Time’s Arrow, Time’s Bow

2018 ◽  
Author(s):  
James Tweedie
Keyword(s):  
Twentieth Century ◽  
Golden Age ◽  
Film Theory ◽  
Film History ◽  
Historical Inquiry ◽  
Late Twentieth ◽  
Late Twentieth Century ◽  
Time’S Arrow ◽  
History And Theory

This chapter frames Gilles Deleuze’s cinema books as a late twentieth-century phenomenon, engaging with many of the period’s key concerns, including history, memory, and belatedness. Deleuze recognizes his status as a latecomer to philosophy and film theory and develops a theory based on the rediscovery of radical thought in the modern past, as in his study of Leibniz, the fold, and the baroque. His cinema books adopt a similar approach to film history and theory by framing the medium as an art that opens onto the totality of time. If nostalgia in the late twentieth century viewed a “golden age” as the proper destination of historical inquiry, Deleuze radicalizes the concepts of return and memory by reimagining them through the cinema’s lens. One key lesson drawn from the century of cinema is that any moment in time, including the neglected or potentially revolutionary, is accessible from any other point in history.

The Proceedings of the Yorkshire Geological Society and its contribution to the study of the Chalk Group of northern England

2020 ◽  
Vol 63 (2) ◽  
pp. 147-161
Author(s):  
P. N. Hildreth
Keyword(s):  
Twentieth Century ◽  
North Sea ◽  
Golden Age ◽  
Modern Technology ◽  
Advanced Technology ◽  
Northern Province ◽  
The South ◽  
Geological Society ◽  
Late Twentieth ◽  
Late Twentieth Century

Papers devoted to chalk-related topics have varied in frequency since the foundation of a geological society in Yorkshire. There have been contributions from vicars, corn merchants, a wallpaper manufacturer, a corset maker and a car salesman, as well as academics and professional geologists. Many early ideas have become established. Indeed, the concept of a Chalk Group Northern Province was suggested by the Reverend J.F. Blake as early as 1878. The keen observation and painstaking recording of other early workers such as Lamplugh on Flamborough Head were continued in the late twentieth century by, for example, Whitham and Mitchell, and the advent of modern technology enabled new dimensions of study. Following a ‘dark age’ of very few contributions, a 1978 publication, though short, finally proposed an accepted lithostratigraphy for the northern chalk that is distinct from that of the south, and in so doing became what might be considered a milestone paper. This ‘renaissance’ bloomed into a ‘golden age’; North Sea activities, advanced technology and a rekindling of interest in chalk stratigraphy and palaeontology all contributed to the publication of a spate of papers. Exactly 50% of all papers and over 50% of all authors involved were published between 1987 and the present day.

Serge Daney, Zapper: Cinema, Television, and the Persistence of Media

October ◽  
2016 ◽  
Vol 157 ◽  
pp. 107-127
Author(s):  
James Tweedie
Keyword(s):  
Twentieth Century ◽  
New Media ◽  
Film Studies ◽  
Film Theory ◽  
New Wave ◽  
Digital Revolution ◽  
The Status ◽  
Late Twentieth ◽  
Late Twentieth Century ◽  
Small Screen

The essay considers Serge Daney's transition from a film critic schooled in New Wave cinephilia to a television critic fascinated by the possibilities of the small screen and the status of cinema as an old medium. Looking in the “rear-view mirror,” Daney challenges foundational film theory that situates cinema at the forefront of technological and cultural modernity, and he introduces the language of belatedness, aging, and delay into his writing on the “adult art” of film. In the 1980s, Daney began to chronicle the experience of watching cinema on television, with old and new media spiraling into each other and the critic engaged in a process of archaeology focused as much on absent or damaged images as the imaginary plenitude of the screen. Tweedie's essay frames the critic's work as a key reference point for film studies in the late twentieth century because it counters both the modernist euphoria of theory produced decades before and the enthusiasm surrounding the digital revolution in the years just after his death, with new media in the vanguard once occupied by cinema. Instead of recomposing this familiar narrative of innovation, succession, and obsolescence, Daney constructs a retrospective and intermedial theory of film, with the act of watching cinema on television revealing both the diminution and the persistence of its most utopian ambitions.

