Moreover, presidential politics -- on the level of campaigns and governing -- have also exhibited a growing politics of image and spectacle. In our media-saturated society, politicians become celebrities who fine-tune their image through daily photo ops, spin out their message of the day and, like celebrities, employ image management firms to make sure their performance is playing well with the public.

Discussions of the exilic body in Hollywood cinema have tended to focus on the personal trajectories of émigré actors in the context of the broader history of the industry in which they achieved st...

Arnold Schwarzenegger's celebrity status allowed him to project a symbolic masculine persona that was effective in gaining political power as California governor. The well-known violent tough-guy persona that Schwarzenegger developed in the mid-1980s contributed to a post—Vietnam era cultural remasculinization of the American man. But this narrow hyper-masculinity was often caricatured in popular culture and delegitimized. In the 1990s and 2000s, Schwarzenegger forged a credible masculine imagery by introducing characters who were humorously self-mocking and focused on care (...) and protection of children. Schwarzenegger's resultant hybrid masculinity, the “Kindergarten Commando,” represents an ascendant hegemonic masculinity always foregrounding muscle, toughness, and the threat of violence and following with situationally appropriate symbolic displays of compassion. The equation of toughness plus compassion composing the Kindergarten Commando is asymmetrical, with toughness eclipsing compassion; this has implications for the kinds of policies that U.S. elected leaders advocate. Republicans utilize this masculine imagery in national politics to gain voters' trust in times of fear and insecurity and continue to employ a strategy that projects a devalued feminized stigma onto more liberal candidates. (shrink)

Film and television portrayals of posthuman cyborgs melding biology and technology, simultaneously “animal and machine” abound. Most of us immediately think of iconic characters like Arnold Schwarzenegger’s relentless cyborg assassin in the Terminator series or Peter Weller’s crime-fighting cyborg police officer in Robocop (1987). Or perhaps we recall the many cyborgs populating the Dr. Who, Star Trek, and Star Wars television series and films—including Darth Vader, surely the most famous cinematic cyborg of all time. But lesser-known explorations of cybernetic (...) embodiment have appeared in film and television for many decades. And not all portrayals involve the sort of extreme transformations exemplified by these iconic characters. This chapter considers some of different ways that film and television have explored the transformative relation between embodiment and technology. (shrink)

The Philosopher at the End of the Universe demonstrates how anyone can grasp the basic concepts of philosophy while still holding a bucket of popcorn. Mark Rowlands makes philosophy utterly relevant to our everyday lives and reveals its most potent messages using nothing more than a little humor and the plotlines of some of the most spectacular, expensive, high-octane films on the planet. Learn about: The Nature of Reality from The Matrix, Good and Evil from Star Wars, Morality from Aliens, (...) Personal Identity from Total Recall, The Mind-Body dilemma from Terminator, Free Will from Minority Report, Death and the Meaning of Life from Blade Runner, and much more. A search for knowledge about ourselves and the world around us with a star-studded cast that includes: Tom Cruise, Plato, Harrison Ford, Immanuel Kant, Arnold Schwarzenegger, Friedrich Nietzsche, Sigourney Weaver, René Descartes, and Keanu Reeves. Rowlands anchors his discussions in easily understood everyday terms and relates them in a manner easy to identify with. Interspersed with a ready joke or two, he wonderfully explains why those SciFi movies we love so much are much deeper than they appear to be on the surface. Mark Rowlands's entertaining and stimulating guide is perfect for anyone searching for knowledge of the world around us. If Keanu can understand Descartes surely everyone can. (shrink)

In the postmodern world, the value of knowledge itself is questioned, and by extension those who claim to be authorities on that knowledge. As a result, Arnold Schwarzenegger as action hero is just as credible as Arnold Schwarzenegger as governor, thus redefining the meaning of an informed citizen. If Arnold Schwarzenegger can rescue entire planets, then why can voters not assume that he will be able to save California? The blame for this theoretical shift belongs not with (...) the broader entertainment industry, but instead with the news industry itself. Such celebrities-in-politics issues are not limited to California or even the United States. This article explores the difficulties of obtaining a consensus on the central interpretation of credibility and truth in a postmodern society. (shrink)

