Soft Socialism, Hard Realism: Partisan Song, Parody, and Intertextual Listening in Yugoslav Black Wave Film (1968–1972)

2019 ◽  
Vol 16 (1) ◽  
pp. 95-121
Author(s):  
DANIJELA Š. BEARD
Keyword(s):  
Film Music ◽  
Contextual Knowledge ◽  
Musical Expression ◽  
Discursive Strategies ◽  
Political Critique ◽  
Specific Focus ◽  
The 1960S

AbstractIn this article I examine the use of music in modernist and politically engaged Yugoslav cinema of the 1960s through three groundbreaking black wave films: Želimir Žilnik'sRani radovi(Early Works, 1969), Dušan Makavejev'sWR: Misterije organizma(WR: Mysteries of the Organism, 1971), and Lazar Stojanović’sPlastični isus(Plastic Jesus, 1971). With a specific focus on the use of Partisan songs, I analyse how key political moments are encoded with new levels of meaning in these films, often through parody, irony, and satire. I identify a ‘sonic turn’ within black wave cinema and propose a method of ‘intertextual listening’ to reflect the importance of contextual knowledge in identifying and interpreting the cultural and political baggage trafficked into these movies. I ask how does music shape the discursive strategies and communicative potential of these films, rendering pre-composed music a powerful medium for social and political critique? And in what ways does film music construct the Yugoslav socialist experience more broadly, reflecting how ideals of reform socialism found musical expression in Yugoslavnovi film?

Back to Television?

2017 ◽  
Author(s):  
John Caps
Keyword(s):  
College Student ◽  
Film Music ◽  
Experimental Film ◽  
Film Scoring ◽  
Short Films ◽  
The Future ◽  
The 1960S

This chapter details Mancini's return to television. Mancini was offered his own TV series, to be called The Mancini Generation, on which he would discuss and demonstrate film music to a syndicated audience. Undertaking the series was a colossal commitment. The music materials were drawn from his whole backlog of arrangements alongside some new charts, but in addition to the musical rehearsals there were camera rehearsals and host-segment preparations all of which were shot together during one four-week period and then sliced up for insertion into the shows. Unique to each show was a sequence during which Mancini invited one college student enrolled in a film course at some university across the country to take a past Mancini recording and conceive, shoot, and edit an experimental film based on the music. The short films, then, were shown on the program, and Mancini used the opportunity to push support for film and film-scoring study courses in schools of the future. The Mancini Generation was eventually seen on 150 stations nationwide and also led to an RCA album sporting the series title, his first jazz-pop album since the 1960s.

scholarly journals Latin America through the Literary Looking-Glass, And What Bolaño Found There

2014 ◽  
Vol 9 (1) ◽  
pp. 51-74
Author(s):  
Arnoldas Stramskas
Keyword(s):  
Latin America ◽  
American Literature ◽  
Latin American ◽  
Latin American Literature ◽  
Political Critique ◽  
Political Criticism ◽  
Effective Form ◽  
1960S And 1970S ◽  
The 1960S ◽  
Roberto Bolano

Abstract This article provides a broad overview of social, economic, and cultural politics in Latin America, especially concentrating on what became known as the Latin American literary “boom” in the 1960s and 1970s, and the region’s political context - colonial past, neocolonial/neoliberal present, the role of intellectuals within the state and cultural affairs. The second part focuses on Roberto Bolaño - the writer who put Latin American literature on the world map which has not been seen since the boom years - and his novel The Savage Detectives. The aim of this article is to demonstrate that literature not only shares common elements and possible intentions with social and political critique, but that it can also be an effective form of social and political criticism. In such a case, Bolaño’s work may be read not as inferior fictional account but as a complex, intersectional investigation of socioeconomic as well as ontological condition in Latin America that other modes of inquiry may overlook.

Loyalties

2017 ◽  
Author(s):  
Philip Lambert
Keyword(s):  
Small Groups ◽  
Art Song ◽  
Piano Music ◽  
Original Compositions ◽  
Musical Expression ◽  
Wind Ensembles ◽  
Concert Music ◽  
The 1960S ◽  
Dramatic Music ◽  
Chamber Orchestras

This chapter studies Wilder's music in the 1960s. Continuing to follow trends he had begun at the end of the preceding decade, he wrote volumes of concert music for groups of all sizes in the 1960s, for wind ensembles and chamber orchestras and small groups and soloists with piano. He also wrote piano music, dramatic music of diverse kinds, and a handful of new songs, following traditional popular or art-song models. Also extending earlier trends, Wilder's loyalties to his artistic and ideological roots found musical expression through the efforts of loyal friends. As his travels and residencies and friendships multiplied, so did his catalog of original compositions perfectly suited for a faculty ensemble or senior recital or informal gathering in a college practice room or dormitory basement.

