How might experimental media art help theorise what falls by the wayside in the digital public sphere? Working in the years immediately following the launch of YouTube in 2005, some media artists centred their creative praxis towards the end of that decade upon rescuing, revalorising, and placing back into digital circulation audiovisual media formats and technologies that appeared aged or obsolete. Although there may be a degree of nostalgia behind such practices, these artworks articulate a cogent critique of the drive (...) towards constant innovation that was responsible for the invention and global expansion of cinema, but in recent decades has been responsible for its decay—or, perhaps more accurately, for its perpetual transformation. The article explores this 'media-archaeology' sensibility as a way of thinking about AI more widely: an approach that sees histories of media not as a linear, chronological search for origins, but as a critical recovery of artefacts lodged discontinuously in multiple layers of the past. Although digital technologies form a central part of the creative process of the artists considered in this article, their works also act as a critical conscience about digital change, asking what the so-called digital revolution is leaving out, and leaving behind. In so doing, it illuminates some potential positive and negative impacts of digital technologies' mediation of new forms of public engagement, whether in art, archives, or on social media. (shrink)

How might experimental media art help theorise what falls by the wayside in the digital public sphere? Working in the years immediately following the launch of YouTube in 2005, some media artists centred their creative praxis towards the end of that decade upon rescuing, revalorising, and placing back into digital circulation audiovisual media formats and technologies that appeared aged or obsolete. Although there may be a degree of nostalgia behind such practices, these artworks articulate a cogent critique of the drive (...) towards constant innovation that was responsible for the invention and global expansion of cinema, but in recent decades has been responsible for its decay—or, perhaps more accurately, for its perpetual transformation. The article explores this 'media-archaeology' sensibility as a way of thinking about AI more widely: an approach that sees histories of media not as a linear, chronological search for origins, but as a critical recovery of artefacts lodged discontinuously in multiple layers of the past. Although digital technologies form a central part of the creative process of the artists considered in this article, their works also act as a critical conscience about digital change, asking what the so-called digital revolution is leaving out, and leaving behind. In so doing, it illuminates some potential positive and negative impacts of digital technologies' mediation of new forms of public engagement, whether in art, archives, or on social media. (shrink)

