scholarly journals ”CINEMA IMPÉRIO”: a projeção colonial do Estado Novo português nos filmes das exposições entre guerras mundiais

2016 ◽  
Vol 13 (22) ◽  
pp. 126-151
Author(s):  
MARIA DO CARMO PIá‡ARRA
Keyword(s):  
Twentieth Century ◽  
Film Analysis ◽  
Colonial Power ◽  
Comprehensive Investigation ◽  
Documentary Sources ◽  
Long Duration ◽  
International Expositions ◽  
The World ◽  
Postdoctoral Research ◽  
World Exposition

 Este artigo analisa como é que Portugal ”imaginou” as ex-colónias através do cinema focando a produção de filmes feitos quer para projecção de Portugal como potência colonial nas exposições internacionais entreguerras quer para fixação das grandes exposições nacionais de afirmação e legitimação do regime ditatorial do Estado Novo português. A análise da instrumentalização do cinema pela propaganda colonial ocidental só agora começa a ser feita, mas se comprova a necessidade de uma investigação abrangente para melhor compreensão do uso propagandista do cinema, pela ditadura portuguesa, para promover a polá­tica colonial. Na investigação pós-doutoral em curso, intitulada ””˜Cinema Império”™. Portugal, França e Inglaterra, representações do império no cinema”, analiso as representações cinematográficas coloniais na longa duração. Neste artigo, porém, analiso especificamente a produção portuguesa de filmes para participação (e sobre as) nas grandes exposições coloniais nacionais ”“ Colonial, do Porto, e Exposição do Mundo Português, em Lisboa ”“ e internacionais ”“ Sevilha, Antuérpia e Paris ”“ entre 1930 e 1940. Que filmes foram feitos, por quem e para quem? Com que propósitos? Que representações propuseram? ”“ são estas as questões que abordo, através da análise fá­lmica e de algumas fontes documentais que ainda não tinham sido referenciadas.Palavras chave: Cinema colonial. Exposições internacionais. Propaganda colonial. Estado Novo.”EMPIRE CINEMA”:  the colonial projection of the Portuguese ”˜Estado Novo”™ in the films of the exhibitions between the World WarsAbstract:  This article analyses how Portugal ”imagined” its former colonies through the cinema focusing on a production of films made for the projection of Portugal as a colonial power in the international expositions between the Twentieth Century World Wars or for the registration of the great national exhibitions of affirmation and legitimation of the Estado Novo dictatorial regime. The analysis of the uses of cinema by Western colonial propaganda has begun to be made only recently. There are few studies on how the cinema has represented the former colonies. They confirm the need for a comprehensive investigation for a better understanding of the propagandist use of cinema, especially by the Portuguese dictatorship, to promote colonial politics. In my ongoing postdoctoral research, entitled ””™Empire Cinema”™. Portugal, France, and England, representations of the empire in the cinema”, I analyse the colonial cinematographic representations in the ”long-duration”. In this article, however, I specifically analyse the Portuguese production of films for projection in (and also the films produced about) the great national expositions ”“ the Colonial Exposition, at Porto, and the ”Portuguese World” Exposition, in Lisbon - and international expositions - Seville, Antwerp and Paris - between 1930 and 1940. What movies were made, by whom and for what audiences? For what purposes? What colonial representations did they propose? - these are the questions I address, through film analysis and some documentary sources that have not yet been referenced.Keywords:  Colonial cinema. International expositions. Colonial propaganda. Estado Novo.  "CINEMA IMPERIO": la proyección colonial del ”˜Estado Novo”™ portugués en las pelá­culas de las exposiciones entre guerras mondialesResumen:  Este artá­culo analiza como Portugal ”imaginó” las ex-colonias a través del cine, haciendo foco en la producción de pelá­culas realizadas tanto para proyección de Portugal en cuanto potencia colonial en las exposiciones internacionales de entreguerras como para las grandes exposiciones nacionales de afirmación y legitimación del régimen dictatorial del Nuevo Estado portugués. El análisis de la instrumentalización del cine por la propaganda colonial occidental es reciente, pero se comprueba la necesidad de una investigación más abarcadora para una mejor comprensión del uso propagandista del cinema por la dictadura portuguesa, con el fin de promover la polá­tica colonial. En la investigación postdoctoral en curso, titulada ”Cinema Imperio. Portugal, Francia e Inglaterra representaciones del imperio en el cine”, analizo en la larga duración (Braudel) las representaciones cinematográficas coloniales. En este artá­culo, sin embargo, me centraré especá­ficamente en la producción de pelá­culas para (y sobre) participación en las grandes exposiciones coloniales nacionales ”“ Colonial, do Porto y ”˜Exposição do Mundo Português”™, en Lisboa ”“ e internacionales Sevilla, Antuérpia y Pará­s ”“ entre 1930 y 1940. ¿Qué largometrajes fueron hechos, por qué y para quién? ¿Con qué propósitos? ¿Qué representaciones proponen? Son estas las cuestiones que abordo, a través del análisis fá­lmico y de algunas fuentes documentales que hasta hoy no habá­an sido referenciadas.Palabras clave: Cine colonial. Exposiciones coloniales. Propaganda. Nuevo Estado.