The Hauntology of the Cinematic Image

2018 ◽  
Author(s):  
James Tweedie
Keyword(s):  
Twentieth Century ◽  
Media Studies ◽  
Walter Benjamin ◽  
Film Theory ◽  
End Of History ◽  
Standard Position ◽  
Close Relationship ◽  
Arcades Project ◽  
Late Twentieth ◽  
Late Twentieth Century

Beginning with the belated rediscovery and canonization of the work of Walter Benjamin, this chapter considers the close relationship between his writing from the 1920s and 1930s, when he was most active as a critic, and the late twentieth century. It suggests that Benjamin’s standard position in film theory—as one of the most forceful advocates for a radical modernism closely allied with cinema—corresponds to just one of many positions he adopted throughout his career and contradicts the argument that the ruins of modernity remain a source of utopian potential even after their apparent obsolescence, a position advanced in his book on the Baroque mourning play, his fragmentary Arcades Project, and elsewhere. This chapter suggests that Benjamin’s work on the mourning play and allegory constitute the basis for his continued relevance to media studies in the late twentieth century, especially as a belated but prophetic contributor to debates about the end of history or cinema.

Serge Daney, Zapper

2018 ◽  
Author(s):  
James Tweedie
Keyword(s):  
Twentieth Century ◽  
New Media ◽  
Reference Point ◽  
Film Studies ◽  
Film Theory ◽  
New Wave ◽  
Late Twentieth ◽  
Late Twentieth Century ◽  
Small Screen ◽  
Over Time

This chapter considers Serge Daney’s transition from a film critic schooled in New Wave cinephilia to a television critic fascinated with the possibilities of the small screen and status of cinema as an old medium. Daney challenges foundational film theory and introduces the language of belatedness, aging, and delay into his writing on the “adult art” of film. In the 1980s he chronicled the experience of watching cinema on television and engaged in a process of “archaeology” focused on absent or damaged images rather than the imaginary plenitude of the screen. Daney’s work at the threshold between media provides a key reference point for film studies in the late twentieth century because it questions both the modernist euphoria of theory produced decades before and the enthusiasm surrounding new media. Daney instead constructs a retrospective theory of film that reveals its diminution over time and the persistence of its utopian ambitions.

scholarly journals History and Turning the Antitrust Page

2021 ◽  
pp. 1-17
Author(s):  
Brian R. Cheffins
Keyword(s):  
Twentieth Century ◽  
Market Power ◽  
Golden Age ◽  
Government Regulation ◽  
Chicago School ◽  
Foreign Competition ◽  
Late Twentieth ◽  
Agent Of Change ◽  
Late Twentieth Century ◽  
Intellectual Movement

Present-day advocates of antitrust reform referred to as “New Brandeisians” have invoked history in pressing the case for change. The New Brandeisians bemoan the upending of a mid-twentieth-century “golden age” of antitrust by an intellectual movement known as the Chicago School. In fact, mid-twentieth-century enforcement of antitrust was uneven and large corporations exercised substantial market power. The Chicago School also was not as decisive an agent of change as the New Brandeisians suggest. Doubts about the efficacy of government regulation and concerns about foreign competition did much to foster the late twentieth-century counterrevolution that antitrust experienced.

Legacy of the Lambs

2013 ◽  
pp. 97-98
Author(s):  
Barry Forshaw
Keyword(s):  
Twentieth Century ◽  
Film History ◽  
Source Material ◽  
Literary Fiction ◽  
Significant Aspect ◽  
Psychiatric Institution ◽  
Thomas Harris ◽  
Late Twentieth ◽  
Popular Writing ◽  
Late Twentieth Century

This chapter explores the legacy of The Silence of the Lambs. What is the most significant aspect of Thomas Harris's achievement, both on the page and on the screen? Certainly, there is the creation of a massively successful franchise which has proved itself to be both durable and renewable; the latest incarnation of Harris's signature character is a television series, Hannibal, with the British actor Hugh Dancy impressively nervous as Will Graham, and the Scandinavian Mads Mikkelsen as Harris's eponymous psychiatrist. What is perhaps most enduring about the legacy of The Silence of the Lambs and the writer's other books is the permanent change that malign screen characters have undergone since the appearance of Dr Lecter in the bowels of that psychiatric institution. Nowadays, most ambitious thrillers imbue their villains with a fierce intelligence and analytical intuitiveness. But even more important than this, Thomas Harris demonstrated that popular writing can boast the acumen, elegance, and masterly prose of the best literary fiction, and has inter alia raised the game of the whole genre of thriller writing. Similarly, Jonathan Demme's place in film history is assured thanks to his confident handling of the source material and its influence on horror cinema of the late twentieth century.

