scholarly journals Interstices and impurities in the cinema

2013 ◽  
pp. 6-24
Author(s):  
Angela Dalle Vacche
Keyword(s):  
Film Theory ◽  
Science And Religion ◽  
Medium Specificity ◽  
Perpetual Motion ◽  
The Arts ◽  
Close Analysis ◽  
History Of ◽  
Religious Aspect

Through a close analysis of Alain Resnais’s Mon Oncle d’Amerique (1980), Angela Dalle Vacche argues that the French filmmaker interrogates the “humanity” of humans through art, science, and religion in the light of Andre Bazin’s film theory. On the scientific side, Resnais’s film clarifies Bazin’s modified Darwinian scheme about the history of the cinema. As far as the religious aspect is concerned, for Bazin and Resnais, the cinema is an illusionistic perpetual motion machine that aligns projection with a pseudo-resurrection of those who were in front of the camera. Finally, in contrast to all the arts and media that precede and follow the cinema, the references to interwoven textiles in Mon Oncle d’Amerique validate Bazin’s claim that cinema is not characterised by medium specificity.

André Bazin's Film Theory

2020 ◽  
Author(s):  
Angela Dalle Vacche
Keyword(s):  
A Priori ◽  
Film Theory ◽  
Religious Practice ◽  
Science And Religion ◽  
The Other ◽  
Ethical Awareness ◽  
Classical Geometry ◽  
Static Object ◽  
History Of ◽  
The Difference

The best way to understand Bazin’s film theory is to pay attention to art, science, and religion, since spectatorship depends on perception, cognition, and hallucination. By arguing that this dissident Catholic’s worldview is anti-anthropocentric, Angela Dalle Vacche concludes that cinema recapitulates the history of evolution and technology inside our consciousness, so that we may better understand how we overlap with, but also differ from, animals, plants, objects, and machines. Whereas in “Art,” the author explains the difference between painting as a static object and the moving image as an event unfolding in time, in “Science,” she discusses Bazin’s dislike of classical geometry and Platonic algebra, his fascination with biology and modern calculus to underline his holistic Darwinism, and his anti-Euclidean mathematics of motion and contingency. Comparable to a religious practice, Bazin’s cinema is the only collective ritual of the twentieth century capable of fostering an emotional community by calling on critical self-interrogation and ethical awareness. Especially keen on Italian neorealism, Bazin argues that this sensibility thrives on beings and things displacing themselves in such a way as to turn the Other into a Neighbor. Bazin’s film theory acknowledges the equalizing impact of the camera lens, which is analogous to, but also different from, the human eye. In the cinema, two different kinds of eyes coexist: one is mechanical and objective, the other is human and subjective. By refusing to reshape the world according to an a priori thesis, Bazin’s idea of an anti-anthropocentric cinema seeks surprise, dialogue, risk, and experiment.

Introduction: Emotion, History and the Arts

2018 ◽  
Vol 7 (2) ◽  
pp. 117-128 ◽  
Author(s):  
Erin Sullivan ◽  
Marie Louise Herzfeld-Schild
Keyword(s):  
Historical Change ◽  
Carson Mccullers ◽  
Emotional Life ◽  
Review Section ◽  
The Arts ◽  
Wide Range ◽  
War Correspondents ◽  
History Of ◽  
Johan Huizinga

This introduction surveys the rise of the history of emotions as a field and the role of the arts in such developments. Reflecting on the foundational role of the arts in the early emotion-oriented histories of Johan Huizinga and Jacob Burkhardt, as well as the concerns about methodological impressionism that have sometimes arisen in response to such studies, the introduction considers how intensive engagements with the arts can open up new insights into past emotions while still being historically and theoretically rigorous. Drawing on a wide range of emotionally charged art works from different times and places—including the novels of Carson McCullers and Harriet Beecher-Stowe, the private poetry of neo-Confucian Chinese civil servants, the photojournalism of twentieth-century war correspondents, and music from Igor Stravinsky to the Beatles—the introduction proposes five ways in which art in all its forms contributes to emotional life and consequently to emotional histories: first, by incubating deep emotional experiences that contribute to formations of identity; second, by acting as a place for the expression of private or deviant emotions; third, by functioning as a barometer of wider cultural and attitudinal change; fourth, by serving as an engine of momentous historical change; and fifth, by working as a tool for emotional connection across communities, both within specific time periods but also across them. The introduction finishes by outlining how the special issue's five articles and review section address each of these categories, while also illustrating new methodological possibilities for the field.

