... are highly charged, performatively potent in ways that are as threatening as they are potentially exciting. This potency organizes the production and reception of film in Tamil Nadu. While sound- and image-tracks have always been separable (Chion, Audio-Vision ), different cinematic traditions have...

... . Wood H. Trueman . “ Some of the Applications of Photography to Scientific Purposes .” The British Journal of Photography ( March 16 , 1888 ): 166 - 67 . Technology's Body: Cinematic Vision in Modernity MARY ANN DOANE Lo historical anecdotes seem to me to circumscribe the limits...

... who was this public figure at the center of one of the most important political-intellectual controversies of the twentieth century. Von Trotta’s cinematic inquiry is in some ways justified by Arendt’s insights into how the who is revealed to others. Hannah Arendt gives us an opportunity to follow...

...Eugenie Brinkema What is the relationship between a cinematic grid of color and the most visceral of the negative affects, disgust? The history of “good taste”—from the philosophical subdiscipline of aesthetics to French haute cuisine—banishes and simultaneously cultivates all things that taste bad...

...Xiao Liu This essay focuses on the cinematic form of revolutionary melodrama, or, more specifically, on alterations made to family melodrama in the construction of the big socialist family as an imagined social space. Reading Red Detachment of Women (1961) in the tradition of family melodrama...

...Adi Ophir Margarethe von Trotta’s Hannah Arendt offers a brilliant cinematic interpretation of one of the most pivotal chapters in Hannah Arendt’s life and work, the Eichmann trial. The author argues that the film correctly assumes that Arendt’s thinking on evil underwent an important change during...

... cinematic and theatrical? The tension between the somatic side of singing and the beautification of the singing, instrumental, working body through dancing brings a gendered vision to the fore that links the female body strictly with codes of beauty. A reading of Madonna’s video “Take a Bow” allows...

...Dominic Pettman The “acousmatic voice”—as famously defined and deployed by Michel Chion and Kaja Silverman—has in recent years unanchored itself from its cinematic context and become a free-floating aspect of the information age. We thus find ourselves adrift in a sea of solicitous voices without...

... While cinema has often been described as the most realistic of the arts, cinematic realism has been understood in a variety of ways: from an aspect of a sinister ideological process of psychological regression to infantile states of primal...

.... For Debord, an antispectacular cinema, a cinema waged against spectacle, is concerned neither with the dismantling of one or another cinematic style nor with a denunciation of the cinematic medium, but rather with the total negation of cinema in its existing form. This view, central not only to Debord’s...

...Mary Ann Doane Brown University and differences: A Journal of Feminist Cultural Studies 2007 mary ann doane is George Hazard Crooker Professor of Modern Culture and Media at Brown University. She is the author of The Emergence of Cinematic Time: Modernity, Contingency, the Archive...

... (Indiana University Press, 1987), Femmes Fatales: Feminism, Film Theory,Psychoanalysis (Routledge, 1991), The Emergence of Cinematic Time:Modernity, Contingency, the Archive (Harvard University Press, 2002), and has published a wide range of articles on feminist film theory, sound in the cinema...

... of this heaviness in obvious ways. There are no guilt-triggered delusions, for example, produced for the viewer by composite shots or the other cinematic effects that characterize a film such as Sunrise (F. W. Murnau, 1927). Instead, his visual narration points to the ethical baggage of disposability in two...

... the human, is equated with an inability to see (nature) that the cinematic medium, however, promises to redeem. (This claim recalls the subtitle of Siegfried Kracauer’s Theory of Film: The Redemption of Physical Reality , a redemption the cinema achieves through its technological capacity to record what...

...." 5.3: 179-204. Dean, Carolyn. "Pornography, Literature, and the Redemption of Virility in France, 1880-1930." 5.2: 62-91. Derrida, Jacques. "The Rhetoric of Drugs. An Interview." 5.1: 1-25. Doane, Mary Ann. "Technology's Body: Cinematic Vision in Modernity." 5.2: 1-23. Joyrich, Lynne. "Elvisophilia...

... seventy-nine minutes of an ikb (International Klein Blue) cinema screen precisely initiates nothing, a nothing that, in its avisuality, grinds down and ends those things that a more conservative cinematic tradition (according to Jarman) promises to bring us into compliance with: sight, aids, sexuality...

... and Media at Brown University. She is the author of The Emergence of Cinematic Time: Modernity, Contingency, the Archive (Harvard University Press, 2002), Femmes Fatales: Feminism, Film Theory, Psychoanalysis (Routledge, 1991), and The Desire to Desire: The Woman's Film of the 1940s (Indiana...

... © 2015 by Brown University and differences : A Journal of Feminist Cultural Studies 2015 Azoulay Ariella . “ Arendt’s Guidelines for a Fictionalized Cinematic Portrait .” 26 . 2 : 121 – 31 . Balibar Étienne . “ Althusser’s Dramaturgy and the Critique of Ideology .” 26...

... sexuality (Metcalf and Humphries 1). Eastwood's public and cinematic personae, among the most visible icons of masculinity in North American culture, can be readily taken not only as the metonym of the silence and the barriers to investigation that the authors are d i f f e r e nee s: A Journal of Feminist...

... of the assembly line. (29) Wartenberg concludes by emphasizing how such cinematic illustrations don’t just replicate but actualize and enact the philosophical argument, enhancing its meanings and opening up more and new perspectives on abstract philosophical principles. 1 Until very recently, film...