scholarly journals Pressing “rewind” and “forward” to negotiate a transcultural position

MODOS ◽  
2021 ◽  
Vol 5 (3) ◽  
pp. 164-195
Author(s):  
Franziska Koch
Keyword(s):  
New York ◽  
East Asia ◽  
Art History ◽  
Discursive Strategies ◽  
Experimental Art ◽  
Fine Grained ◽  
Guggenheim Museum ◽  
The Usa ◽  
Institutional Conflict ◽  
The 1960S

The transcultural artistic strategies formulated in the Fluxus network during the 1960s, spanning Europe, East Asia, and the USA, are an important reference when searching for ways how to write art history in a global way. These strategies challenged national framings of art informed by the Eurocentric legacy of modernism. In this paper, I focus on Nam June Paik’s (self)positioning in negotiation with the taxonomic mechanisms of the Guggenheim Museum New York in 1994. I will analyze the conditions and limits of his cultural mediation. The first part of my chapter shows how Paik drew a fine-grained picture of Japanese experimental art as a Korean who had studied in Tokyo during the 1950s and then re-visited in the 1960s. In his version, Paik employs transcultural discursive strategies directed towards rewriting art history in ways that take account of multiple agencies and cultural entanglements. The second part of my study analyzes the resulting institutional conflict between Paik and Guggenheim’s Japanese survey show, Scream against the sky, to which he contributed an essay but declined to participate with his work. This paper articulates the transcultural (counter-) potential of artists who work(ed) across borders, especially at moments when Western canonization was a double-edged sword.

Contesting Democracy

2020 ◽  
pp. 255-293
Author(s):  
Martin Conway
Keyword(s):  
Social Justice ◽  
Interest Groups ◽  
State Power ◽  
Authoritarian Regimes ◽  
Individual Freedom ◽  
Democratic Culture ◽  
Political Critique ◽  
European Democracy ◽  
Post War ◽  
The 1960S

This chapter assesses the different discourses about Western European democracy that developed during the 1960s—some of which contributed to the radicalism of 1968, while others emphatically did not. The dissenting voices of the 1960s focused on the perceived failings of the existing political structures, questioning whether the vertical hierarchies of representation through parliaments, parties, and interest groups were the best means of achieving the goals of individual freedom, social justice, and a participatory democratic culture. But debates about means also became debates about ends. In particular, a radical cultural and political critique emerged that questioned the forms of authority—explicit and implicit—within modern societies. This also challenged the nature of the post-war settlement. Far from creating a new democratic culture, the changes after 1945, these critics argued, had dismantled the authoritarian regimes while retaining the edifice of state power, and a society of regimented and limited freedoms.

COLLECTIVE DESTIGMATIZATION AND EMANCIPATION THROUGH LANGUAGE IN 1960s QUÉBEC

2012 ◽  
Vol 9 (1) ◽  
pp. 51-66
Author(s):  
Gérard Bouchard
Keyword(s):  
British Empire ◽  
National Language ◽  
English Canada ◽  
Double Bind ◽  
Discursive Strategies ◽  
Cultural Minority ◽  
Canadian Population ◽  
History Of ◽  
The 1960S ◽  
Authentic Language

AbstractIn the history of Québec, the 1960s are known as the time of the Quiet Revolution. That decade is commonly referred to as a major watershed since it marked the onset of a spectacular economic, social, and cultural recovery of the Francophone (“French Canadian”) population. Previously, and for two centuries, Francophone Québec had been dominated by the British Empire and English Canada. Throughout the period, as a cultural minority, it had borne the brunt of ethnoracial stereotypes and had suffered from discrimination in the workplace. I seek to investigate one dimension of the destigmatizing process that unfolded in the 1960s by focusing on the discursive strategies devised by a group of young leftist intellectuals who argued that Francophone Québec needed a new national language as a condition of its full emancipation. My research focuses on major contradictions that this radical group had to confront: 1) they could have rejected the vernacular, stigmatized language (known as joual) emblematic of the English domination, to adopt the Parisian French and thus become fully part of a great civilization, but by doing so they would have lapsed into another form of colonization since this superior language was considered as foreign and imposed at the expense of “authenticity”; and 2) they could have promoted joual as the authentic language of the nation and worked to free it from stigma, but this would have come at the price of a “parochialization” of Québec culture. I show that these intellectuals failed to invent the collective myths that would have transcended this double bind and other contradictions. Finally, the paper compares Québec to other societies in the New World in order to better highlight the distinctiveness of this case.

