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Published: 01 July 2008
Figure 2 Cinema screen, flight crew briefing room. Figure 2. Cinema screen, flight crew briefing room. More
Cultural Politics (2017) 13 (2): 177–193.
Published: 01 July 2017
... cinema. Not only was he involved in every major postcolonial film, whether as a screenwriter, a scriptwriter, or even as an actor, but he single-handedly directed more than half a dozen films, each of which enjoyed wide national and international acclaim. His debut film, Man of Ashes , dramatizes...
Cultural Politics (2019) 15 (3): 358–371.
Published: 01 November 2019
... of the neoliberal subject. Now resembling the pattern hunters of speculative finance, the active spectator of political modernist cinema is today compromised by the new conditions of volatility, instability, hyperindividualism, and privatization that demand the same cognitive labor. In exploring how neoliberal...
Cultural Politics (2020) 16 (1): 24–43.
Published: 01 March 2020
... waiting to be rescued. To this end, French cinema reproduces the cultural and political hegemonies of imperial centers as French filmmakers continue to possess a larger margin of interpretation/manipulation of the past and selectively conceal certain historical encounters with colonialism while making...
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Cultural Politics (2021) 17 (2): 212–227.
Published: 01 July 2021
...Amelie Berger Soraruff Abstract French philosopher Bernard Stiegler inscribes himself in the tradition of critical theory. In this respect, the influence of Adorno and Horkheimer has been crucial to the development of his own understanding of cinema. Yet Stiegler reproaches his predecessors...
Cultural Politics (2011) 7 (2): 219–238.
Published: 01 July 2011
...Julian Reid What are the politics of Gilles Deleuze's study of cinematic modernity? In film studies, the discipline that formally assumes cinema as its object, Deleuze's concepts have been used to explore the processes by which national identities have been historically constructed...
Cultural Politics (2014) 10 (3): 333–353.
Published: 01 November 2014
...Phillip Roberts In Cinema 1 and Cinema 2 , Gilles Deleuze posits a huge change in the nature of cinematic time in the postwar years. In “Postscript on the Societies of Control,” he also claims to identify a change in power relations and control strategies that takes in a number of other media...
Cultural Politics (2009) 5 (3): 299–324.
Published: 01 November 2009
... displacement of class struggle in cinema. Class struggle, according to Žižek, represents the social Real, in the Lacanian sense. By focusing on the Lacanian Real, as opposed to the Imaginary or the Symbolic, Žižek accomplishes what early film theorists were only too eager (but unable) to develop...
Cultural Politics (2014) 10 (3): 275–286.
Published: 01 November 2014
...Sean Cubitt Ecocritical work on media has developed from a genre criticism of nature-themed films to address cinema, TV, and media arts more broadly as articulations of the human-natural relation and its mediation through technologies. Embracing the environmental impacts of product life cycles...
Cultural Politics (2016) 12 (3): 263–278.
Published: 01 November 2016
... to think the relationship between cinema and space and offers a geography of absence as the precondition for the imagination of a new space. The article shows how this framework informs Keiller’s visual grammar, including his emphasis on a deliberate scarcity of gestures and the invisibility...
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Cultural Politics (2011) 7 (2): 165–188.
Published: 01 July 2011
.... Following this discussion at the level of the narrative, we discuss the film in the context of what Deleuze conceptualized as “time-images.” Our point here is that with the The Hurt Locker we are within “the cinema of the seer,” within a nihilistic portrayal of nihilism from inside, on the basis of highly...
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Cultural Politics (2011) 7 (2): 289–310.
Published: 01 July 2011
... is that the female roles in Asian cinema do not cohere so neatly with their counterparts that are formed under Western patriarchy. In many cases, the female heroes in Hong Kong cinema such as in wuxia (period swordfighting) or kung fu films are strong characters that do not constantly need to be rescued by males...
Cultural Politics (2014) 10 (1): 70–91.
Published: 01 March 2014
... they demonstrate Godard’s continuing commitment to political cinema and to challenging what he sees as one of the last vestiges of colonialism on the planet. 3 Godard’s use of Darwish’s poetry also enables the celebrated filmmaker to connect a number of political and philosophical themes that he has returned...
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Cultural Politics (2015) 11 (3): 426–429.
Published: 01 November 2015
... , often cited as an exemplar of this director’s “cinema of the senses,” as showing how “the Other from the ‘developing’ world remains subjected to the First World neo-colonialist eager to frenetically produce and consume” (130). In this way, the sensory experiences in and of the film are bound into making...
Cultural Politics (2010) 6 (2): 133–156.
Published: 01 July 2010
... first instantiated in gramophone technology (but to become so central to modernity as cinema), and digital communications and media are discussed. In La Technique et Le Temps 3. Le Temps du Cinéma et la Question du Mal-être (Technics and Time 3: The Time of Cinema and the Question of Ill-being...
Cultural Politics (2020) 16 (3): 281–302.
Published: 01 November 2020
... rationally and emotionally. Yet cognitivist ethics dictates the conversation on cinema and ethics in very narrow parameters aiming to produce a sense of apolitical consensus. Some cognitivist scholars go so far as to suggest that characters in films can function as “moral examples” that can inspire audiences...
Cultural Politics (2005) 1 (2): 165–192.
Published: 01 July 2005
...: The International Economy and the Possibilities of Governance. Cambridge : Polity . Hjort M. McKenzie S. (eds). 2000 . Cinema and Nation. London : Routledge . Hozic A. 2001 . Hollyworld: Space, Power and Fantasy in the American Economy. Ithaca : Cornell University Press...
Cultural Politics (2010) 6 (1): 49–64.
Published: 01 March 2010
... the world (as movie star Humphrey Bogart reportedly once put it, “You're not a star until they can spell your name in Karachi”). Other media industries were quick to emulate these methods, if not always with Hollywood's global reach. As cinema was joined by other media forms, so these developed similar...
Cultural Politics (2007) 3 (1): 35–50.
Published: 01 March 2007
... American foreign policy. Combined with the ongoing canonization of much of the output of the so-called New Hollywood of the 1970s, the critical cinema of the period is perhaps more visible and more acclaimed than it has ever been. In light of George W. Bush's headlong rush into another US-led military...
Cultural Politics (2015) 11 (2): 222–233.
Published: 01 July 2015
... technology and aesthetics, perception and truth provide two very specific and highly useful perspectives for thinking about processes of framing and diffusing images of the criminal “other.” The first is the link he establishes between war and cinema ( Virilio 1989 , 2005 ). This link is historical...