scholarly journals From Caméra-Stylo to Photobook: On Chris Marker’s Staring Back

2012 ◽  
Vol 23 (1) ◽  
pp. 113-132
Author(s):  
Jan Baetens
Keyword(s):  
Film Studies ◽  
The Political ◽  
Close Reading ◽  
Still Images ◽  
Moving Image ◽  
Political Issues ◽  
Moving Images ◽  
Strong Emphasis ◽  
The Relationship

In this article, the author analyzes Chris Marker’s photography, in particular the project Staring Back (an exhibition and a book, published in 2007), which offers a synthesis in fixed images of the film career of this author who has always explored the blurred boundaries between the still and the moving image (for example in his 1962 cult movie La jetée, or in later photo-films such as Si j’avais quatre dromadaires, 1966, and Le souvenir d’un avenir, with Yannick Bellon, 2001). The author relies on Marker’s notion of the “superluminal” (which refers to a special way of selecting still images out of the flow of moving images) as well as on contemporary and historical discussions on intermediality (inside and outside the domain of film studies alone) and cinephilia (as a specific way of combining writing and filming), to propose a close reading of Staring Back. In this reading, the author places strong emphasis on the political issues around looking and the relationship between artist and model.

scholarly journals Ideological Consistency, Political Orientation, and Variability Across Moral Foundations

2018 ◽  
Author(s):  
Tom Pyszczynski ◽  
Pelin Kesebir ◽  
Matt Motyl ◽  
Andrea Yetzer ◽  
Jacqueline M. Anson
Keyword(s):  
Political Orientation ◽  
Gun Control ◽  
The Political ◽  
Moral Foundations ◽  
Political Issues ◽  
Individual Level ◽  
Political Spectrum ◽  
The Relationship

We conceptualized ideological consistency as the extent to which an individual’s attitudes toward diverse political issues are coherent among themselves from an ideological standpoint. Four studies compared the ideological consistency of self-identified liberals and conservatives. Across diverse samples, attitudes, and consistency measures, liberals were more ideologically consistent than conservatives. In other words, conservatives’ individual-level attitudes toward diverse political issues (e.g., abortion, gun control, welfare) were more dispersed across the political spectrum than were liberals’ attitudes. Study 4 demonstrated that variability across commitments to different moral foundations predicted ideological consistency and mediated the relationship between political orientation and ideological consistency.

The Politics of Parody

2018 ◽  
Author(s):  
David Francis Taylor
Keyword(s):  
Eighteenth Century ◽  
William Shakespeare ◽  
John Milton ◽  
Literary History ◽  
Jonathan Swift ◽  
The Political ◽  
Political Issues ◽  
Political World ◽  
Novel Approach ◽  
The Relationship

This book explores how the works of William Shakespeare, John Milton, Jonathan Swift, and others were taken up by caricaturists as a means of helping the eighteenth-century British public make sense of political issues, outrages, and personalities. The first in-depth exploration of the relationship between literature and visual satire in this period, the book explores how great texts, seen through the lens of visual parody, shape how we understand the political world. It offers a fascinating, novel approach to literary history.

Hong Kong and Japan: Commerce, Culture and Contention

2003 ◽  
Vol 176 ◽  
pp. 1052-1067 ◽  
Author(s):  
Brian Bridges
Keyword(s):  
Political Economy ◽  
Hong Kong ◽  
Cultural Dimensions ◽  
Important Influence ◽  
The Political ◽  
Political Issues ◽  
The Relationship

This article analyses the nature of contemporary Hong Kong–Japan relations in their economic, political and cultural dimensions, setting the relationship within the broader context of Sino-Japanese relations, concerns about identity and nationalism within Hong Kong, and changing Japanese commercial priorities. While the commercial and popular cultural ties between Japan and Hong Kong remain dominant, since the mid-1990s political issues have become more visible in Hong Kong–Japan relations. Changing moods within Hong Kong about the handover and, after 1997, about the nature of the redefined relationship with China have had an important influence on the political economy of Hong Kong–Japan relations.

scholarly journals Ketika Agama dan Masyarakat Digital Menjadi Senjata Baru Propagada Politik

2018 ◽  
Vol 12 (2) ◽  
pp. 347
Author(s):  
Safutra Rantona ◽  
Asmaul Husna
Keyword(s):  
Interest Groups ◽  
Collective Identity ◽  
Major Axis ◽  
The Political ◽  
Political Issues ◽  
Virtual Spaces ◽  
The People ◽  
The Social ◽  
Religious Social Movements ◽  
The Relationship

