Becoming Giuliana: Antonioni's Red Desert and the Capitalist Social Machine

2021 ◽  
Vol 15 (1) ◽  
pp. 91-116
Author(s):  
Richard Letteri
Keyword(s):  
Female Protagonist ◽  
Time Image ◽  
Social Machine

This essay employs Deleuze and Guattari's analysis of the capitalist social machine to explore Michelangelo Antonioni's Red Desert (1964). More specifically, it addresses the psychological struggles of the film's female protagonist, Giuliana, with respect to duelling forces of capitalist deterritorialisation and Oedipal reterritorialisation. The essay also brings together Deleuze's cinema works with his and Guattari's schizoanalysis to show how Antonioni's use of the time-image itself functions as a deterritorialising force, particularly with respect to the film's pivotal island fantasy scene, where, if only momentarily, Giuliana engages in the Deleuzean act of becoming.

Design of a Spectroscopic Low-Energy Emission Microscope

1990 ◽  
Vol 48 (1) ◽  
pp. 358-359
Author(s):  
Lee H. Veneklasen
Keyword(s):  
Parallel Imaging ◽  
Objective Lens ◽  
Energy Window ◽  
Flat Surfaces ◽  
Beam Voltage ◽  
New Instrument ◽  
Real Time Image ◽  
Image Planes ◽  
Backscatter Diffraction ◽  
Time Image

This paper discusses some of the unique aspects of a spectroscopic emission microscope now being tested in Clausthal. The instrument is designed for the direct parallel imaging of both elastic and inelastic electrons from flat surfaces. Elastic contrast modes of the familiar LEEM include large and small angle LEED, mirror microscopy, backscatter diffraction contrast (for imaging of surface structure), and phase contrast (for imaging of step dynamics)(1). Inelastic modes include topology sensitive secondary, and work function sensitive photoemission. Most important, the new instrument will also allow analytical imaging using characteristic Auger or soft X-ray emissions. The basic instrument has been described by Bauer and Telieps (2). This configuration has been redesigned to include an airlock, and a LaB6 gun, triple condensor lens, magnetic objective lens, a double focussing separator field, an imaging energy analyzer, and a real time image processor.Fig. 1 shows the new configuration. The basic beam voltage supply Vo = 20 KV, upon which separate supplies for the gun Vg, specimen Vs, lens electrode Vf, and analyzer bias Vb float. The incident energy at the sample can be varied from Vs = 0-1 KV for elastic imaging, or from Vg + Vs = (3 + Vs) KV for inelastic imaging. The image energy window Vs±V/2 may be varied without readjusting either the illumation, or imaging/analyzer optics. The diagram shows conjugate diffraction and image planes. The apertures defining incoming Humiliation and outgoing image angles are placed below the separator magnet to allow for their independent optimization. The instrument can illuminate and image 0.5-100 μm fields at 0-1 keV emission energies with an energy window down to 0.2 eV.

Resonance in Dhvani Aesthetics and the Deleuzian Logic of Sensation

2018 ◽  
Vol 12 (1) ◽  
pp. 29-44
Author(s):  
Srajana Kaikini
Keyword(s):  
Art History ◽  
Visual Art ◽  
Normative Theory ◽  
Close Reading ◽  
Literary Interpretation ◽  
Sanskrit Poetics ◽  
Comparative Framework ◽  
Time Image

This paper undertakes an intersectional reading of visual art through theories of literary interpretation in Sanskrit poetics in close reading with Deleuze's notions of sensation. The concept of Dhvani – the Indian theory of suggestion which can be translated as resonance, as explored in the Rasa – Dhvani aesthetics offers key insights into understanding the mode in which sensation as discussed by Deleuze operates throughout his reflections on Francis Bacon's and Cézanne's works. The paper constructs a comparative framework to review modern and classical art history, mainly in the medium of painting, through an understanding of the concept of Dhvani, and charts a course of reinterpreting and examining possible points of concurrence and departure with respect to the Deleuzian logic of sensation and his notions of time-image and perception. The author thereby aims to move art interpretation's paradigm towards a non-linguistic sensory paradigm of experience. The focus of the paper is to break the moulds of normative theory-making which guide ideal conditions of ‘understanding art’ and look into alternative modes of experiencing the ‘vocabulary’ of art through trans-disciplinary intersections, in this case the disciplines being those of visual art, literature and phenomenology.

