... an important feature of the history of radical cinema, but at least for the moment, its function as a revolutionary form seems exhausted, compromised by the new conditions of volatility, instability, hyperindividualism, and privatization that demand the same kind of cognitive labor. Under the sign of...

... 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 the...

... unanimity which calls different peoples into the same melting pot from which the future emerges … hence the idea that the cinema, as art of the masses, could be the supreme revolutionary or democratic art, which makes the masses a true subject” ( Deleuze 1989: 216 ). In modern cinema, which he dates as...

...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 for not...

...Clive W. Kronenberg The triumphs and continuity of the Cuban revolution in large measure can be attributed to the close bond that exists between political and cultural practice on the island. Emblematic of Cuban politics, key aspects of Ernesto Che Guevara's revolutionary thought find expression in...

... Real. 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...

...Friedrich Kittler; Geoffrey Winthrop-Young The essay presents a reading of three war-related texts: Friedrich Schiller’s Wilhelm Tell , Heinrich von Kleist’s The Battle of Hermann , and Thomas Pynchon’s Gravity’s Rainbow . Written against the background of the Revolutionary Wars and the Prussian...

... Republic , a colossal gold and bronze woman nearly fifty feet tall and weighing forty-nine tons. Telescoping back to the colonial plantation and forecasting ahead to Cuba’s revolutionary future in 2018, the article argues that La República embodied a tension between ethical consensus and political...

... debates in China as well as with an older Maoist or revolutionary discourse. The resurgence or “demand” for humanism is rendered as part of an intellectual and political backlash or depoliticization. The demand for humanism today must be about something else. Not the rediscovery of an essential...

... and Legacies of a Global Revolt ( Gassert and Klimke 2009) and The Global Imagination of 1968: Revolution and Counterrevolution ( Katsiaficas 2018) each have chapters on revolutionary events in over thirty countries. “Legacies of ’68: Histories, Geographies, Epistemologies” continues in this vein...

... 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...

... revolutionary praxis. In the final section, we will try to approach this temporal uniqueness of the Italian Sessantotto through the question of “creeping” rhythm, and more particularly through the inflection or short-circuiting of the geographic orientation of historical time (qua time of “Northern...

... ethics in much more complex ways and think of how cinema can point to collective structures of oppression without simply resorting to the binary of ethical/unethical characters. From this perspective, the timeliness, the urgency of rereading the film and the play lies in urging us to think about ethics...

...: Empire and International Relations. ” Millennium: Journal of International Studies , 31 ( 1 ): 109 – 27 . Bart P. 2003 . “ Roth's Revolutionary rites. ” Variety, 5 May. Bloom D. 2002 . “ Soph focus at revolution. ” Variety, 18 January. Bowden M. 2002 . “ Forward...

... always threaten to subtract the possibility of aesthetic experience. When film stock begins to deteriorate, the spectacle of cinema is reduced to the archive of its historical enunciation. When technical malfunctions occur in data centers, a flash crash ensues, social media lives are disabled...

... 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...

... thinkers of cinema (including Husserl forty years before Adorno and Horkheimer) to reject or exclude the sphere of tertiary retentions in their rejection of cinema (as revealed by the technologies of identical reproduction: recording, photography, cinema). Marxist thinkers, from Marx himself to Pierre...

... control society again in “Having an Idea in Cinema” ( Deleuze 1998 ), but is again both brief and vague only adding to his previous discussion that, since “information is precisely the system of control” (ibid.: 17), “counter-information” becomes a form of resistance (ibid.: 18). All of which suggests to...

... – ritual of the sessions. The course took place on Thursday mornings from 10 a.m. to 1 p.m. We began by rolling ourselves a cigarette, which I did by hand and Jean with a machine. Then came the comments on the events of the week, in politics and cinema etc. Was this a way of delaying the academic...

... bodies formed through degrees of inertia. This thesis continues the position Virilio put forward in War and Cinema: The Logistics of Perception (1989), where he explores how the adaptation of a condition of immobility affects the management of perception. With the adaptation of postanalog recording...