scholarly journals Exposition, Societal Responsitivity and the Aesthetics of Impermanence: Temporal Findings from the 1970 World Exhibition

2021 ◽  
Author(s):  
◽  
Tane Jachob Moleta
Keyword(s):  
Japanese Society ◽  
Critical Research ◽  
Architectural Discourse ◽  
Sensory Experiences ◽  
International Expositions ◽  
World Fairs ◽  
The World ◽  
Unexplored Area ◽  
Architecture And Design ◽  
World Exposition

<p>The architecture of the world expositions maintains an historically unique position within the built environment. Raised specifically for the hosting of these temporary events, the architecture and design of the exposition grounds have been viewed in this thesis as a means to present the aspirations of a country. Expositions were also physical manifestations of the development of new tools, materials, techniques, or aesthetics, ushering in notions of change and progress. However, exhibition architecture can similarly be interpreted as a vehicle responding to the changing pressures within a society.  Both historical and contemporary reports locate the world expositions as highly anticipated for education, communication, enjoyment and even competition. Parallel to this, the international expositions have existed as an area of well resourced critical research. With over 150 years of exposition, the historical, political, social, urban and architectural aspects of these events have been increasingly explored as locations to identify and define avantgarde and progressive explorations in the moderation of space. In contrast to this, the world exposition of 1970 exists as a comparatively unexplored area of`study in the West. Expo’70, located in Osaka, Japan, was poorly received and heavily criticised in Western media sources. Academics, architects and critics slated the event as bizarre, ridiculous, and excessive, and one source even noted that Expo’70 had “brought about the end of the world fairs”. While perhaps some of these comments can be attributed to remoteness, and vastly unknown sensory experiences that many non-Japanese visitors would be exposed too, a difficulty in accessing first hand accounts from the Japanese themselves may also account for a lack of understanding within Western architectural discourse.  However, Expo’70 was, and still is, an important phenomenon in its native land. A search using Japanese language through any Japanese university library will return a vast collection of titles covering areas such as social science, politics, technology, and architecture. In response to these findings, this thesis locates the importance of the event to the Japanese as a whole. I propose that Expo’70 manifested a number of qualities or conditions that the Japanese society could locate within their existing aesthetic vocabularies, which are discussed and displayed in this thesis through both drawing and text. Within this context the drawn material operates an important strategy as both a mechanism of display and a means to explore the shifting and transitory spatial qualities that are discussed within the text. Rather than a turning point, the thesis argues that, Expo’70 existed as a form of vantage for Japanese society to observe the unfolding changes within their society, both material and immaterial.</p>

scholarly journals Exposition, Societal Responsitivity and the Aesthetics of Impermanence: Temporal Findings from the 1970 World Exhibition

2021 ◽  
Author(s):  
◽  
Tane Jachob Moleta
Keyword(s):  
Japanese Society ◽  
Critical Research ◽  
Architectural Discourse ◽  
Sensory Experiences ◽  
International Expositions ◽  
World Fairs ◽  
The World ◽  
Unexplored Area ◽  
Architecture And Design ◽  
World Exposition

<p>The architecture of the world expositions maintains an historically unique position within the built environment. Raised specifically for the hosting of these temporary events, the architecture and design of the exposition grounds have been viewed in this thesis as a means to present the aspirations of a country. Expositions were also physical manifestations of the development of new tools, materials, techniques, or aesthetics, ushering in notions of change and progress. However, exhibition architecture can similarly be interpreted as a vehicle responding to the changing pressures within a society.  Both historical and contemporary reports locate the world expositions as highly anticipated for education, communication, enjoyment and even competition. Parallel to this, the international expositions have existed as an area of well resourced critical research. With over 150 years of exposition, the historical, political, social, urban and architectural aspects of these events have been increasingly explored as locations to identify and define avantgarde and progressive explorations in the moderation of space. In contrast to this, the world exposition of 1970 exists as a comparatively unexplored area of`study in the West. Expo’70, located in Osaka, Japan, was poorly received and heavily criticised in Western media sources. Academics, architects and critics slated the event as bizarre, ridiculous, and excessive, and one source even noted that Expo’70 had “brought about the end of the world fairs”. While perhaps some of these comments can be attributed to remoteness, and vastly unknown sensory experiences that many non-Japanese visitors would be exposed too, a difficulty in accessing first hand accounts from the Japanese themselves may also account for a lack of understanding within Western architectural discourse.  However, Expo’70 was, and still is, an important phenomenon in its native land. A search using Japanese language through any Japanese university library will return a vast collection of titles covering areas such as social science, politics, technology, and architecture. In response to these findings, this thesis locates the importance of the event to the Japanese as a whole. I propose that Expo’70 manifested a number of qualities or conditions that the Japanese society could locate within their existing aesthetic vocabularies, which are discussed and displayed in this thesis through both drawing and text. Within this context the drawn material operates an important strategy as both a mechanism of display and a means to explore the shifting and transitory spatial qualities that are discussed within the text. Rather than a turning point, the thesis argues that, Expo’70 existed as a form of vantage for Japanese society to observe the unfolding changes within their society, both material and immaterial.</p>