Mental (2008): Sōda Kazuhiro’s Observational Cinema

2020 ◽  
Vol 28 (2) ◽  
pp. 277-309
Author(s):  
Takushi Odagiri
Keyword(s):  
Participant Observation ◽  
Philosophical Anthropology ◽  
The Self ◽  
Participatory Methods ◽  
Social Situations ◽  
Political Critique ◽  
Prevention Act ◽  
Ex Ante ◽  
The 1960S ◽  
Gilbert Simondon

This article examines Sōda Kazuhiro’s observational documentary, especially his second observational film, Seishin (Mental), and specifically considers its participatory methods, sociohistorical circumstances, and philosophical anthropology. Influenced by North American direct cinema of the 1960s (especially Frederick Wiseman) as well as Bronisław Malinowski’s participant observation, Sōda’s observational style not only emphasizes the self-affective nature of documentary eyes but also rejects the preconceived reality of its object. Documentary is not conceived “in the head”: unexpected discoveries, which inevitably accompany his participatory methods, define his object from an ex ante facto (before the fact) perspective. Examples of this are the contingency of the mental-bodily complex (Seishin) and self-contradictory social situations (Senkyo and Senkyo 2). Because it’s an observationalparticipatory film, Seishin responds to the sociopolitical climates of the late 2000s, especially the Japanese government’s reforms of health and medical services. Specifically, two laws were enacted while the film was in production: the 2005 Support for Independence of Persons with Disability (SIPD) Act and the 2006 Suicide Prevention Act. Furthermore, Seishin represents an anthropological (techno-ontological) standpoint similar to that of Gilbert Simondon, Miki Kiyoshi, and Ludwig Wittgenstein. This article investigates the film’s ontology, externalism, and political critique of neoliberalism in the late 2000s.

scholarly journals Diaspora Policies, Consular Services and Social Protection for Swiss Citizens Abroad

2020 ◽  
pp. 347-362
Author(s):  
Lorenzo Piccoli
Keyword(s):  
Social Protection ◽  
Large Network ◽  
Specific Focus ◽  
Short Period ◽  
The 1960S ◽  
Charitable Associations

AbstractThis chapter presents the policies of Swiss institutions in their dealings with Swiss abroad, with a specific focus on the area of social protection. It shows how the Federal Council gained control over a large network of institutions during a relatively short period of time. Since the 1960s, the Federal Council has developed encompassing social protection policies for Swiss nationals abroad, while safeguarding the working of pre-existent cantonal and charitable associations. As a result, Swiss nationals abroad can access a wide set of social entitlements.

scholarly journals Decolonising Québec: Discursive Strategies in Michel Tremblay’s Mistero buffo

2007 ◽  
Vol 10 (1) ◽  
pp. 137-164 ◽  
Author(s):  
Jane Dunnett
Keyword(s):  
Cultural Imperialism ◽  
Frantz Fanon ◽  
Social Discourse ◽  
Michel Tremblay ◽  
Discursive Strategies ◽  
Albert Memmi ◽  
The Social ◽  
1960S And 1970S ◽  
The 1960S ◽  
Political Economic

Abstract Decolonising Québec : Discursive Strategies in Michel Tremblay 's Mistero buffo — During the 1960s and 1970s the concept of decolonisation was taken up by many Québécois intellectuals in their bid to promote the nationalist cause. Drawing on the theories of Albert Memmi and Frantz Fanon, such writers denounced what they regarded as the political, economic and cultural dependence of Québec. This article examines the way in which the topos of colonisation that permeated the social discourse of the period affected the translation and reception of Michel Tremblay's joual version of Mistero buffo. It seeks to demonstrate that Dario Fo's play has been transformed into a vehicle for challenging the perceived cultural imperialism of France and for asserting the importance of secularisation in the movement to "décolonise" Québec.

Making the New Appear Old

2013 ◽  
Vol 17 (3) ◽  
pp. 64-83 ◽  
Author(s):  
Dominic LaRochelle
Keyword(s):  
North America ◽  
North American ◽  
Cultural Context ◽  
Religious Tradition ◽  
Spiritual Practice ◽  
The West ◽  
Discursive Strategies ◽  
Martial Art ◽  
The 1960S

The following article describes and analyzes the spirituality of taiji quan in the West. Constructed around a particular North American perception of this Chinese martial art, the spirituality is based on discursive strategies that enable authors of taiji quan books (and their readers) to make sense of their practice in a North American context. Using reception theories and Gadamer’s notion of fusion ofhorizon, three points will be highlighted here: 1) taiji quan books published in North America since the 1960s present this martial art as a spiritual practice 2) which the authors perceive as a Chinese Daoist spirituality 3) but which in fact is actualized in a North American socio-cultural context so that it meets the expectations of a certain category of practitioners. This means that the “spirituality of taiji quan” as presented by Western books has less to do with Chinese religious tradition than contemporary spirituality cloaked in old Daoist imagery.

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