Nineteen months have passed, but the action of the political religious social movements which born post religious sacrilege case on Elections Jakarta turned out to be far from over. The movement originally was a step of consolidation in order to evoke the political consciousness of Muslims, now began to be infiltrated by other groups with particular interests. These interest groups considered to sharpen the conflict and cause the political noise never ended across this country. This article try to expose how the social-political issues played massif and structured in virtual spaces by interest groups in order to form the force and gained the power of politics. And how the relationship between religion, state, and people are pitted in order that the collective identity look sharper. So no wonder that the people of Indonesia now seems to have split in two major axis, Religious versus Nationalist.Sembilan belas bulan telah berlalu, namun aksi dari gerakan sosial politik religius yang lahir pasca kasus penistaan agama pada Pilkada DKI Jakarta ternyata belumlah usai. Gerakan yang semula merupakan sebuah langkah konsolidasi guna membangkitkan kesadaran politik umat islam, kini mulai ditunggangi oleh kelompok lain dengan kepentingan tertentu. Kelompok kepentingan inilah yang ditengarai memperkeruh konflik dan menyebabkan kegaduhan politik tak kunjung usai di seantero negeri. Artikel ini mencoba memaparkan bagaimana isu-isu sosial politik kemudian dimainkan secara massif dan terstruktur dalam ruang-ruang virtual oleh kelompok kepentingan guna membentuk kekuatan politik dan demi meraih kekuasaan. Serta bagaimana relasi antara agama, rakyat, dan negara dibenturkan agar identitas kolektif terlihat lebih tajam. Maka tak heran jika kini rakyat Indonesia seolah telah terpropaganda dan terbelah dalam dua poros besar, Agamis dan Nasionalis.

scholarly journals Pixels, Police, and Batons

2021 ◽  
Vol 74 (3) ◽  
pp. 9-22
Author(s):  
Cameron L. White
Keyword(s):  
Hong Kong ◽  
Digital Media ◽  
Film Studies ◽  
Mainland China ◽  
Film History ◽  
Film Festival ◽  
Moving Image ◽  
Moving Images ◽  
Frequent Form ◽  
Productive Potential

The 2019 Hong Kong protests witnessed not only sustained physical demonstrations by locals, but also a swell of online digital media that recorded and remixed conflicts between protestors and police. By documenting key moving images that circulated throughout social media and the film festival circuit, White’s essay reorients Hong Kong film studies’ relationship with the digital. Although cinema played a secondary role in the 2019 protests compared to digital media, numerous intertextual linkages demonstrate the productive potential of considering the two together. Special attention is given to the cops-and-robbers genre, a linchpin in local film history and a frequent form of choice for Hong Kong-mainland China coproductions. While the troubled representation of police in 2019 and beyond suggests that the future of the genre is unstable, the ingenuity of recent digital media demonstrates Hong Kong’s enduring potential for moving image innovation.

Camera as Object and Process: An Interview with Victor Burgin

2013 ◽  
Vol 30 (7-8) ◽  
pp. 199-219
Author(s):  
Ryan Bishop ◽  
Sean Cubitt
Keyword(s):  
Aesthetics And Politics ◽  
Global Village ◽  
Site Specific ◽  
Moving Image ◽  
Moving Images ◽  
The Status ◽  
Relationship Of ◽  
The Relationship ◽  
Visual Technologies

Using a number of his recent site-specific installations, conceptual artist and theorist Victor Burgin discusses the status and future of the camera from photography to moving image to computer-generated virtual works that combine both still and moving images. In the process he modifies Bazin’s question ‘What is cinema?’ to ask ‘What is a camera?’ These works extend and develop Burgin’s long-standing interest in the relationship of aesthetics and politics as rendered through visualization technologies, especially as it pertains to space. Burgin’s discussion constructs a genealogy of seeing, visualizing and image-making as technologically-determined and crafted. The ideology of vision and the ideological artefacts produced by and through visual technologies from perspectival painting to analog photography to computer imaging constitute, in Burgin’s argument, ‘the ideological chora of our spectacular global village’.

