scholarly journals New approaches to neorealism in Italian cinema

Modern Italy ◽  
2020 ◽  
Vol 25 (3) ◽  
pp. 333-340
Author(s):  
Damiano Garofalo
Keyword(s):  
The Other ◽  
Postwar Period ◽  
Italian Cinema ◽  
Global Level ◽  
Cinema Studies ◽  
Descriptive Term ◽  
New Approaches ◽  
European Culture ◽  
The 1960S ◽  
The Way

In an article with the challenging title ‘Against Realism’, Alan O'Leary and Catherine O'Rawe (2011) argued that Italian cinema studies needed to move forward. In their view, the abuse of ‘realism’ as a prescriptive as well as descriptive term had stunted research into Italian cinema of the postwar period, channelling it exclusively towards neorealist trends and thus devaluing study of the other forms, movements, auteurs and productions that emerged during the same period. This historiographical tendency, which Christopher Wagstaff aptly called the ‘institution of neorealism’ (2007, 37), encouraged the development of reverential study and by the 1960s had assumed the form of a canon. While the position taken by O'Leary and O'Rawe was certainly provocative, it has served to stimulate thinking about the areas of postwar Italian cinema that had remained in the shadows and unexplored. Starting to focus on an ‘other’ cinema has not had to mean ‘forgetting’ neorealism, but has brought changes to the way that it is studied. Almost ten years later, the challenge seems to be to rethink neorealism as a transnational phenomenon that straddles different periods, genres and contexts; while it has its roots in postwar European culture, it continues to be influential on a global level.

The foundations and prerequisites of imagology

2021 ◽  
pp. 65-74
Author(s):  
Valerii P. Trykov ◽  
Keyword(s):  
Social Engineering ◽  
Dominant Strategy ◽  
The Other ◽  
Special Role ◽  
The West ◽  
European Culture ◽  
Post War ◽  
The 1960S ◽  
The One ◽  
Eu Project

The article examines the conceptual foundations and scientific, sociocultural and philosophical prerequisites of imagology, the field of interdisciplinary research in humanitaristics, the subject of which is the image of the “Other” (foreign country, people, culture, etc.). It is shown that the imagology appeared as a response to the crisis of comparatives of the mid-20th century, with a special role in the formation of its methodology played by the German comparatist scientist H. Dyserinck and his Aachen School. The article analyzes the influence on the formation of the imagology of post-structuralist and constructivist ideological-thematic complex (auto-reference of language, discursive history, construction of social reality, etc.), linguistic and cultural turn in the West in the 1960s. Shown is that, extrapolated to national issues, this set of ideas and approaches has led to a transition from the essentialist concept of the nation to the concept of a nation as an “imaginary community” or an intellectual construct. A fundamental difference in approaches to the study of an image of the “Other” in traditional comparativism and imagology, which arises from a different understanding of the nation, has been distinguished. It is concluded that the imagology studies the image of the “Other” primarily in its manipulative, socio-ideological function, i.e., as an important tool for the formation and transformation of national and cultural identity. The article identifies ideological, socio-political factors that prepared the birth of the imagology and ensured its development in western Humanities (fear of possible recurrences of extreme nationalism and fascism in post-war Europe, the EU project, which set the task of forming a pan-European identity). It is concluded that the imagology, on the one hand, has actualized an important field of scientific research — the study of the image of the “Other”, but, on the other hand, in the broader cultural and historical perspective, marked a departure not only from the traditions of comparativism and historical poetics, but also from the humanist tradition of the European culture, becoming part of a manipulative dominant strategy in the West. To the culture of “incorporation” into a “foreign word” in order to understand it, preserve it and to ensure a genuine dialogue of cultures, the imagology has contrasted the social engineering and the technology of active “designing” a new identity.

The Nature of Op Art: Bridget Riley and the Art of Nonrepresentation

10.1068/d54j ◽  
2005 ◽  
Vol 23 (3) ◽  
pp. 351-371 ◽  
Author(s):  
Simon Rycroft
Keyword(s):  
Recent Work ◽  
Ways Of Knowing ◽  
The Other ◽  
Postwar Period ◽  
Representational Practices ◽  
The World ◽  
Representational Practice ◽  
The 1960S ◽  
Media Practices ◽  
Critical Writings

