding of Buddhism today envisions this major world religion as one of compassion and tolerance. But as the author Droit reveals, this view bears little resemblance to one broadly held in the nineteenth-century European philosophical imagination that saw Buddhism as a religion of annihilation calling for the destruction of the self. The Cult of Nothingness traces the history of the western discovery of Buddhism. In so doing, the author shows that such major philosophers as Schopenhauer, (...) Nietzsche, Hegel, Cousin, and Renan imagined Buddhism as a religion that was, as Nietzsche put it, a negation of the world. In fact, says the author, such portrayals were more a reflection of what was happening in Europe at the time-when the collapse of traditional European hierarchies and values, the specter of atheism, and the rise of racism and social revolts were shaking European societies-than an accurate description of Buddhist thought. The author also reflects on how this history continues to echo in contemporary western understanding of Buddhism. The book includes a comprehensive bibliography on books on Buddhism published in the west between 1638 and 1890. (shrink)

This article examines popular cinema’s interactions with digital culture, focusing on cinema and social structure. A product of technological and social developments, digital culture has introduced the creation of cyberspace, the emergence and spread of social media, and the formation of virtual communities. This article focuses on a specific period (1980 – 2010) to examine the evolution in cinema of portrayals of digital culture. The analysis includes four influential films: WarGames (1983, by John Badham), Perfect Blue (1997, (...) by Satoshi Kon), Pulse (2001, by Kiroshi Kurosawa), and Life in a Day (2011, by Kevin Macdonald, Loressa Clisby, and Tegan Bukowski). The article provides a guide to popular cinema's interaction with and use of the possibilities offered by digital culture, revealing how the four selected films reflect digital culture themes. Each film demonstrates different aspects and dynamics of digital culture at a particular time, offering a unique look at that period's social and technological landscape through its portrayal of technological developments, human relations, cultural values, and social norms. Each film evaluates the impact of the digitization process on cinema from different perspectives, depicting how cinema adapts and responds to technological changes. (shrink)

This book focuses on how 'cult rhetoric' affects our perceptions of new religious movements (NRMs). 'Cult' Rhetoric in the 21st Century explores contemporary understandings of the term 'cult' by bringing together a range of scholars from multiple disciplines, including sociology, anthropology, psychology, and religious studies. The book provides a renewed discussion of 'new religious movements', whilst also considering recent approaches toward a nuanced study of contemporary religion. Topics explored include online religions, political 'cults', 'apostate' testimony and the (...) current 'othered' position of the study of minority religions. (shrink)

The increasingly popular idea that cinematic fictions can "do" philosophy raises some difficult questions. Who is actually doing the philosophizing? Is it the philosophical commentator who reads general arguments or theories into the stories conveyed by a film? Could it be the film-maker, or a group of collaborating film-makers, who raise and try to answer philosophical questions with a film? Is there something about the experience of films that is especially suited to the stimulation of worthwhile philosophical reflections? In the (...) first part of this book, Paisley Livingston surveys positions and arguments surrounding the cinema's philosophical value. He raises criticisms of bold theses in this area and defends a moderate view of film's possible contributions to philosophy. In the second part of the book he defends an intentionalist approach that focuses on the film-makers' philosophical background assumptions, sources, and aims. Livingston outlines intentionalist interpretative principles as well as an account of authorship in cinema. The third part of the book exemplifies this intentionalist approach with reference to the work of Ingmar Bergman. Livingston explores the connection between Bergman's work and the Swedish director's primary philosophical source-a treatise in philosophical psychology authored by the Finnish philosopher, Eino Kaila. Bergman proclaimed that reading this book was a tremendous philosophical experience for him and that he "built on this ground." With reference to materials in the newly created Ingmar Bergman archive, Livingston shows how Bergman took up Kaila's topics in his cinematic explorations of motivated irrationality, inauthenticity, and the problem of self-knowledge. (shrink)

What does religion contribute to business ethics? Related to the practical, religion applies theological concepts to business situations; namely, vocation, stewardship, human dignity, co-creation, co-conservation, sharing in God's power, servant leadership, encounter with the Incarnation, sacramental sign and justice (divine and human). These concepts suggest the threefold component of religion: doctrine (creed), worship (cult) and values governing behavior (code). A principle taken from religious practice illustrates its unique contribution to business ethics. The principle of proportionality (or double effect) exemplifies (...) code in its balancing of good and evil outcomes. The more contemporary principle called the fundamental option identifies the role of vocation and calling in the notion of creed. The component cult might be reflected in the insistence on human dignity which is highlighted in papal social teaching. (shrink)