Development of the Jewish religious movement "Khabad" in Ukraine in the 20's of the twentieth century

2001 ◽  
pp. 85-90
Author(s):  
O. V. Kozerod
Keyword(s):  
Twentieth Century ◽  
Religious Movement ◽  
Important Research ◽  
The World ◽  
Research Problems

The development of the Jewish religious movement "Khabad" and its organizations in the first quarter of the twentieth century - one of the important research problems, which is still practically not considered in the domestic Judaica. At the same time, this problem is relevant in connection with the fact that the religious movement "Khabad" during the twentieth century became the most widespread and influential area of Judaism in Ukraine and throughout the world.

Coda: The Rosetta Stone

2018 ◽  
Author(s):  
Jesse Schotter
Keyword(s):  
Twentieth Century ◽  
New Media ◽  
Digital Media ◽  
The Novel ◽  
Digital Code ◽  
Media Technologies ◽  
Rosetta Stone ◽  
The World ◽  
Western Imagination ◽  
Origin Point

Hieroglyphs have persisted for so long in the Western imagination because of the malleability of their metaphorical meanings. Emblems of readability and unreadability, universality and difference, writing and film, writing and digital media, hieroglyphs serve to encompass many of the central tensions in understandings of race, nation, language and media in the twentieth century. For Pound and Lindsay, they served as inspirations for a more direct and universal form of writing; for Woolf, as a way of treating the new medium of film and our perceptions of the world as a kind of language. For Conrad and Welles, they embodied the hybridity of writing or the images of film; for al-Hakim and Mahfouz, the persistence of links between ancient Pharaonic civilisation and a newly independent Egypt. For Joyce, hieroglyphs symbolised the origin point for the world’s cultures and nations; for Pynchon, the connection between digital code and the novel. In their modernist interpretations and applications, hieroglyphs bring together writing and new media technologies, language and the material world, and all the nations and languages of the globe....

Modernism, Empiricism, and Rationalism

2016 ◽  
Vol 46 (1) ◽  
pp. 38-47
Author(s):  
Geoffrey Squires
Keyword(s):  
Twentieth Century ◽  
The Other ◽  
Modern Poetry ◽  
Philosophical Perspective ◽  
Irish Poetry ◽  
Dimensional Spectrum ◽  
Culture History ◽  
The World ◽  
The Impact ◽  
Rule Out

Modernism is usually defined historically as the composite movement at the beginning of the twentieth century which led to a radical break with what had gone before in literature and the other arts. Given the problems of the continuing use of the concept to cover subsequent writing, this essay proposes an alternative, philosophical perspective which explores the impact of rationalism (what we bring to the world) on the prevailing empiricism (what we take from the world) of modern poetry, which leads to a concern with consciousness rather than experience. This in turn involves a re-conceptualisation of the lyric or narrative I, of language itself as a phenomenon, and of other poetic themes such as nature, culture, history, and art. Against the background of the dominant empiricism of modern Irish poetry as presented in Crotty's anthology, the essay explores these ideas in terms of a small number of poets who may be considered modernist in various ways. This does not rule out modernist elements in some other poets and the initial distinction between a poetics of experience and one of consciousness is better seen as a multi-dimensional spectrum that requires further, more detailed analysis than is possible here.

Hard Objects in George Oppen's Discrete Series

2018 ◽  
Vol 13 (4) ◽  
pp. 496-517
Author(s):  
Ned Hercock
Keyword(s):  
Twentieth Century ◽  
Ludwig Wittgenstein ◽  
Discrete Series ◽  
Human Experience ◽  
John Ruskin ◽  
Gerard Manley Hopkins ◽  
Marcel Duchamp ◽  
The World ◽  
Production History ◽  
History Of

This essay examines the objects in George Oppen's Discrete Series (1934). It considers their primary property to be their hardness – many of them have distinctively uniform and impenetrable surfaces. This hardness and uniformity is contrasted with 19th century organicism (Gerard Manley Hopkins and John Ruskin). Taking my cue from Kirsten Blythe Painter I show how in their work with hard objects these poems participate within a wider cultural and philosophical turn towards hardness in the early twentieth century (Marcel Duchamp, Adolf Loos, Ludwig Wittgenstein and others). I describe the thinking these poems do with regard to industrialization and to human experience of a resolutely object world – I argue that the presentation of these objects bears witness to the production history of the type of objects which in this era are becoming preponderant in parts of the world. Finally, I suggest that the objects’ impenetrability offers a kind of anti-aesthetic relief: perception without conception. If ‘philosophy recognizes the Concept in everything’ it is still possible, these poems show, to experience resistance to this imperious process of conceptualization. Within thinking objects (poems) these are objects which do not think.