The monochrome paintings of the British Op artist Bridget Riley produced between 1960 and 1965, in common with a number of experimental arts and media practices of the 1960s, were characterised by a drift away from traditional representational techniques towards what are now described as nonrepresentational practices. The dynamics of the Op Art aesthetic and the critical writings that surround it bear striking similarities to much recent work on nonrepresentational thought. Based upon an engagement with Riley's early work, and specifically with the perception and understanding of nature it engendered, an argument can be made that suggests that, despite claims to the contrary, Riley was engaged in a form of representational practice that rendered a new and fashionable understanding of cosmic nature. The multidimensional nature evoked in her aesthetic was designed to be experienced by the viewer in a precognitive, embodied fashion. In this there are strong echoes with the call made by nonrepresentational theorists who operationalise the same kind of cosmology to develop an evocative, creative account of the world. Both Op Art and nonrepresentational thought seem to build upon a shift in the representational register that occurred during the immediate postwar period, one which prompted representational practices which attempted to subjectify rather than objectify, to evoke instability and multidimensionality, and to exercise not only visual, oral, and cognitive ways of knowing, but also the precognitive and the haptic. The complex corelations between representation and nonrepresentation are apparent here, suggesting that it is problematic to emphasise one side of the duality over the other.

scholarly journals El Cine y la Villa Malaparte de Capri

2020 ◽  
Author(s):  
Oscar Canalís Hernández
Keyword(s):  
Similar Condition ◽  
The Other ◽  
Intermediate Step ◽  
The Novel ◽  
Singular Element ◽  
New Approaches ◽  
Moving Images ◽  
Other Hand ◽  
Alberto Moravia ◽  
The Way

La Pelle, novel or autobiographical story by Curzio Malaparte and La Pelle, film by Liliana Cavani. Written hypotext and visual hypertext in terminology of literary and interartistic theory. On the other hand there are Il disprezzo, novel by Alberto Moravia and Le Mépris, film by Jean-Luc Godard, in a similar condition. There is always an intermediate step: it is the script, written but already prefiguring moving images. We can consider it both hypotexts of the novel and hypertext of the film. In Liliana Cavani’s film, the Malaparte house is necessarily the same as in the novel, where it appears and is explicitly described. However in the case of Le Mépris it is a choice of Godard, since the reference to the house in the novel only prefigures that the house is in Capri and has nice views to Punta Campanella. As we will see some of the locations, when adapting to the configuration of the Malaparte, extract from the house specific original possibilities of the film and in some way they bring new approaches of greater plasticity to the scenes while, however, the dialogues between the characters remain almost intact. One example is the way in which a singular element such as the upper terrace of the house replaces the beach where Molteni, the screenwriter, finds his wife Emilia. The same terrace appears as well as the set of the Odyssey version that begins to be shoot precisely at the end of Le Mépris.

scholarly journals A MEMÓRIA DO CARTÃO E A POTÊNCIA DA TAPEÇARIA

Palíndromo ◽  
2013 ◽  
Vol 5 (9) ◽  
Author(s):  
Elke Hulse
Keyword(s):  
Twentieth Century ◽  
Contemporary Art ◽  
The Other ◽  
New Approaches ◽  
Production Processes ◽  
Other Hand ◽  
The Way

RESUMO Nesse encontro pretende-se apresentar algumas dúvidas que ficaram ao final da dissertação “As Tramas dos Tapeceiros Narradores: Técnica e Criação” e alguns tópicos assinalados pela orientação naquela ocasião. Nos últimos quatro anos, relendo e ampliando o repertório bibliográfico, surgiram novos enfoques para discutir essas interrogações e principalmente nortear uma possível continuação da pesquisa. Esta tem por objetivo analisar um conjunto de imagens de tapeçarias de diferentes períodos da história juntamente, quando possível, com as pinturas ou desenhos e os cartões que lhe deram origem. Implica ainda em perceber essa sequência de atividades e assim poder avaliar se o cartão carrega consigo a memória da pintura, e por outro lado se a tapeçaria tem sua própria potência para que esta obra se torne o acontecimento. Inicialmente o conjunto de imagens que servirão como referência para analisar as demais tapeçarias contemporâneas é uma série produzida entre 1370/80 denominada O Apocalypse. A outra série de tapeçarias, produzida a partir de desenhos do artista francês Jean Lurçat, em meados do século XX, denominadas Le Chant Du Monde também será um importante referencial. No Brasil a pesquisa buscará as tapeçarias feitas a partir de pinturas do paisagista Roberto Burle Marx. Os tapeceiros contemporâneos Archie Brennan, Sarah Swett e Jean Pierre Larochette foram escolhidos pela relevância de seu trabalho, diferentes formações e processos de produção. Como se relacionam com os eventos de arte contemporânea e quais as preocupações com a produção da tapeçaria na contemporaneidade. Palavras ChaveTapeçaria, imagem, cartão, potência/acontecimento.  Abstract In this paper is intended to show some doubts that remained in the end of the dissertation “As Tramas dos Tapeceiros Narradores: Técnica e Criação” and some topics signed by counseling at the time. In the last four years, reading and amplifying my bibliographical repertory, new approaches appeared to discuss these questions and mostly to map a possible research construction. This study aims to analyze a set of tapestries’ images from different periods of history altogether, along to paintings or drawings and the cards that originated them. It implicates still perceiving this sequence of activities and thus be able to analyze if the card brings the painting’s memory, and on the other hand if tapestry has its own potential so this work can become the happening. Initially the set of images that will serve as reference to analyze the other contemporary tapestries is a series produced between 1370/80 named “The Apocalypse”. The other series of tapestries, produced from drawings of the French artist Jean Lurçat, in the mid-twentieth century, named Le Chant Du Monde will also be an important referential. In Brazil the study will serch the tapestries made from the landscaper paintings’ Roberto Burle Marx. The contemporary tapestry weavers Archie Brennan, Sarah Swett and Jean Pierre Larochette were chose by the relevance of their works, different backgrounds and production processes. The way they relate to contemporary art events and which are the worries towards the tapestry’s production in the contemporary. Key wordsTapestry, image, card, potential/ happening.