Tanaka Kinuyo

2018 ◽  
Keyword(s):  
Industrial Development ◽  
Japanese Woman ◽  
Cultural Construction ◽  
Public Image ◽  
Special Focus ◽  
Japanese History ◽  
Female Subjectivity ◽  
Japanese Cinema ◽  
Close Analysis ◽  
History Of

This is the first book in English dedicated to the actress and director Tanaka Kinuyo. Praised as amongst the greatest actors in the history of Japanese cinema, Tanaka’s career spanned the industrial development of cinema - from silent to sound, monochrome to colour. Alongside featuring in films by Ozu, Mizoguchi, Naruse and Kurosawa, Tanaka was also the only Japanese woman filmmaker between 1953 and 1962, and her films tackled distinctly feminine topics such as prostitution and breast cancer. Because her career overlaps with a transformative period in Japan, especially for women, this close analysis of her fascinating life and work offers new perspectives into the Japanese history of women and classical era of national cinema. The first half of the book focuses on Tanaka as actress and analyses the elements and meanings associated with her star image, and her powerful embodiment of diverse, at times contradictory, ideological discourses. The second half is dedicated to Tanaka as director and explores her public image as filmmaker and her depiction of gender and sexuality against the national history in order to reflect on her role and style as author. With a special focus on the melodrama genre and on the sociopolitical and economic contexts of film production, the book offers a revision of theories of stardom, authorship, and women’s cinema. In examining Tanaka’s iconic reification of femininities in relation to politics, national identity, and memory, the chapters shed light on the cultural construction of female subjectivity and sexuality in Japanese popular culture.

Reuniting the Arts: Notes on the History of an Idea

1994 ◽  
Vol 18 (1) ◽  
pp. 3-9 ◽  
Author(s):  
Wolfgang Domling
Keyword(s):  
The Arts ◽  
History Of

Antarctica and Siegfried Kracauer’s Extraterrestrial Film Theory

2018 ◽  
Author(s):  
Jennifer Fay
Keyword(s):  
Film Theory ◽  
Media Theory ◽  
Human History ◽  
History Of ◽  
Human Purpose

`Siegfried Kracauer’s film and photographic theory along with cinematic records of early Antarctic exploration explain how this utterly inhospitable continent (Antarctica) and this media theory advance an alternative and denaturalized history of the present. Cinema has the capacity to reveal an earth outside of human feeling and utility without sacrificing the particularity that gets lost in scientific abstraction. And Antarctica, for so long outside of human history altogether, simply numbs feeling and refuses to yield to human purpose. It is also a continent on which celluloid encounters its signifying limits. Kracauer, this chapter argues, helps us to imagine an estranged and selfless relationship to an inhospitable or even posthospitable earth that may not accommodate us.

George Gabriel Stokes

2019 ◽  
Keyword(s):  
Fluid Dynamics ◽  
History Of Science ◽  
Mathematical Analysis ◽  
Royal Society ◽  
Science And Religion ◽  
Cambridge University ◽  
Public Servant ◽  
History Of ◽  
The Many ◽  
Natural Philosophers

George Gabriel Stokes was one of the most significant mathematicians and natural philosophers of the nineteenth century. Serving as Lucasian professor at Cambridge he made wide-ranging contributions to optics, fluid dynamics and mathematical analysis. As Secretary of the Royal Society he played a major role in the direction of British science acting as both a sounding board and a gatekeeper. Outside his own area he was a distinguished public servant and MP for Cambridge University. He was keenly interested in the relation between science and religion and wrote extensively on the matter. This edited collection of essays brings together experts in mathematics, physics and the history of science to cover the many facets of Stokes’s life in a scholarly but accessible way.