The aim of this text is to explore and discuss the way in which both the commercial films and the auteur cinema made by Luis Buñuel in Mexico, introduce us to the production of new cinematic representations of poverty. In order to do this, the films El gran calavera, Los olvidados, El Bruto and Nazarín will be analyzed. It is argued that these films suggest different ways in which poverty is inscribed that put the hegemonic representation imposed by the (...) golden age of Mexican cinema under tension. Moreover, the ideal of desire is recognized as a common mechanism in the actions of its protagonists. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Editors' IntroductionAlan D. Schrift and Shannon SullivanThe articles in this special issue of the Journal of Speculative Philosophy were selected from revised versions of papers that were originally presented at the sixtieth annual meeting of the Society for Phenomenology and Existential Philosophy (SPEP) at Texas A&M University in College Station, Texas October 13–15, 2022.Michael Hardt of Duke University and Patricia Pisters of the University of Amsterdam gave the SPEP (...) 2022 Plenary Addresses, and we are grateful to be able to include their plenary papers in this special issue. Hardt's paper, "The Politics of Articulation and Strategic Multiplicities," treated SPEP members to an early peek at his newest book, The Subversive 70s (Oxford University Press, 2023). In this work, Hardt digs into the powerful resources for social movements that activists and theorists from the 1970s developed. As he argues, in many ways those activists and thinkers were ahead of their times—and also ahead of ours—in understanding how to analyze interwoven multiplicities of power and how to articulate and organize liberation struggles based on those multiplicities. Hardt brilliantly demonstrates how analyzing the progressive and revolutionary social [End Page 237] movements of the '70s can help us not only understand the roots of contemporary social and political struggles but also reclaim critical resources for those struggles.Patricia Pisters's paper, "Thinking with Fire: Elemental Philosophy and Media Technology," draws upon Gaston Bachelard's "fire complexes" to address a variety of pyrotechnical images appearing in contemporary cinema. Noting that elemental philosophy is on the rise in media studies and elsewhere, not least because of current environmental crises, fire is particularly engaging for its metaphorical, "matterphorical," and technological associations. While acknowledging fire as a material medium—cooking, heating, burning, etc.—Pisters's primary focus in her paper is on fire as an immaterial medium, and it is here that she turns to Bachelard's constellation of fire complexes—the Empedocles, Prometheus, and Novalis Complexes—to which she adds her own fourth complex, the Sita Complex. With these complexes, she provides readings of four cinematic productions that elucidate the annihilating, transgressive, sexual, and purifying qualities of fire, and she suggests that these entangled fire complexes present different kinds of combustive knowledge in which the element of fire manifests itself as material phenomenon of nature, the engine for modern life, and immaterial affective reverie of destruction, transgression, and sexuality.The other articles in this special issue have been organized according to five broad groupings. The first grouping, "On Latin American Philosophy," brings together three papers that engage Latin American philosophy, particularly as found in Mexican, Columbian, and Venezuelan history and political movements. In "Radicalizing Localization: Notes on Santiago Castro-Gómez's Genealogies of Coloniality," Julian Rios Acuña argues that Columbian philosopher Santiago Castro-Gómez develops a radical method of localization. This method allows Castro-Gómez to transform Foucauldian genealogy into genealogies of coloniality that grapple with the complexities of extreme violence produced by colonialism. In "Stefan Gandler's Renewal of Critical Theory from Latin America," Jake M. Bartholomew argues for a version of Critical Theory that is not bound by Europe but also remains true to its first-generation Marxist roots. Relocating to Mexico and advocating for Mexican philosophers, German-born philosopher Stefan Gandler shows how Latin American philosophy can enrich Critical Theory, providing more than can the second and third generations of Critical Theory because of its ability to analyze capitalism from outside the economic perspectives of the Global North. In "Two Versions of the Mestizo [End Page 238] Model: Toward a Theory of Anti-Blackness in Latin American Thought," Miguel Gualdron Ramirez criticizes the anti-Blackness that he sees at the heart of mestizo models of latinidad, or lo latinoamericano. Focusing on the concepts of liberation offered by Venezuelan theorist and politician Simón Bolívar and Mexican philosopher José de Vasconcelos, Ramirez reveals the exclusion and erasure of Black bodies, lives, and histories that ground their versions of Latinx identity and Latin American history. Together these three articles showcase how Latin American philosophy can enrich and expand the scope of Continental philosophy.The second grouping, "Liberatory Limits and Misalignments," features three articles... (shrink)

Introduction -- Hillbilly as American Indian -- Appalachian woman as mammy -- Mountain migrant as Mexican migrant -- Appalachia and documentary -- Appendix: Appalachian types in cinema.

In lieu of an abstract, here is a brief excerpt of the content:Elliot Rubinstein BUÑUEL'S WORLD, OR THE WORLD AND BUNUEL* THE line OF descent from Surrealist cinema to chosiste fiction—the line which all the remarks that follow are meant at least to trace—is, if not direct, surely collateral. But the genealogy is so complex as to resist detailing in a brief paper. What I offer may be taken for preliminaries, observations on the cinema of Bunuel prompted in (...) large part by a rereading of Robbe-Grillet's For a New Novel. ' The world of any Bunuel film is first of all, in William S. Pechter's phrase, the worst of all possible.2 But the phrase misleads, implying that better worlds are imaginable, let alone photographable, let alone otherwise available. Neithersexual fascination {L'Aged' or, El [ This Strange Passion], Ensayo de un crimen [The Criminal Life ofArchibaldo de la Cruz], Abismos de pasión [Wuthering Heights], Diary ofa Chambermaid, Belle de Jour) nor faith (Nazartn, Robinson Crusoe, Vindiana, The Milky Way), nor any other agency of spiritual transcendence delivers us to a world fit for human habitation. Trailing clouds, but not of glory, do we come, and beneath these clouds we proceed to make fools and martyrs and killers of one another, of ourselves. Unhappily, such views, seized upon as novelties, leave Buñuel at the mercy of some of the most sophomoric adulators ever to hound a major artist. Happily, Buñuel's vision justifies his views; happily, his career transcends his vision. His particular achievement is the sheer variety of worlds he has discovered or reanimated, none quite like *This article, and the one by Stanley Cavell which follows it, grew out of remarks presented at the annual convention of the Modern Language Association, December 30, 1977. The title of the symposium was "Chosisme and the Cinema: the Perception of Physical Reality in Cinema and Literature." 237 238Philosophy and Literature another except in the way it is seen—and each the worst of all possible. The world of Nazartn appears, on the relentlessly gray surface of its film stock, the most conventional in any of Buñuel's works. (I am not thinking of, for one must try to think as little as possible of, some of the potboilers Buñuel had to produce during his Mexican captivity of the late 1940s and 1950s.) Its story of a persecuted priest is left to progress without worrisome spatial or temporal discontinuities. The myth on which its story feeds, explicit in the title, is the most familiar of all, and the inescapable implications of the Quixote and of Dostoyevsky 's tale of the Grand Inquisitor further cater to our certainty of the correctness of our responses. The sole plainly Surreal moment occurs when the picture of Jesus on the priest's wall explodes into a wicked Bosch-like grin, but the image is subjective, "psychological," reflecting the delirium of a wounded prostitute whom the priest is sequestering, and seen only by her. Emotional valences are respected: there is nothing perplexing about the characters' reactions and interplayings. And things are in their place. Such an account of Nazartn recalls Robbe-Grillet's account of Balzacian fiction: All the technical elements of narrative—systematic use of the past tense and the third person, unconditional adoption of chronological development, linear plots, regular trajectory of the passions, impulses of each episode toward a conclusion, etc.—everything tended to impose the image of a stable, coherent, continuous, unequivocal, decipherable universe. Since the intelligibility of the world was not even questioned, to tell a story did not raise a problem. The style of the novel could be innocent, (p. 32) I trust there is no reason to belabor the frailness (I mean with respect to any reading of Balzac) of an argument that pushes to that last sentence. Still, the point is plain enough, and, in its way, and, in its limits, true enough. Because Nazarin (based, by the way, on a novel of Galdós) tells a story in an age when "To tell a story has become strictly impossible" (p. 33) it cannot lay claim to a place in the realm of New Narrative. But there is more to Nazarin than... (shrink)