‘Good enough for a spot of lippy anyway’: Rape and the Body Politic in My Brother Tom

2013 ◽  
Vol 10 (2) ◽  
pp. 358-373
Author(s):  
Louise Wilks
Keyword(s):  
Sexual Abuse ◽  
Female Body ◽  
Body Politic ◽  
The Body ◽  
Sexual Violation ◽  
Female Protagonist ◽  
British Cinema ◽  
Hollywood Movies ◽  
Contemporary Cinema ◽  
Rape Narratives

The representation of rape continues to be one of the most highly charged issues in contemporary cinema, and whilst many discussions of this topic focus on Hollywood movies, sexual violation is also a pervasive topic in British cinema. This article examines the portrayal of a female's rape in the British feature My Brother Tom (2001), a powerful and often troubling text in which the sexual violation of the teenage female protagonist functions as a catalyst for the events that comprise the plot, as is often the case in rape narratives. The article provides an overview of some of the key feminist academic discussions and debates that cinematic depictions of rape have prompted, before closely analysing My Brother Tom's rape scene in relation to such discourses. The article argues that the rape scene is neither explicit nor sensationalised, and that by having the camera focus on Jessica's bewildered reactions, it positions the audience with her, and powerfully but discreetly portrays the grave nature of sexual abuse. The article then moves on to examine the portrayal of sexual violation in My Brother Tom as a whole, considering the cultural inscriptions etched on the female body within its account of rape, before concluding with a discussion of the film's depiction of Jessica's ensuing methods of bodily self-inscription as she attempts to disassociate her body from its sexual violation.

‘Strangers to themselves’: Ageing, the Individual, and the Community in the Fiction of Iris Murdoch, John Banville, and John McGahern

2018 ◽  
Vol 48 (2) ◽  
pp. 202-218
Author(s):  
Heather Ingman
Keyword(s):  
Social Experiences ◽  
Iris Murdoch ◽  
Female Protagonist ◽  
John Banville ◽  
The Individual

Irish literary gerontology has been slow to develop and this article aims to stimulate discussion by engaging with gerontologists' assertions that ageing in a community of peers is enriching. Juxtaposing the experience of ageing individuals in the novels of Iris Murdoch and John Banville with the more social experiences of John McGahern's protagonists, the article finds parallels between Murdoch's The Sea, The Sea (1978) and Banville's fiction with its emphasis on the ageing individual, invariably male, who attempts to fashion a coherent identity through narration. By contrast, McGahern's The Barracks (1963), is focused through the eyes of a female protagonist whose final months are shaped by interaction with the society around her, while in That They May Face the Rising Sun (2002) ageing is experienced through an entire community.

The Disruption Of Family In Manju Kapur’s Custody

Think India ◽  
2019 ◽  
Vol 22 (3) ◽  
pp. 880-885
Author(s):  
K.P. Bhavatharini ◽  
Ms Dr. Anita Albert
Keyword(s):  
Marital Relationship ◽  
Modern Life ◽  
The Real ◽  
Law System ◽  
Metropolitan Cities ◽  
Take Back ◽  
The Family ◽  
Female Protagonist ◽  
The Future ◽  
Key Aspects

Manju Kapur exposes the disparity and how modernity plays a major role in our society and also the hollowness modern life through her novel Custody. The present paper deals with the key aspects of custody, like extra marital affair, exploration of children and the law system of India. Manju Kapur has published five novels and all her novels dealt with postmodern era, which became sensational in the literary world. She talks about the life of people in Metropolitan cities and how it changes the attitude of theirs and makes them to be victims of modernity through her novel Custody. She manages to disclose the atmosphere which revolves around the family and how it destroys their peace. Here the author portrays how her female protagonist goes to an extent to fulfill her need even breaking her marital relationship with her husband and lack of concern with her children. She portrays the unimaginable incident of broken marriage and illustrates how it causes their children to yearning for their custody from their parents. The children are mentally affected because of the conflict between their egoistic parents to take back their custody only to win the battle not having the real concern over the future of their children. The author manages to create an excellent atmosphere that reveals the various disasters roaming around the family. The future of the children is also hazard. This novel proves that Manju Kapur is a great curator of the modern Indian family.

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