Conclusion

2017 ◽  
Author(s):  
Andrea Harris
Keyword(s):  
New York ◽  
Twentieth Century ◽  
New York City ◽  
Driving Force ◽  
George Balanchine ◽  
Current State ◽  
The Arts ◽  
History Of ◽  
Lincoln Center

The Conclusion briefly examines the current state of the New York City Ballet under the auspices of industrial billionaire David H. Koch at Lincoln Center. In so doing, it to introduces a series of questions, warranting still more exploration, about the rapid and profound evolution of the structure, funding, and role of the arts in America through the course of the twentieth century. It revisits the historiographical problem that drives Making Ballet American: the narrative that George Balanchine was the sole creative genius who finally created an “American” ballet. In contrast to that hagiography, the Conclusion reiterates the book’s major contribution: illuminating the historical construction of our received idea of American neoclassical ballet within a specific set of social, political, and cultural circumstances. The Conclusion stresses that the history of American neoclassicism must be seen as a complex narrative involving several authors and discourses and crossing national and disciplinary borders: a history in which Balanchine was not the driving force, but rather the outcome.

Impact of the 2020 crises on the arts and culture in the United States: The effect of COVID-19 and the Black Lives Matter movement in historical context

2020 ◽  
Vol 27 (4) ◽  
pp. 449-465
Author(s):  
Stanley N. Katz ◽  
Leah Reisman
Keyword(s):  
United States ◽  
Historical Context ◽  
The United States ◽  
Cultural Organizations ◽  
Black Lives Matter ◽  
The Arts ◽  
Arts And Culture ◽  
History Of ◽  
Cultural Sector ◽  
The Impact

AbstractThis article discusses the impact of the COVID-19 pandemic and the Black Lives Matter movement on the arts and cultural sector in the United States, placing the 2020 crises in the context of the United States’s historically decentralized approach to supporting the arts and culture. After providing an overview of the United States’s private, locally focused history of arts funding, we use this historical lens to analyze the combined effects of the pandemic and Black Lives Matter movement on a single metropolitan area – Philadelphia, Pennsylvania. We trace a timeline of key events in the national and local pandemic response and the reaction of the arts community to the Black Lives Matter movement, arguing that the nature of these intersecting responses, and their fallout for the arts and cultural sector, stem directly from weaknesses in the United States’s historical approach to administering the arts. We suggest that, in the context of widespread organizational vulnerability caused by the pandemic, the United States’s decentralized approach to funding culture also undermines cultural organizations’ abilities to respond to issues of public relevance and demonstrate their civic value, threatening these organizations’ legitimacy.

scholarly journals Just Mothering: Amy Coney Barrett and the Racial Politics of American Motherhood

Laws ◽  
2021 ◽  
Vol 10 (2) ◽  
pp. 36
Author(s):  
H. Howell Williams
Keyword(s):  
Middle Class ◽  
Political Development ◽  
American Political Development ◽  
White Family ◽  
Public And Private ◽  
Close Analysis ◽  
History Of ◽  
Republican Motherhood ◽  
A Site ◽  
Confirmation Hearings

Justice Amy Coney Barrett’s nomination and confirmation featured frequent references to her role as a mother. This article situates these references within the trajectory of American political development to demonstrate how motherhood operates as a mechanism for enforcing a white-centered racial order. Through a close analysis of both the history of politicized motherhood as well as Barrett’s nomination and confirmation hearings, I make a series of claims about motherhood and contemporary conservatism. First, conservatives stress the virtuousness of motherhood through a division between public and private spheres that valorizes the middle-class white mother. Second, conservatives emphasize certain mothering practices associated with the middle-class white family. Third, conservatives leverage an epistemological claim about the universality of mothering experiences to universalize white motherhood. Finally, this universalism obscures how motherhood operates as a site in which power distinguishes between good and bad mothers and allocates resources accordingly. By attending to what I call the “republican motherhood script” operating in contemporary conservatism, I argue that motherhood is an ideological apparatus for enforcing a racial order premised on white protectionism.

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