Cover Stories

2019 ◽  
pp. 103-128
Author(s):  
J. P. Telotte
Keyword(s):  
Everyday Experience ◽  
Film Images

Abstract: One of the most famous aspects of early pulps such as Amazing, Astounding, and Wonder Stories was their visually arresting covers, drawn by popular artists like Frank R. Paul, Howard V. Brown, and Hans Wesso. This chapter examines how those covers, as well as the magazines’ interior illustrations, drew on a kind of cinematic logic, with their style recalling that of movie posters, their images evoking the practices of movie-viewing, their subjects often including elements of film technology, and, late in the period, their designs even imitating specific films or film images. Like the movies, these illustrations drew readers out of their everyday experience, while starkly visualizing the ability of both the SF and cinematic imaginations to let us see other worlds, other beings, and other technologies.

Why do people believe in a zero-sum economy?

2018 ◽  
Vol 41 ◽  
Author(s):  
Samuel G. B. Johnson
Keyword(s):  
Perspective Taking ◽  
Evolutionary Model ◽  
Everyday Experience ◽  
Coalitional Psychology ◽  
The Face ◽  
Zero Sum

AbstractZero-sum thinking and aversion to trade pervade our society, yet fly in the face of everyday experience and the consensus of economists. Boyer & Petersen's (B&P's) evolutionary model invokes coalitional psychology to explain these puzzling intuitions. I raise several empirical challenges to this explanation, proposing two alternative mechanisms – intuitive mercantilism (assigning value to money rather than goods) and errors in perspective-taking.

From Altered States to Altered Titles: A Close Analysis of the Title Sequence to Ken Russell's Altered States (1981)

2015 ◽  
Vol 12 (4) ◽  
pp. 556-571
Author(s):  
Jack Post
Keyword(s):  
Altered States ◽  
Thematic Structure ◽  
Personal Projects ◽  
Mise En Abyme ◽  
Narrative Representations ◽  
Close Analysis ◽  
Film Images ◽  
The Spectator ◽  
To Come ◽  
The Aesthetic

Although most title sequences of Ken Russell's films consist of superimpositions of a static text on film images, the elaborate title sequence to Altered States (1981) was specially designed by Richard Greenberg, who had already acquired a reputation for his innovative typography thanks to his work on Superman (1978) and Alien (1979). Greenberg continued these typographic experiments in Altered States. Although both the film and its title sequence were not personal projects for Russell, a close analysis of the title sequence reveals that it functions as a small narrative unit in its own right, facilitating the transition of the spectator from the outside world of the cinema to the inside world of filmic fiction and functioning as a prospective mise-en-abyme and matrix of all the subsequent narrative representations and sequences of the film to come. By focusing on this aspect of the film, the article indicates how the title sequence to Altered States is tightly interwoven with the aesthetic and thematic structure of the film, even though Russell himself may have had less control over its design than other parts of the film.

Rereading Diaspora: Reverberating Voices and Diasporic Listening in Italo-Australian Digital Storytelling

2018 ◽  
Vol 2 (1) ◽  
pp. 49-62
Author(s):  
Daniella Trimboli
Keyword(s):  
Digital Storytelling ◽  
Everyday Experience ◽  
The Everyday

Abstract The contemporary diasporic experience is fragmented and contradictory, and the notion of ‘home’ increasingly blurry. In response to these moving circumstances, many diaspora and multiculturalism studies’ scholars have turned to the everyday, focussing on the local particularities of the diasporic experience. Using the Italo-Australian digital storytelling collection Racconti: La Voce del Popolo, this paper argues that, while crucial, the everyday experience of diaspora always needs to be read in relation to broader, dislocated contexts. Indeed, to draw on Grant Farred (2009), the experience of diaspora must be read both in relation to—but always ‘out of’—context. Reading diaspora in this way helps reveal aspects of diasporic life that have the potential to productively disrupt dominant assimilationist discourses of multiculturalism that continue to dominate. This kind of re-reading is pertinent in colonial nations like Australia, whose multiculturalism rhetoric continues to echo normative whiteness.

Galilean Relativity

2018 ◽  
Author(s):  
David M. Wittman
Keyword(s):  
Inertial Frame ◽  
Vertical Component ◽  
Horizontal Component ◽  
The Other ◽  
One Dimension ◽  
Everyday Experience ◽  
Low Speed ◽  
Principle Of Relativity ◽  
Galilean Relativity ◽  
Laws Of Motion

Galilean relativity is a useful description of nature at low speed. Galileo found that the vertical component of a projectile’s velocity evolves independently of its horizontal component. In a frame that moves horizontally along with the projectile, for example, the projectile appears to go straight up and down exactly as if it had been launched vertically. The laws of motion in one dimension are independent of any motion in the other dimensions. This leads to the idea that the laws of motion (and all other laws of physics) are equally valid in any inertial frame: the principle of relativity. This principle implies that no inertial frame can be considered “really stationary” or “really moving.” There is no absolute standard of velocity (contrast this with acceleration where Newton’s first law provides an absolute standard). We discuss some apparent counterexamples in everyday experience, and show how everyday experience can be misleading.

Conceiving Neighbourhood in Northern Nigerian Fiction

Utafiti ◽  
2018 ◽  
Vol 13 (2) ◽  
pp. 133-153
Author(s):  
Stephen T. Ogundipe
Keyword(s):  
Real Life ◽  
Social Conditions ◽  
Religious Violence ◽  
Everyday Experience ◽  
Departure Point ◽  
The Everyday ◽  
Literary Arts

Representations of neighbourhood in contemporary Northern Nigerian fiction are a departure point for scholars exploring the structures and sources of ethnic and religious violence. Using Edify Yakusak’s After They Left and Elnathan John’s Born on a Tuesday, Slavoj Zizek's analysis of the concept of neighbour is applied here, to engage theoretically with Northern Nigerian social conditions. This framework illuminates the links existing between the everyday experience of neighbourhoods in real life, and their imaginative representations in the literary arts.

Redefining Censorship

2018 ◽  
Vol 51 (2) ◽  
pp. 134-142
Author(s):  
Esther B. Schupak
Keyword(s):  
United States ◽  
Twentieth Century ◽  
Emotional Valence ◽  
The United States ◽  
Educational Choice ◽  
Merchant Of Venice ◽  
The Past ◽  
The Merchant Of Venice ◽  
Film Images ◽  
History Of

Abstract Because of its potential for fostering antisemitic stereotypes, in the twentieth century The Merchant of Venice has a history of being subject to censorship in secondary schools in the United States. While in the past it has often been argued that the play can be used to teach tolerance and to fight societal evils such as xenophobia, racism and antisemitism, I argue that this is no longer the case due to the proliferation of performance methods in the classroom, and the resultant emphasis on watching film and stage productions. Because images – particularly film images – carry such strong emotional valence, they have the capacity to subsume other pedagogical aspects of this drama in their emotional power and memorability. I therefore question whether the debate over teaching this play is truly a question of ‘censorship’, or simply educational choice.

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