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)

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)

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)

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)

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)

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)

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)

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)

Cinema Derrida charts Jacques Derrida's collaborations and appearances in film, video, and television beginning with 1983's Ghost Dance (dir. Ken McMullen, West Germany/UK) and ending with 2002's biographical documentary Derrida (dir. Dick and Ziering, USA). In the last half of his working life, Derrida embraced popular art forms and media in more ways than one: not only did he start making more media appearances after years of refusing to have his photo taken in the 1960s and 1970s, but his (...) philosophy started to draw more explicitly from visual culture and artistic endeavours. While this book offers explanations of this transition, it contends the image of "Jacques Derrida" that emerges from film and TV appearances remains spectral, constantly deferring a complete grasp of him. Tyson Stewart draws out the main tenets of spectrality from Derrida's seminal texts Of Grammatology and Specters of Marx and other writings, like Echographies of Television, in order to fill a gap in studies of Derrida and film. Throughout the book, he explains how various techniques and spectral effects such as slow motion, stillness, repetition, mise-en-abîme, direct address, and focus on body parts/bodily presence bring about a structure of spectrality wherein the past other returns to make impressions and ethical demands on the viewer. Drawing on communication theory and film and media studies, Cinema Derrida makes a major intervention in classical communication thought. (shrink)

Drawing together eighteen contributions from leading international scholars, this book conceptualizes the history and theory of cinema's century-long relationship to modes of exploration in its many forms, from colonialist expeditions to decolonial radical cinemas to the perceptual voyage of the senses made possible by the cinematic apparatus. This is the first anthology dedicated to thinking cinema's relationship to exploration from a global, decolonial, and ecological perspective. Featuring leading scholars working with pathbreaking interdisciplinary methodologies (drawing upon insights from science (...) and technology studies, postcolonial theory, indigenous ways of knowing, and film theory and history), it theorizes cinema's implication in imperial conquest but also its cutting edge role in empirical expansion and experiments in sensual and critical perception. The collected essays consider filmmaking in cross-cultural contexts, consider films made in or about peoples in South America, Asia, Africa, indigenous North America, as well as polar, outer space, and underwater exploration, with famous figures such as Jacques Yves Cousteau are considered alongside amateur and scientific filmmakers. The essays in this collection are ideal for a broad range of scholars, graduate students, and advanced undergraduate students in Cinema and Media Studies, Cultural Studies, and cognate fields. (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)

Iris Murdoch was not only one of post-war Britain's most celebrated and prolific novelists - she was also an influential philosopher, whose work was concerned with the question of the good and how we can see our moral worlds more clearly. Murdoch believed that paying attention to art is a way for us to become less self-centred, and this book argues that cinema is the perfect form of art to enable us to do this. Bringing together Murdoch's moral philosophy (...) and contemporary cinema to build a dialogue about vision, ethics and love, author Lucy Bolton encourages us to view cinema as a way of studying other worlds and moral journeys, and to reflect upon their ethical significance in the world of the film and in our daily lives. (shrink)

Cinema and Agamben brings together a group of established scholars of film and visual culture to explore the nexus between the moving image and the influential work of Italian philosopher Giorgio Agamben. Including two original texts by Agamben himself, published here for the first time in English translation, these essays facilitate a unique multidisciplinary conversation that fundamentally rethinks the theory and praxis of cinema. In their resourceful analyses of the work of artists such as David Claerbout, Jean-Luc Godard, (...) Philippe Grandrieux, Michael Haneke, Jean Rouch, and others, the authors put to use a range of key concepts from Agamben's rich body of work, like biopolitics, de-creation, gesture, potentiality and profanation. Sustaining the eminently interdisciplinary scope of Agamben's writing, the essays all bespeak the importance of Agamben's thought for forging new beginnings in film theory and for remedying the elegiac proclamations of the death of cinema so characteristic of the current moment. (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)

Describing Cinema is part theory, part rhetoric, and part pedagogy. It examines and demonstrates acts of describing scenes, shots, and sequences in films, as probably the most common and the most underestimated way viewers respond to movies. Practiced energetically and carefully, descriptions become exceptionally rich ways to demonstrate and celebrate the activities, varieties, and challenges of a central generative movement in the viewing and interpretation of films. My motto might be an inversion of one character's tongue-in-cheek remark in Jean-Luc (...) Godard's First Name, Carmen (played by Godard himself), "badly seen, badly said," rephrased for this project as "badly said, badly seen." Here, that phrase becomes an indication how acts of describing films or parts of films can measure and instantiate complex ways of seeing that are partly about accuracy but also about the mobility of understanding and interpretation. At its best, describing films never simply denotes actions, images, sounds, or styles but rather produces the orchestration of one or more of those dimensions as an often creative and intersubjective movement between images, viewers, and a rhetorical language. Here, especially, writing about film becomes thinking about film. Part I provides a theoretical basis for this argument. Part II features sixteen short essays from landmarks of post-war cinema that demonstrate the energy and movement of precise descriptions. (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)

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)

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...