Purpose. The research is based on the analysis of the cult of Dionysus: the introspection of the irrational content of the "Dionysian states", in the symbolism of which an alternative scenario of gender relations is codified, based on autonomy and non-destructive interdependence. The achievement of this goal involves, firstly, the "archeology" of telestic madness and orgasm as the liberating states the comprehension of their semantic potential for the outlook of the Dionysian neophyte, and secondly, to identify the features that (...) are likened to the cult community of Dionysus to an autonomous gender and, thirdly, to characterize the metamorphosis of the Dionysian imagery in the postmodern consciousness. Theoretical basis. The study of the symbolism of Dionysus and its Genesis in the processes of the mass consciousness is important to clarify trends in gender distancing as in antiquity and in the modern era. Specific sensory and mental qualities encoded in the images of Dionysian madness, vakhtnag of violence and the eternal alien, the awareness of which is determined by the Dionysian thematizes in the cultural consciousness of post-modernism, the research literature presented in fragments. The phenomenological dimension "exempt States" Dionysian elements, activated the process of social distancing up to the formation of Autonomous gender, are poorly known and basically are reduced to manifestations of marginality and asocial. However, the specifics of the cult of Dionysus, the authors see the origins of ideas about a purely female and male and the dynamics of the transmutations of his imagery is proposed to understand how the successive stages of their formation, not the symptoms of the cultural crisis and deviant behavior. Originality. The article examines the phenomenology of the practice of personality transformation as the psycho-psychological basis of ideas about gender identity. Conclusions. The article highlights the socio-cultural and intrapsychic dimension of the study of the cult of Dionysus. It was established that the perception of a cult alien to ancient consciousness occurred during the crisis of the transition from matriarchy to patriarchy, since its meaning associated with the idea of liberation through personality transformation corresponded to the mental state generated by social isolation of women and had a therapeutic effect. (shrink)

This is the first book to describe and explain all of the ancient world's major mystery cults--one of the most intriguing but least understood aspects of Greek and Roman religion. In the nocturnal Mysteries at Eleusis, participants dramatically re-enacted the story of Demeter's loss and recovery of her daughter Persephone; in the Bacchic cult, bands of women ran wild in the Greek countryside to honor Dionysus; and in the mysteries of Mithras, men came to understand the nature of the (...) universe and their place within it through frightening initiation ceremonies and astrological teachings. These cults were an important part of life in the ancient Mediterranean world, but their actual practices were shrouded in secrecy, and many of their features have remained unclear until now. By richly illustrating the evidence from ancient art and archaeology, and drawing on enlightening new work in the anthropology and cognitive science of religion, Mystery Cults of the Ancient World allows readers to imagine as never before what it was like to take part in these ecstatic and life-changing religious rituals--and what they meant to those who participated in them. Stunning images of Greek painted pottery, Roman frescoes, inscribed gold tablets from Greek and South Italian tombs, and excavated remains of religious sanctuaries help show what participants in these initiatory cults actually did and experienced. A fresh and accessible introduction to a fascinating subject, this is a book that will interest general readers, as well as students and scholars of classics and religion. (shrink)

Resumo Na entrevista ficcional que se segue, as ideias de Abbé Jean-Baptiste Du Bos sobre as artes de representação serão aplicadas a aspectos relevantes do cinema. Du Bos argumenta que, normalmente, as obras de ficção cinematográfica são projectadas para dar origem a “paixões artificiais”, que têm a função de fornecer alívio ao tédio, sem as consequências negativas que muitas actividades alternativas têm. Também será considerada a questão, se os filmes têm um significado filosófico. O resultado é uma perspectiva desconhecida, (...) do princípio do século XVIII, em algumas temáticas contemporâneas. Palavras-chave : catarse, cinema apocalíptico, Du Bos, emoção, paixões artificiais, paradoxo do afecto negativoIn the following fictional interview, the Abbé Jean-Baptiste Du Bos’ ideas about the representational arts are applied to relevant aspects of the cinema. Du Bos argues that normally works of cinematic fiction are designed to give rise to ‘artificial passions’ that have the function of providing relief from boredom without the negative consequences that many alternative pursuits would have. Du Bos’ solution to the paradox of negative affect and his position on Aristotle’s doctrine of catharsis are also set forth in the interview. The question of whether films have philosophical significance is also taken up. The upshot is a somewhat unfamiliar early 18th-century perspective on some contemporary issues. Keywords: apocalyptic cinema, artificial passions, catharsis, Du Bos, emotion, paradox of negative affect. (shrink)