This paper aims to perform a possible heuristic analysis of the film "The Exterminating Angel" (El Angel Exterminador) – produced in 1962 by the Hispanic Mexican director Luís Buñuel – through the platonic thought present in the books: "The Symposium" (Συμπόσιον), and "Republic" (Πολιτεία). It also presents an argument on the film's scriptural, artistic, and historical characteristics, such as some /intersections of its aesthetic movement, the Surrealism – specific correlations with Breton and Benjamin will also be made. Finally, the (...) guiding thread that will run through the entire research is the approximations between the above authors and Karl Marx's theory. (shrink)

How can we ameliorate the current immigration policies toward Mexican people immigrating to the United States? This study re-examines how the development of scenarios assisted South Africa to dismantle apartheid without engaging in a bloody civil war. Following the scenario approach, we articulate positions taken by different interest groups involved in the debate concerning immigration from Mexico. Next, we formulate a set of scenarios which are evaluated as to how well each contributes to the well-being of the populace both (...) of Mexico and of the United States. The South African scenario model has proven to be an effective tool in times of political disagreement. It fosters a common language among competing groups, non-hierarchal communication among groups, and acknowledgement of the concerns of each group involved. (shrink)

Sanchez and Sanchez have selected, edited, translated, and introduced some of the most influential texts in Mexican philosophy, which constitute a unique and robust tradition that will challenge and complicate traditional conceptions of philosophy. The texts collected here are organized chronologically and represent a period of Mexican thought and culture that emerged from the Mexican Revolution of 1910 and which culminated in la filosofia de lo mexicano (the philosophy of Mexicanness). Though the selections reflect on a variety (...) of philosophical questions, collectively they represent a growing tendency to take seriously the question of Mexican national identity as a philosophical question--especially given the complexities of Mexico's indigenous and European ancestries, a history of colonialism, and a growing dependency on foreign money and culture. More than an attempt to describe the national character, however, the texts gathered here represent an optimistic period in Mexican philosophy that aimed to affirm Mexican culture and philosophy as a valuable, if not urgent, contribution to universal culture. (shrink)

Introduction: Mexican Philosophy: What Is It and Why It Matters -- Relajo -- Nepantla -- Zozobra -- Corazonada -- Tik -- Figure of the World -- Mexistentialism.