Introduction

2013 ◽  
Vol 45 (1) ◽  
pp. 127-128
Author(s):  
Nile Green
Keyword(s):  
South Asian ◽  
Middle Eastern ◽  
The Other ◽  
Colonial India ◽  
The Past ◽  
Central Asian ◽  
The 1960S ◽  
Cross Fertilization ◽  
The U.S ◽  
The Way

Compared to its neighboring countries, Afghanistan remains something of a blank on the historiographical map. Falling between Middle Eastern, South Asian, and Central Asian fields of expertise, it is in many respects the last great unclaimed territory of historical studies, not so much competed over as ignored by scholars trained in these areas. Despite a rich burst of scholarship in the 1960s, and the efforts of a small but distinguished cadre of scholars since then, Afghan history has neither truly developed as a historical field in its own right nor been successfully absorbed into the study of any of its adjacent regions. This is not to deny that Afghanistan has received some expert (and inexpert) attention since the U.S.-led intervention in late 2001: several important analytical works stand out among the shelves of other, more or less hastily written, books of the past decade. But anthropologists and political scientists have led the way; historians’ interventions in this burgeoning literature have been few. Of the three most significant books on Afghan history published since 2001, two deal with Afghanistan in relation to colonial India, and the other is a survey work written by an anthropologist (albeit benefiting from the analytical cross-fertilization).

scholarly journals La traición a la democracia. Ensayo sobre las relaciones entre universidad, democracia y ciudadanía desde la idea de traición

2019 ◽  
Vol 37 (1 Mar-Jun) ◽  
pp. 21-40
Author(s):  
David Luque
Keyword(s):  
Critical Thinking ◽  
The Other ◽  
University Education ◽  
Other Hand ◽  
New Challenges ◽  
Way Of Thinking ◽  
The 1960S ◽  
The One ◽  
The Way

A partir de los sesenta, los alumnos que comenzaron a acudir a las universidades creció exponencialmente. Esto modificó la forma de pensar esta institución en su relación con la democracia. Su razón de ser ya no se encontraba únicamente en el conocimiento, sino que se deducía del papel que debía jugar en la construcción de la ciudadanía. Esta modificación dio lugar a una serie de discusiones sobre el papel de la universidad en relación a los nuevosretos que les planteaba la ciudadanía. Y esas discusiones giraban casi siempre en torno a una misma idea: que cualquier tesis sobre la universidad suponía una traición. Y es justamente eso lo que estudia este artículo. Se concluye que, en la construcción de una ciudadanía democrática, han de combinarse dos consideraciones. La necesidad irrenunciable de la extensión de la formación universitaria como elemento sustancial de una ciudadanía y la necesidad de que esta formación esté presidida por un pensamiento crítico y una vocación de servicio político. From the 1960s, the number of students who began to attend universities grew exponentially. This changed the way of thinking about this institution in terms of its relationship with democracy. Its reason for being did not only lie in the articulation of knowledge but also in the role it should play in the construction of citizenship. This modification led to a series of discussions about the role of universities regarding the new challenges posed by citizens. And these discussions almost always revolved around the same idea: any argument about universities was a betrayal. And that is precisely what this article studies. It is concluded that, in the construction of democratic citizenships, two  considerations must be combined. On the one hand, the unrenounceable need for the extension of university education as a substantial element of citizenship and, on the other hand, the need for this type of education to bepresided over by critical thinking and a vocation for political service.