Cinema no abrigo: encontros, gestos e acontecimento Resumo: Este texto é fruto de reflexões sobre nossa vivência com o Projeto de Extensão “Educação, Cinema, Outros Territórios” no Lar de Idosos ‘Abrigo Tiradentes’, em Minas Gerais. Um objetivo específico do Projeto é realizar sessões de cinema junto aos idosos em diferentes territórios. A metodologia e a avaliação das ações são compreendidas como um gesto de acompanhamento do Programa de Extensão, amparado na investigação cartográfica, prática metodológica pertinente para o (...) acompanhamento de processos em curso e a produção de subjetividades. As questões que nos colocamos para esta reflexão são: o que pode o cinema num Abrigo de Idosos? Quais conexões poderíamos arquitetar entre cinema, linguagem e acontecimento? O que essas pessoas experimentam com os filmes? O que poderíamos exercitar, a partir do conceito de acontecimento, no pensamento? Buscamos, por meio deste ensaio, um exercício de pensar “acontecimentos” no nosso encontro com os moradores e com os filmes durante as sessões de cinema no Lar de Idosos – Abrigo Tiradentes. Palavras-chave: Acontecimento; Cinema; Idoso. Cinema in the shelter: meetings, gestures and events Abstract: This text is the result of reflections on our experience with the “Education, Cinema, Other Territories” Extension Project at the Lar de Idosos Abrigo Tiradentes, in Minas Gerais. A specific objective of the Project is to hold cinema sessions with the elderly in different territories. The methodology and the evaluation of the actions are understood as a gesture of monitoring the Extension Program, supported by cartographic research, methodological practice relevant to the monitoring of ongoing processes and the production of subjectivities. The questions we ask ourselves for this reflection are: what can cinema do in a Shelter for the Elderly? What connections could we make between cinema, language and event? What do these people experience with films? What could we exercise, based on the concept of event, in thought? Through this essay, we seek an exercise in thinking about “events” in our meeting with the residents and with the films during the cinema sessions at Lar de Idosos – Abrigo Tiradentes. Key-words: Event; Cinema; Elderly. Cine en el retiro: encuentros, gestos y acontecimientos Resumen: Este texto es el resultado de reflexiones sobre nuestra experiencia con el Proyecto de Extensión “Educación, Cine, Otros Territorios” en el Lar de Idosos Abrigo Tiradentes, en Minas Gerais. Un objetivo específico del Proyecto es realizar sesiones de cine con personas mayores en diferentes territorios. La metodología y la evaluación de las acciones se entienden como un gesto de seguimiento del Programa de Extensión, con el apoyo de la investigación cartográfica, la práctica metodológica relevante para el seguimiento de los procesos en curso y la producción de subjetividades. Las preguntas que nos hacemos para esta reflexión son: ¿qué puede hacer el cine en un refugio para ancianos? ¿Qué conexiones podríamos hacer entre cine, idioma y evento? ¿Qué experimentan estas personas con las películas? ¿Qué podríamos ejercer, basado en el concepto de evento, en el pensamiento? A través de este ensayo, buscamos un ejercicio para pensar acerca de los "eventos" en nuestra reunión con los residentes y con las películas durante las sesiones de cine en Lar de Idosos – Abrigo Tiradentes. Palabras-claves: Acontecimentos; Cine; Ancianos. Data de registro: 19/03/2020 Data de aceite: 28/08/2020. (shrink)