scholarly journals Zelig jako docufiction

2018 ◽  
Vol 21 (30) ◽  
Author(s):  
Marek Hendrykowski
Keyword(s):  
Film Studies ◽  
Precise Definition ◽  
Original Form ◽  
Close Reading ◽  
Wide Audience ◽  
Moving Images ◽  
Documentary Fiction ◽  
Moving Pictures ◽  
Definition Of

This close-reading analysis and interpretation examines the original form of Woody Allen’s masterpiece Zelig (1983). The author combines a film studies approach with an investigation of epistemological and semiotic reflections on moving images. The author emphasises that more than three decades ago Allen gave to a wide audience a critical, sceptical and ironic vision of the “documentary” (esp. regarding the “truth”) status of moving pictures. This study also introduces also important terminological distinction between “mockumentary” (“fake-documentary”) and a contrasting category, that is, “documentary fiction” (also called “docufiction”), giving an instructive and precise definition of both.

Photography as Rhythm: On Prairie

2019 ◽  
pp. 393-412
Author(s):  
Domietta Torlasco
Keyword(s):  
The Political ◽  
Sergei Eisenstein ◽  
The Past ◽  
Moving Images ◽  
Zero Degree ◽  
The Aesthetic ◽  
The Relationship

This chapter explores Victor Burgin's Prairie through rhythm and the aesthetic conditions for constituting politically viable engagements with the image. The chapter posits rhythm as something simultaneously organising the relationship between the political and the aesthetic and as a principle that can undo that organisation. In this manner, the argument draws on Barthes' concept of 'zero degree' to render the contradictory and ultimately irreconcilable concerns of Burgin's projection pieces evoked and embodied by their rhythms. Drawing on writings by Sergei Eisenstein and many others, the chapter asks the following questions in relation to still and moving images: can we envision a rhythm that, at a juncture between the aesthetic and the political, does not operate as a principle of systematic organisation? What image of the past and of the collective would this other rhythm engender?

A Cinema of Movement

Screen Bodies ◽  
2017 ◽  
Vol 2 (2) ◽  
pp. 45-63
Author(s):  
Michele Barker
Keyword(s):  
New Media ◽  
Slow Motion ◽  
New Approach ◽  
Moving Image ◽  
Media Arts ◽  
Moving Images ◽  
The Creation ◽  
The Aesthetic ◽  
The Relationship

In this article, I consider some of the aesthetic and temporal forces that give us the opportunity to rethink the relationship between movement and perception in cinema and new media practice. Following Bergson and Deleuze, I offer an idea of the moving image that considers how we can move with the image’s movement. Through a discussion of my own media arts practice, I suggest a new approach to the creation of images that create movement, one where we feel rather than see imperceptibility. Considered in relation to other artistic and scientific deployments of imperceptibility revealed in the use of slow motion in contemporary moving images, this “feeling” of movement summons a kind of time that is neither atemporal nor a subdivision of time but rather a time of moving with images.

Sergei Eisenstein

2013 ◽  
Author(s):  
Masha Salazkina ◽  
Katarina Mihailovic
Keyword(s):  
Film Studies ◽  
The Political ◽  
Orson Welles ◽  
Avant Garde ◽  
Sergei Eisenstein ◽  
Standard Curriculum ◽  
History Of ◽  
The Spectator ◽  
Historical Writings ◽  
The Relationship

Sergei Eisenstein (Sergei Mikhailovich Eizenshtein, b. Riga, Latvia, 1898–d. Moscow, 1948) remains one of the most celebrated filmmakers and theorists in the history of cinema. He achieved this status internationally during his lifetime, and since his death the overall volume of critical and theoretical writing exploring his work, life, and legacy is surpassed only by that on Alfred Hitchcock and Orson Welles. At least one of his films—Battleship Potemkin (1925)—is inevitably included in every list of “the greatest films ever made,” and both his films and his theoretical writings are a regular part of the standard curriculum of film studies. Eisenstein’s canonical status as a filmmaker from the 1920s through the 1980s can largely be accounted for by the fact that his films have been seen as models for radical political filmmaking, combining antirealist avant-garde cinematic technique with a commitment to the transformation of the political consciousness of the spectator. The availability of archival materials and restorations of unfinished films in the 1980s and 1990s, combined with a renewed interest in historiography within the field of film studies, has led to a reconsideration of Eisenstein’s film legacy. The enduring question that has shaped much of the critical and historical writings on his films has been about the relationship between the ideological mandates of the Soviet state, particularly of the late Stalinist period (1930s–1940s), and the evolution of Eisenstein’s cinematic style.

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