For Alain Badiou, films think, and it is the task of the philosopher to transcribe that thinking. What is the subject to which the film gives expressive form? This is the question that lies at the heart of Badiouʹs account of cinema. He contends that cinema is an art form that bears witness to the Other and renders human presence visible, thus testifying to the universal value of human existence and human freedom. Through the experience of viewing, the (...) movement of thought that constitutes the film is passed on to the viewer, who thereby encounters an aspect of the world and its exaltation and vitality as well as its difficulty and complexity. Cinema is an impure art cannibalizing its times, the other arts, and people -- a major art precisely because it is the locus of the indiscernibility between art and non-art. It is this, argues Badiou, that makes cinema the social and political art par excellence, the best indicator of our civilization, in the way that Greek tragedy, the coming-of-age novel and the operetta were in their respective eras. -- Publisher description. (shrink)

Global airspace, global cinemaspace -- Aerial perceptions: the visuality of the airplane -- Airborne cinema: the emergence of inflight entertainment -- Executive flight: attention, gender and the seatback screen -- Networked transport: neoliberalism and digital entertainments -- Disastrous speed: thrill rides, screens and fear of flying -- Live in air: aerial circuits of television -- Conclusion: cinema as infrastructure.

Introduction: cinema, globalization and the posthuman object -- Consuming objects -- Exotic objects -- Part objects: war, disavowal, and the logic of substitution -- Objects of desire -- Posthuman objects.

This updated edition of Cinema in the Digital Age takes a fresh look at the state of digital cinema. It pays special attention to the ways in which nostalgia for the look and feel of analogue disrupts the aesthetics of the digital image and examines how recent films have disguised and erased their digital foundations.

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?

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.

Victor Fan's dialogue between Buddhism and Euro-American philosophy is the first of its kind in film and media studies. From Chinese queer cinema to a reexamination of Japanese master Ozu's work and its historical reception to Christian Petzold's 2018 existential thriller Transit, Cinema Illuminating Reality forges a remarkable path between Buddhist studies and cinema studies, casting vital new light on both of these important subjects.

"In this edited collection, an international ensemble of scholars examine what contemporary cinema tells us about neoliberal capitalism and cinema, exploring whether filmmakers are able to imagine progressive alternatives under capitalist conditions. Individual contributions discuss filmmaking practices, film distribution, textual characteristics and the reception of films made in different parts of the world. They engage with topics such as class struggle, debt, multiculturalism and the effect of neoliberalism on love and sexual behaviour. Written in accessible, jargon-free language, Contemporary (...) Cinema and Neoliberal Ideology is an essential text for those interested in political filmmaking and the political meanings of films."--Provided by publisher. (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)

"The contributions to this book offer a broad vision of the relationships that were established between Greek Philosophy and the Mystery Cults. The authors centre their attention on such thinkers as Plato, Aristotle, and the Stoic and the Neoplatonist philosophers, who used - and in some cases criticised - doctrinal elements from Mystery Cults, adapting them to their own thinking. Thus, the volume provides a new approach to some of the most renowned Greek philosophers, highlighting the influence that Mystery Cults, (...) such as Orphism, Dionysianism, or the Eleusinian rites, had on the formation of fundamental aspects of their thinking. Given its interdisciplinary character, this book will appeal to a broad academic readership interested in the origin of Hellenic thinking and culture. It will be especially useful for those eager for a deeper approach to two fundamental domains that attract the attention of many Antiquity scholars: Greek philosophy and religion. (shrink)

Introduction: Excess, the gaze, and cinema of confinement -- Excess in confinement in Room and Green room -- Big window, big other: enjoyment and spectatorship in Alfred Hitchcock's Rope -- Interior confinement: shattering and disintegration in Ingmar Bergman's The passion of Anna -- It "over-looks": movement and stillness in Stanley Kubrick's The shining -- "It's just a show?" Paranoia and provocation in Oliver Stone's Talk radio -- Voices, telephones, and confined spaces: Phone booth and Locke -- Captive, captor, and (...) aliens: 10 Cloverfield lane -- Conclusion: 127 hours, The wall, Panic room, and Cyberspace. (shrink)

Cinema and the automatic sweetheart. The work of art as an automatic sweetheart. Automatic sweethearts without names: the place of films in the world of art -- Cinema and new realism. Realism and trasparency in film. What is new in realism? Cinema, philosophy and the rediscovery of reality -- Cinema and documediality. The movie theatre of Babel. Toward a new ontology of film. The digital secret of the moving image -- Cinema and the ontology of (...) the cell phone. Double signature. An ontology for mobile movies. Film me, stupid. On Eco on mobile phones and stupidity -- Cinema and animality. Humans, animals, machines. Anthropocentrism and science fiction cinema. (shrink)