On Metaphysics and the Political: A Polemics of Reading Baudelaire in the 1930s

2019 ◽  
Vol 58 (2) ◽  
pp. 249-259
Author(s):  
Joseph Acquisto
Keyword(s):  
Twentieth Century ◽  
Political Crisis ◽  
The Political ◽  
Modern Poetry ◽  
Progressive Politics ◽  
The World ◽  
Relationship Of ◽  
The Relationship ◽  
Insight Into

This essay examines a polemic between two Baudelaire critics of the 1930s, Jean Cassou and Benjamin Fondane, which centered on the relationship of poetry to progressive politics and metaphysics. I argue that a return to Baudelaire's poetry can yield insight into what seems like an impasse in Cassou and Fondane. Baudelaire provides the possibility of realigning metaphysics and politics so that poetry has the potential to become the space in which we can begin to think the two of them together, as opposed to seeing them in unresolvable tension. Or rather, the tension that Baudelaire animates between the two allows us a new way of thinking about the role of esthetics in moments of political crisis. We can in some ways see Baudelaire as responding, avant la lettre, to two of his early twentieth-century readers who correctly perceived his work as the space that breathes a new urgency into the questions of how modern poetry relates to the world from which it springs and in which it intervenes.

Features of the development of an unmanned rocket-culture technology in the first half of the twentieth century

2018 ◽  
pp. 135-144
Author(s):  
O. O. Gubka
Keyword(s):  
Twentieth Century ◽  
Subsequent Formation ◽  
Technical Schools ◽  
Space Industry ◽  
The World ◽  
Culture Technology

The features of unmanned rocket and space engineering´s development in the USSR and in the world in the first half of the XX century were considered in the article. They defined subsequent formation of scientific and technical schools in the rocket and space industry.

Aftershocks

2017 ◽  
Author(s):  
Seva Gunitsky
Keyword(s):  
Twentieth Century ◽  
Regime Change ◽  
International System ◽  
Political Legitimacy ◽  
Great Powers ◽  
Past Century ◽  
The Past ◽  
Sudden Rise ◽  
The World ◽  
National Borders

Over the past century, democracy spread around the world in turbulent bursts of change, sweeping across national borders in dramatic cascades of revolution and reform. This book offers a new global-oriented explanation for this wavelike spread and retreat—not only of democracy but also of its twentieth-century rivals, fascism, and communism. The book argues that waves of regime change are driven by the aftermath of cataclysmic disruptions to the international system. These hegemonic shocks, marked by the sudden rise and fall of great powers, have been essential and often-neglected drivers of domestic transformations. Though rare and fleeting, they not only repeatedly alter the global hierarchy of powerful states but also create unique and powerful opportunities for sweeping national reforms—by triggering military impositions, swiftly changing the incentives of domestic actors, or transforming the basis of political legitimacy itself. As a result, the evolution of modern regimes cannot be fully understood without examining the consequences of clashes between great powers, which repeatedly—and often unsuccessfully—sought to cajole, inspire, and intimidate other states into joining their camps.

A war hero or a Hitler soldier?

2019 ◽  
pp. 50-57
Author(s):  
Pavel Gotovetsky
Keyword(s):  
Twentieth Century ◽  
World War Ii ◽  
Interwar Period ◽  
Military Service ◽  
Third Reich ◽  
National Committee ◽  
World War ◽  
The Third ◽  
The World ◽  
The Third Reich

The article is devoted to the biography of General Pavlo Shandruk, an Ukrainian officer who served as a Polish contract officer in the interwar period and at the beginning of the World War II, and in 1945 became the organizer and commander of the Ukrainian National Army fighting alongside the Third Reich in the last months of the war. The author focuses on the symbolic event of 1961, which was the decoration of General Shandruk with the highest Polish (émigré) military decoration – the Virtuti Militari order, for his heroic military service in 1939. By describing the controversy and emotions among Poles and Ukrainians, which accompanied the award of the former Hitler's soldier, the author tries to answer the question of how the General Shandruk’s activities should be assessed in the perspective of the uneasy Twentieth-Century Polish-Ukrainian relations. Keywords: Pavlo Shandruk, Władysław Anders, Virtuti Militari, Ukrainian National Army, Ukrainian National Committee, contract officer.

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