Nine Centuries of Man

2017 ◽  
Keyword(s):  
Twentieth Century ◽  
Diverse Range ◽  
Gender Expectations ◽  
Court Records ◽  
The Past ◽  
Wide Range ◽  
Police Reports ◽  
Late Twentieth ◽  
Scottish History ◽  
Late Twentieth Century

What did it mean to be a man in Scotland over the past nine centuries? Scotland, with its stereotypes of the kilted warrior and the industrial ‘hard man’, has long been characterised in masculine terms, but there has been little historical exploration of masculinity in a wider context. This interdisciplinary collection examines a diverse range of the multiple and changing forms of masculinities from the late eleventh to the late twentieth century, exploring the ways in which Scottish society through the ages defined expectations for men and their behaviour. How men reacted to those expectations is examined through sources such as documentary materials, medieval seals, romances, poetry, begging letters, police reports and court records, charity records, oral histories and personal correspondence. Focusing upon the wide range of activities and roles undertaken by men – work, fatherhood and play, violence and war, sex and commerce – the book also illustrates the range of masculinities that affected or were internalised by men. Together, the chapters illustrate some of the ways Scotland’s gender expectations have changed over the centuries and how, more generally, masculinities have informed the path of Scottish history

Trey Ellis's Platitudes: Redefining Black Voices

2009 ◽  
Vol 32 (1) ◽  
pp. 55-76
Author(s):  
Quan Manh Ha
Keyword(s):  
Twentieth Century ◽  
African American ◽  
American Literature ◽  
African American Literature ◽  
Black Experience ◽  
Racial Issues ◽  
Black Voices ◽  
Late Twentieth ◽  
One Year ◽  
Late Twentieth Century

Trey Ellis has emerged as a prominent African American writer of the late-twentieth century, despite the small number of his published works. “The New Black Aesthetic,” an essay that he first published in CaUaloo in 1989, one year after the publication of his first novel, Platitudes, stands as a manifesto that defines and articulates his perspective on the emerging black literary voices and culture of the time, and on “the future of African American artistic expression” in the postmodern era.1 According to Eric Lott, Ellis's novel parodies the literary and cultural conflict between such male experimental writers as lshmael Reed and such female realist writers as Alice Walker.2 Thus, Ellis's primary purpose in writing Platitudes is to redefine how African Americans should be represented in fiction, implying that neither of the dominant approaches can completely articulate late-twentieth-century black experience when practiced in isolation. In its final passages, Platitudes represents a synthesis of the two literary modes or styles, and it embodies quite fully the diversity of black cultural identities at the end of the twentieth century as it extends African American literature beyond racial issues. In this way, the novel exemplifies the literary agenda that Ellis suggests in his theoretical essay.

A New Denominational Historiography?

1995 ◽  
Vol 5 (2) ◽  
pp. 249-263
Author(s):  
John F. Wilson
Keyword(s):  
Twentieth Century ◽  
Recent Analysis ◽  
General Factor ◽  
Religious Organization ◽  
Religious Institution ◽  
Large Numbers ◽  
The Status ◽  
Late Twentieth ◽  
American Society ◽  
Late Twentieth Century

Over the last decade, a noteworthy number of published studies have, in one fashion or another, been defined with reference to religious denominations. This is an arresting fact, for, coincidentally, the status of religious denominations in the society has been called into question. Some formerly powerful bodies have lost membership (at least relatively speaking) and now experience reduced influence, while newer forms of religious organization(s)—e.g., parachurch groups and loosely structured movements—have flourished. The most compelling recent analysis of religion in modern American society gives relatively little attention to them. Why, then, have publications in large numbers appeared, in scale almost seeming to be correlated inversely to this trend?No single answer to this question is adequate. Surely one general factor is that historians often “work out of phase” with contemporary social change. If denominations have been displaced as a form of religious institution in society in the late twentieth century, then their prominence in earlier eras is all the more intriguing.

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