The discovery of transgenes in maize landraces in Mexico, a center of diversity for this crop, raises questions about the potential impact of transgene diffusion on maize diversity. The concept of diversity and farmers’ role in maintaining diversity is quite complex. Farmers’ behavior is expected to have a significant influence on causing transgenes to diffuse, to be expressed differently, and to accumulate within landraces. Farmers’ or consumers’ perceptions that transgenes are “contaminants” and that landraces containing transgenes are “contaminated” could cause (...) these landraces to be rejected and trigger a direct loss of diversity. (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)

알랭 바디우는 젊은 시절부터 영화에 대해 지속적인 관심을 보여왔고, 많은 글을 통해 예술로서의 영화를 옹호하였다. 바디우는 자신의 예술론을 비미학(inesthetique)이라는 이름으로 정리하였는데, 이것은 예술 밖에서 예술에 대해 사유하는 것이 아니라 예술 작품 안에 뛰어들어서 작품이 만들어내는 진리를 통해 철학을 구성하는 작업이다. 그러나 바디우에게 모든 예술 분야가 같은 지위를 가지는 것은 아니다. 특히 영화는 연극처럼 진정한 운동이나 변화를 일으키는 것이 아니라, 운동의 환영을 만들 뿐인 것이라고 말하여 영화의 부족함을 드러낸다. 그러나 다른 한편으로 바디우는 일곱 번째 예술인 영화가 다른 예술들의 덤(plus-un)이라고 말하며, 영화만이 (...) 20세기의 유일한 대중 예술이라고 평가함으로써 영화를 가장 우월한 예술로 평가한다. 최근의 저작에서 바디우는 헤겔 미학의 연장선상에서 영화를 사유한다. 이런 관점에서 영화는 모든 예술을 종합하는 최후의 예술이다. 영화에 대한 바디우의 사유는 그의 철학에서 가장 독특한 개념인 벗어남(soustraction)을 잘 보여준다. (shrink)

Fernando Coni Campos é considerado um dos maiores roteiristas da nossa cinematografia, autor de filmes importantes como 'A Viagem Ao Fim do Mundo', 'Ladrões de Cinema' e 'O Mágico e o Delegado'. 'Cinema - Sonho e Lucidez' é uma reunião da reflexão sobre cinema do cineasta, morto em 1988, acrescida de alguns contos que mostram todo o seu domínio em contar histórias.

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...

Since the mid-1990s, there has been a rise in the number of deaths of undocumented Mexican migrants crossing the U.S./Mexican border. Who is responsible for these deaths? This article examines the culpability of (1) migrants, (2) humanitarian volunteers, (3) the Mexican government, (4) the U.S. government, and (5) U.S. businesses. A significant portion of the blame is assigned to U.S. free trade policies and U.S. businesses employing undocumented immigrants.

This essay examines Gloria Anzaldúa’s critical appropriation of two Mexican philosophers in the writing of Borderlands/La Frontera: Samuel Ramos and Octavio Paz. We argue that although neither of these authors is cited in her seminal work, Anzaldúa had them both in mind through the writing process and that their ideas are present in the text itself. Through a genealogical reading of Borderlands/La Frontera, and aided by archival research, we demonstrate how Anzaldúa’s philosophical vision of the “new mestiza” is a (...) critical continuation of the broader tradition known as la filosofía de lo mexicano, which flourished during a golden age of Mexican philosophy (1910–1960). Our aim is to open new directions in Latinx and Latin American philosophy by presenting Anzaldúa’s Borderlands/La Frontera as a profound scholarly encounter with two classic works of Mexican philosophy, Ramos’ Profile of Man and Culture in Mexico and Paz’s The Labyrinth of Solitude. (shrink)

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?

Mexican thinkers in recent generations have sought a philosophy emphasizing the ends of human activity as contrasted with one stressing means or techniques. According to Professor Weinstein's interpretation, an integrated perspective toward all aspects of the human condition characterizes Mexican philosophy and social thought, incorporating close attention to the aesthetic dimension of human experience and the tensions of human existence. The distinctive Mexican world-view provides a needed supplement to the analytical approach of North American philosophy and Marxist (...) determinism. (shrink)

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)

Film theory and its emphasis on political and ideological readings of films dominated much of cinema studies in the '70s and '80s. Since then, in response to what some view as the shortcomings of theoretical approaches, a variety of other methods have emerged or reemerged. In many ways, as Nico Baumbach argues, "Anti-Grand Theory" has won the day but its victory is, in part, based on misreadings or simplifications of '70s film theory. In particular, Baumbach views contemporary critical approaches (...) to film as abandoning the crucial and productive ways in which theory understands the relationship between cinema, politics, and art. Baumbach does not advocate a return to the orthodoxies of the seventies but rather reads the work of Ranciere, Badiou, and Agamben as providing new ways of thinking about the history of film theory and how film creates its own way of thinking about politics. Moreover, at a time when digital technologies are asking us to think of film and the film image in new ways, the work of these thinkers once again asks, "What is Cinema?" but in a more expansive sense that can help us account for transformations in how moving images are produced, distributed, and exhibited in the twenty-first century. (shrink)