Webs of meaning: Theories and evidence from contemporary Ireland

2018 ◽  
Vol 26 (3) ◽  
pp. 223-243
Author(s):  
Tom Inglis
Keyword(s):  
Social Life ◽  
The Other ◽  
Social Structures ◽  
The 1960S ◽  
Meaning Theories ◽  
Do So ◽  
As If ◽  
The Way

Meaning is basic to social life. Without it we are, as Bourdieu put it, like fish out water. And yet, within mainstream sociology, meaning is taken for granted. There are two questions. Is it important to try and get at meaning? And, if yes, how do we do so? In this article, I argue that we have progressed much theoretically from the debate that took place between Schutz and Parsons back in the 1960s. It is as if meaning and structures are opposite sides of the same coin but we either look at one side or the other: we cannot address them simultaneously. However, I argue that to do good sociology, it is necessary to try to marry what is going on in the actor with the way in which the actor is constituted within social structures. Given that we can only develop an approximate understanding of any actor and that we can only develop an approximate understanding of social structures, any attempt to link the two is necessarily tentative but, nevertheless, worthwhile.

Development and regional planning within the decentralized administrative frame: case study (the Jordanian Experiment)

2018 ◽  
Vol 1 (2) ◽  
pp. 60-72
Author(s):  
Mansour Safran
Keyword(s):  
Regional Planning ◽  
The Other ◽  
Negative Effects ◽  
Administrative Procedures ◽  
The Way

This aims to review and analyze the Jordanian experiment in the developmental regional planning field within the decentralized managerial methods, which is considered one of the primary basic provisions for applying and success of this kind of planning. The study shoed that Jordan has passed important steps in the way for implanting the decentralized administration, but these steps are still not enough to established the effective and active regional planning. The study reveled that there are many problems facing the decentralized regional planning in Jordan, despite of the clear goals that this planning is trying to achieve. These problems have resulted from the existing relationship between the decentralized administration process’ dimensions from one side, and between its levels which ranged from weak to medium decentralization from the other side, In spite of the official trends aiming at applying more of the decentralized administrative policies, still high portion of these procedures are theoretical, did not yet find a way to reality. Because any progress or success at the level of applying the decentralized administrative policies doubtless means greater effectiveness and influence on the development regional planning in life of the residents in the kingdom’s different regions. So, it is important to go a head in applying more steps and decentralized administrative procedures, gradually and continuously to guarantee the control over any negative effects that might result from Appling this kind of systems.   © 2018 JASET, International Scholars and Researchers Association

Formative Influences

2018 ◽  
Author(s):  
Hilary Radner ◽  
Alistair Fox
Keyword(s):  
Michel Foucault ◽  
Roland Barthes ◽  
Film Analysis ◽  
The 1960S ◽  
Christian Metz ◽  
The Way

In this section of the interview, Bellour describes how he began to engage in film analysis in the 1960s, beginning with a sequence from Alfred Hitchcock’s The Birds, with the aim of establishing the way it worked as a “text.” He proceeds to describe his personal encounters with major figures like Roland Barthes, Claude Lévi-Strauss, Michel Foucault, and his friendship with Christian Metz, suggesting how his interchanges with them helped to shape his own thinking, and how it diverged from theirs.

Klein with Lacan: A Study on the Reception of Lacanian Ideas in Uruguay and Its Effects on Clinical Practices (1955–82)

2020 ◽  
Vol 22 (3) ◽  
pp. 341-361
Author(s):  
Gonzalo Grau-Pérez ◽  
J. Guillermo Milán
Keyword(s):  
Clinical Practice ◽  
Clinical Material ◽  
Clinical Practices ◽  
Before And After ◽  
The Difference ◽  
The 1960S ◽  
The Relationship ◽  
Discursive Approach ◽  
The Way ◽  
Clinical Cases

In Uruguay, Lacanian ideas arrived in the 1960s, into a context of Kleinian hegemony. Adopting a discursive approach, this study researched the initial reception of these ideas and its effects on clinical practices. We gathered a corpus of discursive data from clinical cases and theoretical-doctrinal articles (from the 1960s, 1970s and 1980s). In order to examine the effects of Lacanian ideas, we analysed the difference in the way of interpreting the clinical material before and after Lacan's reception. The results of this research illuminate some epistemological problems of psychoanalysis, especially the relationship between theory and clinical practice.

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