Cult Criminals is a set of early Victorian novels 'sensationally' popular with readers and of immense influence in the development of the novel form. All six novels, commonly labelled 'Newgate' novels, scandalized the Victorians by glamorizing criminals and led to a bitter literary controversy between Dickens and Thackeray, who damned the former's Oliver Twist as a 'Newgate' novel. At the heart of the 'Newgate' debate lay questions concerning the moral and social function of the novel, the relationship between romance (...) and realism in fiction, and whether crime should be portrayed in fiction at all. The Newgate novels function as a bridge between the eighteenth- century tradition of crime fiction and the detective and crime novels of the nineteenth and twentieth centuries, as well as encapsulating many of the social and cultural shifts that took place in the early Victorian period. (shrink)

Queer cinema takes shape between experimental film, the intimate diary form, art video, documentary, dream fiction, recording and militant video-tracts. In the introductory article, we address several dimensions of this creation : one reflects a practice in queer art according to localized experience, as in the films of Hervé Guibert, David Wojnarowicz, and Raphaël Vincent or the photographic work of Del LaGrace Volcano, based on the experience of AIDS or trans-identities. Another dimension is the attempt to constitute a sexual (...) cinema, with Hans Scheirl or Maria Beatty : these are explorations of an exploded, « de-gendered » body, which directly connects moving images to chemical and bodily transformations, inner mental sensations, jouissance and deterritorialized sexual practices. Lastly, we discuss in more general terms the emergence of a queer cinema which serves as a site for the elaboration of a counter-cinema, a withdrawal from cinema which casts a hegemonic gaze on subaltern political subjects. The documentary genre is then hollowed out from within by this decolonizing gesture. (shrink)

ABSTRACT I here read the Iranian film Hit the Road through the eyes of the French philosopher Alain Badiou. In doing so, I hope to illuminate the triadic link between cinema, philosophy and paideia (ethical-political education). To explore, I adopt a philosophical methodology with the double ambition to reveal the latent pedagogies of the film and to acquire insights on the distinctiveness of a Badiouan conception of cinema. My questions are to what degree and in what ways cinematic (...) experience can be said to promote ethical-political formation. I start by portraying Badiou’s cinematic philosophy. Next, I expose how Hit the Road confronts us with a hidden real. Third, I close the paper by considering Badiou’s idea of cinema as an influential form of ethical-political education. (shrink)

Michael Haneke is one of the most important directors working in Europe today, with films such as Funny Games (1997), Code Unknown (2000), and Hidden (2005) interrogating modern ethical dilemmas with forensic clarity and merciless insight. Haneke's films frequently implicate both the protagonists and the audience in the making of their misfortunes, yet even in the barren nihilism of The Seventh Continent (1989) and Time of the Wolf (2003) a dark strain of optimism emerges, releasing each from its terrible and (...) inescapable guilt. It is this contingent and unlikely possibility that we find in Haneke's cinema: a utopian Europe. This collection celebrates, explicates, and sometimes challenges the worldview of Haneke's films. It examines the director's central themes and preoccupations--bourgeois alienation, modes and critiques of spectatorship, the role of the media--and analyzes otherwise marginalized aspects of his work, such as the function of performance and stardom, early Austrian television productions, the romanticism of The Piano Teacher (2001), and the 2007 shot-for-shot remake of Funny Games. (shrink)

Introduction : cinema, memory, modernity: the return of memory as film -- No escape from time : memory and redemption in the international postwar art film -- The "crisis" of memory : "traumatic identity" in the contemporary memory film -- "Global memory" : cinema as lingua franca and the commodification of the image -- The eye of history : memory, surveillance and ethicality in the contemporary art film -- "Prosthetic memory" and transnational cinema : globalized identity and (...) narrative recursivity in City of God -- Conclusion: remembering to forget: the catachreses of modernity. (shrink)

Name der Zeitschrift: Klio Jahrgang: 98 Heft: 2 Seiten: 495-525.

In the 1910s, New York suffragette Electra Sparks wrote a series of essays in theMoving Picture Newsthat advocated for cine-therapy treatments for pregnant women. Film was, in her view, the great democratizer of beautiful images, providing high-cultural access to the city's poor. These positive ‘mental pictures’ were important for her because, she claimed, in order to produce an attractive, healthy child, the mother must be exposed to quality cultural material. Sparks's championing of cinema during its ‘second birth’ was founded (...) upon the premise of New Thought. This metaphysical Christian doctrine existed alongside the self-help and esoteric publishing domains and testified, above all, to the possibility of the ‘mind-cure’ of the body through the positive application of ‘mental pictures’. Physiologically, their method began best in the womb, where the thoughts of the mother were of utmost importance: the eventual difference between birthing an Elephant Man or an Adonis. This positive maternal impression was commonplace in New Thought literature; it was Sparks's innovation to apply it to cinema. Investigating Sparks's film theory, practice and programming reveals her to be a harbinger of the abiding analogy between mind and motion picture that occupies film theorists to this day. (shrink)