This is a largely historical study of Mexican social policy and its 20th century course to social development in such areas as income, education, health, nutrition, social safety, social security, with an emphasis on the motive forces. The overall pattern is examined in terms of affordability, rhetoric generated, and comparisons with other countries in the same stage of enhancement.

In this chapter, I argue that the insurrectionist ethics initially articulated by Leonard Harris, and further developed by other scholars such as Lee McBride III, Jacoby Carter, and Kristie Dotson, can fruitfully be deployed to understand how resistance movements and liberatory struggles have been framed in Mexico by some prominent intellectuals. To be more precise, I argue that one can read the historical work México a través de los siglos. El Virreinato from the nineteenth century Mexican historian and novelist (...) Vicente Riva Palacio as articulating a form of insurrectionist ethics adapted to the Mexican context to the extent that it exemplifies the core features that Harris identifies in insurrectionist ethics. (shrink)

In Selfless Cinema?, Sarah Cooper maps out the power relations of making, and viewing, documentaries in ethical terms. The ethics of filmmaking are often examined in largely legalistic terms, dominated by issues of consent, responsibility, and participantse(tm) or film-makerse(tm) rights, but Cooper approaches four representative French film-makers e" Jean Rouch, Chris Marker, Raymond Depardon, and Agns Varda e" in a far less juridical way, drawing on the ethical philosophy of Emmanuel Levinas. She argues that, in spite of Levinase(tm)s iconoclastic, (...) anti-ocular thinking, his concept of visage is richly applicable to film, and especially to documentary. (shrink)

Biobank-based research in Mexico is mostly governed by research and data protection laws. There is no direct mention of biobanks in either statutory or regulatory law besides a requirement that the Federal Ministry of Health and a Mexican institution devoted to scientific research approve the transfer of biological materials outside of Mexico for population genetics research purposes. Such requirements are the basis of Genomic Sovereignty in Mexico, but such requirements have not prevented international collaboration. In addition, Mexican law (...) singles out genetic research in informed consent provisions, but it does not specify whether all biobank-based research is genetic research. In order to facilitate international collaboration on biobank-based research, Mexico should directly address biobanking in its laws, building on the research framework and data protection framework already in place. (shrink)

In a conference from 1987 on ‘What is the Creative Act?’, Deleuze argues that a fundamental and mysterious affinity subsists between the work of art and the act of resistance. Starting from this statement, Agamben in his echoing text ‘What is the Act of Creation?’ presents an idea of resistance co-essential to power itself. Each power, in other words each possibility for human beings of doing something, is connected to their impotence, not necessarily understood as total absence of power, but (...) as potential to not-do. Therefore, in the very creative act one detects something that resists and opposes the critical possibility of a retreat, of an emptiness that is itself a form of potentiality. The essay picks things up from here. The act of resistance, described in terms of dynamis, as power which is always in contact with its power-not-to, is identified as the core element of modern cinema images, notably in Italian neorealism. (shrink)

Gilles Deleuze has produced some of the most important--and most formidable--theory on cinema to appear in the last half-century. Deleuze on Cinema provides a thorough and reliable guide to Deleuze's thought on the art of film, elucidating in clear language the shape and thrust of Deleuze's arguments found in his influential books on cinema.

There is a Mexican, as well as a Canadian version of the American Dream. What drives political idealism in Mexico is less the idea of individual right, or respect for the rights of communities, than it is the 'indigenous' right of an historically oppressed people to a political culture and life wholly their own.