Since Blood Simple, the first film they wrote and directed together, the Coen Brothers have been working their way up in the film world and, in spite of their outside-the-mainstream taste for the noir and the surreal, have earned a number of prestigious prizes. After Fargo, one of their most critically acclaimed films, expectations were high, and when the Brothers released their next bizarre venture, most critics rushed to measure it against Fargo’s success. Consequently, The Big Lebowski, the Coens’ 1998 (...) neo-noir detective comedy, was considered an incoherent, “unsatisfactory” medley of genres and styles and a box office bomb, and nothing hinted that this unorthodox story of mistaken identity, featuring a pot-smoking, unemployed character named the Dude as its “hee-ro,” would gain a following. Yet, since its 1998 DVD release, The Big Lebowski has been hailed as the first cult film of the Internet, continuously inspiring versatile cultural phenomena as nonconformist in their nature as the movie itself. This essay examines particular factors which initially might have been responsible for alienating the audience only to help The BigLebowski become a peculiar cultural event in later years. It looks at TheBig Lebowski’s characters, the historical time and place of the film’s action as well as at various external historical events, phenomena, places and people such as, for example, the Port Huron Statement, the Reagan-Bush era, Los Angeles and its immigration issues, racial minorities, civil rights activists, the Western genre and, last but not least, Arnold Schwarzenegger. Reflecting the film’s oddities, this bag of cultural idiosyncrasies appears to provide some plausible explanations for The Big Lebowski’s unexpected, against-all-odds rise from the marginal position of a critical and commercial failure to the status of a cult classic and cultural landmark. (shrink)

John Rawls’s political liberalism and its ideal of public reason are tremendously influential in contemporary political philosophy and in constitutional law as well. Many, perhaps even most, liberals are Rawlsians of one stripe or another. This is problematic, because most liberals also support the redefinition of civil marriage to include same-sex unions, and as I show, Rawls’s political liberalism actually prohibits same- sex marriage. Recently in Perry v. Schwarzenegger, however, California’s northern federal district court reinterpreted the traditional rational basis (...) review in terms of liberal neutrality akin to Rawls’s “public reason,” and overturned Proposition 8 and established same-sex marriage. (This reinterpretation was amplified in the 9th Circuit Court’s decision upholding the district court on appeal in Perry v. Brown.) But on its own grounds Perry should have drawn the opposite conclusion. This is because all the available arguments for recognizing same-sex unions as civil marriages stem from controversial comprehensive doctrines about the good, and this violates the ideal of public reason; yet there remains a publicly reasonable argument for traditional marriage, which I sketch here. In the course of my argument I develop Rawls’s politically liberal account of the family by drawing upon work by J. David Velleman and H. L. A. Hart, and discuss the implications of this account for political theory and constitutional law. (shrink)

I often imagine how good it would be to have a pair of those infrared binoculars -- the ones always used by the hero in movies to see what's ordinarily hidden by darkness. Similar is the alien's vision of warmth in _Predator_. In this film the commandos, led by Arnold Schwarzenegger, cannot escape the prying eyes that see the warmth of their bodies (no matter how much guerrilla is in their warfare).

The four talks collected here transcribe lectures delivered to an audience of children between the ages of ten and fourteen, under the auspices of the little dialogues series at the Montreuil's center for the dramatic arts. Modeled on Walter Benjamin's Aufklrung for Kinderradio talks, this series aims to awaken its young audience to pressing philosophical concerns. Each talk in God, Justice, Love, Beauty explores what is at stake in these topics as essential moments in human experience. (Indeed, the book argues (...) that they are constitutive of human experience.) Following each, Nancy's audience is given a chance to engage with him in a process of philosophical questioning; the texts of these touching and probing exchanges are included in the volume. Despite the fact that these lectures were delivered to an audience of children, the intellectual level they achieve-while remaining easily comprehensible-is astounding. No attempt is made to simplify Nancy's positions or to resolve the complexities that arise in the course of the talks or the question periods that follow. The work of opening performed here is fully in keeping with the strategy of Nancy's philosophy as a whole. Thus, for readers unfamiliar with his work, God, Justice, Love, Beauty will function as an excellent introduction to Nancy's larger corpus. As varied as the individual talks are, they share the motif of incalculability or the immeasurable. Broadly speaking, one could say that the various ways in which Nancy approaches this motif exemplify his deconstructive approach to think of human existence. As well, those treatments exemplify his conviction that the task of thinking is to develop original ways of communicating the incalculable.God, Justice, Love, Beauty is thus a skillful reminder that philosophy is important to all of us. The book is also a model of intellectual generosity and openness. Seamlessly moving from Schwarzenegger to Plato, from Kant, Roland Barthes, and Caravaggio to Caillou, Harry Potter, and the pages of Gala magazine, Nancy's wide-ranging references bear witness to his commitment to think of culturein its broadest sense. (shrink)