Introduction -- How orphans believe: Deleuze, national cinema and Majidi's The color of paradise. Deleuze: on realism and movement-Image -- Deleuze: neorealism (and a brief analysis of Kiarostami's life and nothing more) -- Majidi: The color of paradise -- Deleuze and Majidi: the faith of Mohammad -- "What are filmmakers for in needy times?" On Heidegger and Kiarostami's Taste of cherry -- An overview of Kiarostami's Taste of cherry and the question of the medium -- Heidegger on art and (...) truth -- Heidegger and Kiarostami -- Committed perception: Merleau-Ponty and Children of heaven -- Carroll on emotions -- Merleau-Ponty and embodied Imagination -- Censorship and Children of heaven -- Perception and ideology. Regarding you: Lacanian gaze and ethics in Kiarostami's Close-up -- A brief overview of Close-up -- Misreading Lacan's gaze -- The three orders: real, symbolic and imaginary -- The Lacanian gaze -- Gaze in Close-up -- The ethical function of the gaze in Close-up -- Stolen Jouissance: Lacan, feminism and Meshkini's The day I became a woman. A brief overview of The day I became a woman -- Hava: the birth of desire -- From Hava to Ahoo: from demand to desire and jouissance -- Traversing the fantasy: from Hoora to Meshkini -- Meshkini: the fourth woman of the story -- Deafening silence: Bahman Ghobadi's Turtles can fly and marginal politics -- Bahman Ghobadi and Turtles can fly -- The abject -- Can Ghobadi speak? National cinema and national mission, once again -- Hegemonic movement: on the way to the Green Movement -- The future of Iranian cinema is the future of the Green Movement. (shrink)

Resumo Neste artigo, tentar-se-á reconstruir e defender a noção de “especificidade média” que se refere ao cinema. Começar-se-á por discutir a ontologia de um certo tipo de exibição visual, geralmente encontrada em conexão com uma vasta gama de obras cinematográficas. Argumentar-se-á que estas exibições têm uma natureza essencial ou real. Obras construídas em torno de tais exibições estão aptas a manifestar certas qualidades e poderes peculiares. Assim, o “meio de cinema” consiste em parte, num tipo particular de meio (...) veicular e, de várias propriedades nem sempre manifestas distintas dele. Ao discutir-se o conceito de “meio”, considera-se também um sentido em que esta noção é negligenciada, a saber, que as competências e habilidades pessoais operam uma mediação entre a concepção de uma exibição e a sua produção. Prosseguir-se-á, argumentando, que apesar dos defeitos da “especificidade média”, proveniente de uma versão da teoria clássica do cinema, o cinema como uma forma de arte ou corpo de obras de arte, é ou tem um “meio especial” dotado de distintas propriedades artísticas. Palavras-chave : essencialismo, medium specificity, medium, obra, ontologia do cinema, valor artísticoIn this paper, I try to reconstruct and defend the notion of medium specificity as it relates to cinema. I begin by discussing the ontology of a certain kind of visual display commonly found in connection with a vast range of candidate cinematic works. These displays, I argue, have an essential or real nature. Works constructed around such displays are apt to manifest certain qualities and powers peculiar to displays of that kind. Thus cinema’s medium consists in part of a particular type of vehicular medium and various not always manifested properties distinctive to it. In discussing the concept of medium, I also consider a neglected sense of this term, namely, personal abilities and skills that mediate between one’s designing a certain display and one’s producing a matching object or result. I go on to argue that, despite the defects of classic film theory’s version of medium specificity, it is true that cinema, as artform or body of artworks, is or has a special medium endowed with distinctive artistic properties. Keywords : artistic value, essentialism, medium specificity, medium, ontology of cinema, work. (shrink)

The article «The Cults of Nature of the territory between the Dnipro-Danube water basin in the light of modern researhh» by I.Zavaliy is based on the research of leading foreign and domestic scientists consider the issues of pre-Christian spiritual heritage of the territory between the Dnipro- Danube water basin.