In this article we explore the educational potential of cinema. To do this we first analyse how the American critical thinker Henry Giroux tries to give body to an educational theory in relation to cinema. His ‘film pedagogy’ is described as developing a critical response of the learner in relation to the public sphere of film. Giroux’s approach, however, seems to forget rather than explore the potential that is specific to the medium. Secondly, the article analyses Walter Benjamin’s (...) (1936, Illuminations, London, Pimlico) essay ‘The work of art in the age of mechanical reproduction’, because here we find not a different educational response to cinema, but one of the first studies on cinema that describes its ontological nature and the potential of moving images for thought. Finally, the article discusses the cinema philosophy of Gilles Deleuze, who, in contrast to Giroux, does not construct a Cartesian framework around cinema. Rather, he recognizes and explores cinema’s potential for thoughts like Benjamin did. In this way, Deleuze reverses Giroux’s question of how education should respond to cinema. A pedagogical discussion hereby comes to the fore that does not ask the question of what methodology should be used in education to think critically about cinema, but what the implications are of the nature of cinema for thought and for education. (shrink)

Cinema has a long history of engaging with the theme of sacrifice. Given its capacity to stimulate the imagination and resonate across a wide spectrum of human experiences, sacrifice has always attracted filmmakers. It is on screen that the new grand narratives are sketched, the new myths rehearsed, and the old ones recycled. Sacrifice can provide stories of loss and mourning, betrayal and redemption, death and renewal, destruction and re-creation, apocalypses and the birth of new worlds. The contributors to (...) this volume are not just scholars of film but also students of religion and literature, philosophers, ethicists, and political scientists, thus offering a comprehensive and interdisciplinary approach to the relationship between cinema and sacrifice. They explore how cinema engages with sacrifice in its many forms and under different guises, and examine how the filmic constructions, reconstructions and misconstructions of sacrifice affect society, including its sacrificial practices. This book was originally published as a special issue of Angelaki: journal of the theoretical humanities. (shrink)

Indigenous psychologies are informed by their cosmogonies and cosmologies, philosophies, spirituality and religions, traditions and customs, and knowledge and praxis systems. This paper reviews some conceptions of consciousness, psyche, spirit, mental and physical health, relations to all Earth Beings (human and nonhuman), ancestors, nature, and altered states of consciousness among the Nahua and Maya of Mexico. Colonization has threatened these rich legacies by imposing the conquerors' cosmologies. However, these Indigenous communities continue to use plants, mushrooms, and some animals to generate (...) altered states of consciousness, enacting sacred rituals and healing. The conclusion recommends learning from these knowledge and praxes systems and their related consciousness and spiritual states to expand the emergence of decolonial psychology that may offer alternatives to address the challenges of our time. (shrink)

This essay is an inquiry into the socio-cultural history of the use of forceps in 19th-century Mexico. It argues that the knowledge and practices that the use of such instruments implied were related to complex and controversial issues of the time regarding gender, race and national identity. In my study of operations involving forceps, I found that the adoption of medical instruments depended not only upon their supposedly greater operative efficiency but also upon the political and medical meanings attributed to (...) the pelves of Mexican women. Early 19th-century obstetrics conceived the womb as an example of ‘living nature’ whose qualities assured that births were ‘normally happy events’ making the use of forceps and other instruments unnecessary. However, by mid-century, in the aftermath of independence, Mexico was desperately attempting to forge its identity as a nation. Due to European theories of race, Mexican women came to be characterized as having pathologically deformed pelves that evidenced possible defects of racial formation. The analysis of operative practices involving forceps reveals just how strongly such medical instruments became charged with a complex political definition of the ‘mestizo race’, which was seen to hold political promise for the future. In this context, forceps ceased to symbolize the threat of death, with which they had been associated since colonial times, and became artefacts that helped to assure the safe delivery of newborn mestizos by overcoming the problems of Mexican women's pathological pelves; although by the same token, the status of women as biologically inferior beings in need of medical assistance was reconfirmed. (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)

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)

Machine generated contents note: -- Preface to the English edition \ Translators' Introduction \Preface to the French Edition \ 1. Theses on Movement: First Commentary onBergson \ 2. Frame and Short, Framing and Cutting \ 3. Montage \ 4. TheMovement-Image and its Three Varieties: Second Commentary on Bergson \ 5. ThePerception-Image \ 6. The Affection-Image Face and Close-Up \ 7. TheAffection-Image: Qualities, Powers, Any-Space-Whatevers \ 8. From Affect toAction: The Impulse Image \ 9. The Action-Image: The Large Form \ 10. (...) The Action-Image:The Small Form \ 11. Figures, or the Transformation of Forms \ 12. The Crisisof the Action-Image \ Glossary \ Notes \ Index. (shrink)

Drawing on the critical theories of Jean Baudrillard, Cinema of Simulation performs close readings of key films to examine cinematic visions of mutational reality.