Inspired by Farshad Zahedi’s audiovisual essay The Petrified Object and the Poetics of Time in Cinema, this article briefly presents three philosophical approaches to cinema’s ways of expressing time – as articulated by Bergson, Tarkovsky, and Deleuze – and questions how absolute time and chronological time are brought to a state of crisis by this modern form of art.

This is a philosophical investigation into the differing sensations of time in cinema and photography.

Do contemporary big-budget blockbuster films like Gravity move something in us that is fundamentally the same as what avant-garde and experimental films have done for more than a century? In a powerful challenge to mainstream film theory, Cinema's Bodily Illusions demonstrates that this is the case. Scott C. Richmond bridges genres and periods by focusing, most palpably, on cinema's power to evoke illusions: feeling like you're flying through space, experiencing 3D without glasses, or even hallucinating. He argues that (...) cinema is, first and foremost, a technology to modulate perception. He presents a theory of cinema as a proprioceptive technology: cinema becomes art by modulating viewers' embodied sense of space. It works primarily not at the level of the intellect but at the level of the body. Richmond develops his theory through examples of direct perceptual illusion in cinema: hallucinatory flicker phenomena in Tony Conrad's The Flicker, eerie depth effects in Marcel Duchamp's Anémic Cinéma, the illusion of bodily movement through onscreen space in Stanley Kubrick's 2001, Godfrey Reggio's Koyaanisqatsi, and Alfonso Cuarón's Gravity. In doing so he combines insights from Maurice Merleau-Ponty's phenomenology of perception and James J. Gibson's ecological approach to perception. The result is his distinctive ecological phenomenology, which allows us to refocus on the cinema's perceptual, rather than representational, power. Arguing against modernist habits of mind in film theory and aesthetics, and the attendant proclamations of cinema's death or irrelevance, Richmond demonstrates that cinema's proprioceptive aesthetics make it an urgent site of contemporary inquiry. (shrink)

Lewis Richard Farnell's five-volume The Cults of the Greek States, first published between 1896 and 1909, disentangles classical Greek mythology and religion, since the latter had often been overlooked by nineteenth-century English scholars. Farnell describes the cults of the most significant Greek gods in order to establish their zones of influence, and outlines the personality, monuments, and ideal types associated with each deity. He also resolutely avoids the question of divine origins and focuses instead on the culture surrounding each (...) class='Hi'>cult, a position which initially drew some criticism, but which allowed him more space to analyse the religious practices themselves. Written to facilitate a comparative approach to Greek gods, his work is still regularly cited today for its impressive collection of data about the worship of the most popular deities. Volume 5 focuses on the cults of Hermes, Dionysos, Hestia, Hephaistos, Ares and several minor figures. (shrink)

This article examines the relationship between technology and aesthetics in contemporary Hollywood, using experiments with frame rates and shutter speeds to show how deep, systemic changes in cinematic technologies can alter our relation to the image’s referential functions. For eighty years, cinema’s registration of movement relied upon a standardized frame rate and shutter speed, meaning that cinema’s sense of motion was constant. With the proliferation of ever more powerful digital capture systems, however, these formerly inflexible options are made (...) variable and put into question. By changing the registration of movement, the high frame rate experiments in The Hobbit and the open-shutter cinematography of Miami Vice offer an estranged relation to cinema’s presentation of worldly motion. I argue here that this altered sense of the image’s referentiality is well suited to depictions of our contemporary reality, which, being profoundly bound up in digital technologies, seems similarly disorienting, estranging, and aesthetic. In the first section of the article, I trace out the origins of this style of movement in the logics of the corporate tech industry, which rolls out continual upgrades in audio-visual technologies in order to justify new product lines. According to industry rhetoric, these upgrades ostensibly lead to a heightened sense of realism, but viewer response has been torn over whether this new sense of motion is realistic or unrealistic. In the second section, I closely analyze The Hobbit and the recent work of Michael Mann to show how established film form shifts in relation to this problem in digital cinema’s representation of worldly movement. In The Hobbit’s case, film form is altered in order to assimilate the HFR’s unfamiliar sense of motion, but the cinematography in Miami Vice embraces a productive aesthetic estrangement which is both realistic and hyperaestheticized, leaving the divide between immanent experience and technologized disorientation an open question. (shrink)