Masochistic Nationalism and the Basque Imaginary

Author(s):  
Rob Stone

This chapter investigates the curious absence of erotic content in Basque cinema (Julio Medem’s feature films are the obvious exception), an absence that, the author argues, extends well into the democratic period and therefore cannot be blamed on censorship or catholic repression. This research shows that the explicit content of Basque films often revolves around contexts of torture, revealing a certain fascination with masochist narratives that could be suggestive of nationalist martyrdom. This is explored in his Deleuzian analysis of his two main case studies, Estado de excepción/State of Emergency (dir. Iñaki Núñez, 1977) and Akelarre/Witches’ Sabbath (dir. Pedro Olea, 1984), and of a segment of Medem’s documentary La pelota vasca: la piel contra la piedra/The Basque Ball: Skin Against Stone (2003) among many other examples throughout the history of Basque cinema. This noticeable absence of erotic narratives could be part of a revolutionary intent to distance Basque cinema both from the erotic narratives of the Barcelona School and from the destape films associated with Madrid, but also a nationalist commitment to sacrifice individualistic desires and pleasures at the service of more collective aims.

Author(s):  
James McElvenny

This chapter sets the scene for the case studies that follow in the rest of the book by characterising the ‘age of modernism’ and identifying problems relating to language and meaning that arose in this context. Emphasis is laid on the social and political issues that dominated the era, in particular the rapid developments in technology, which inspired both hope and fear, and the international political tensions that led to the two World Wars. The chapter also sketches the approach to historiography taken in the book, interdisciplinary history of ideas.


Author(s):  
Anna Estera Mrozewicz

This book addresses representations of Russia and neighbouring Eastern Europe in post-1989 Nordic cinemas, investigating their hitherto-overlooked transnational dimension. Departing from the dark stereotypes that characterise the hegemonic narrative defined as ‘Eastern noir’, the author presents Norden’s eastern neighbours as depicted with a rich, though previously neglected in scholarship, cinematic diversity. The book does not deny the existence of Eastern noir or its accuracy. Instead, in a number of in-depth case studies of both popular and niche feature films, documentaries and television dramas, it interrogates and attempts to add nuance to the Nordic audiovisual imagination of Russia and Eastern Europe. Tracing approaches of and beyond the Eastern noir paradigm across cinematic genres, and in relation to changing historical contexts, the author considers how increasingly transnational affinities have led to a reimagining of Norden’s eastern neighbours in contemporary Nordic films. Making the notions of border/boundary and neighbourliness central to the argument, the author explores how the shared geopolitical border is (re)imagined in Nordic films and how these (re)imaginations reflect back on the Nordic subjects.


2018 ◽  
Vol 9 (1) ◽  
pp. 107-126
Author(s):  
Birgit Schneider

The article discusses how current mediated conditions change nature perception from a media study perspective. The article is based on different case studies such as the current sensation of atmospheric change through sensible media attached to trees which get published via Twitter, the meteorologist Amazonian Tall Tower Observatory and the use of gutta percha derived from tropical trees for the production of cables in the history of telegraphy. For analysing the examples, the perspective of »media as environments« is flipped to »environments as media«, because this focus doesn’t approach media from a networked and technological perspective primarily but makes productive the elemental character of basic »media« like air, earth and water


2015 ◽  
Vol 47 (2) ◽  
pp. 5-27
Author(s):  
Elizabeth Kella

This article examines the appropriation and redirection of the Gothic in two contemporary, Native-centered feature films that concern a history that can be said to haunt many Native North American communities today: the history of Indian boarding schools. Georgina Lightning’s Older than America (2008) and Kevin Willmott’s The Only Good Indian (2009) make use of Gothic conventions and the figures of the ghost and the vampire to visually relate the history and horrors of Indian boarding schools. Each of these Native-centered films displays a cinematic desire to decenter Eurocentric histories and to counter mainstream American genres with histories and forms of importance to Native North American peoples. Willmott’s film critiques mythologies of the West and frontier heroism, and Lightning attempts to sensitize non-Native viewers to contemporary Native North American concerns while also asserting visual sovereignty and affirming spiritual values.


Author(s):  
Susanna Braund ◽  
Zara Martirosova Torlone

The introduction describes the broad landscape of translation of Virgil from both the theoretical and the practical perspectives. It then explains the genesis of the volume and indicates how the individual chapters, each one of which is summarized, fit into the complex tapestry of Virgilian translation activity through the centuries and across the world. The volume editors indicate points of connection between the chapters in order to render the whole greater than the sum of its parts. Braund and Torlone emphasize that a project such as this could look like a (rather large) collection of case studies; they therefore consider it important to extrapolate larger phenomena from the specifics presented here


Author(s):  
Louçã Francisco ◽  
Ash Michael

Chapter 7 describes the origins of the Chicago School and its successful projection into the hearts and minds of the global ruling class. Working chronologically, there is a description of how this program took root in Chicago and how some of its central figures, Friedman and Harberger, undertook a hemispheric campaign to capture both academic and government institutions. A history of the deregulation movement in the US and case studies of Mexico, Chile, Argentina, and Brazil highlight the breadth and depth of the campaign. The chapter closes in Europe where the neoliberal insurgency faced more-developed social states. Its success varied in Britain, France, and Germany.


Author(s):  
Michael Brendan Baker

This chapter offers a narrative account of music in Canadian cinema that highlights the contributions of its pioneers. Case studies spanning the critically acclaimed, the curious, and the marginalized allow for an effort to flesh out the place of music, particularly popular music, in this national cinema. While the esthetics and dollars-and-cents of music in film may be similar in Canada as elsewhere, the expectations of filmmakers and audiences are perhaps uniquely Canadian as a result of industrial and institutional forces. Animation, the avant-garde, and documentary are particularly vibrant spaces for the innovative use of music and differentiate the history of music in Canadian cinema from other more commercially oriented contexts.


Author(s):  
Kathryn H. Jacobsen

This chapter discusses the history of and responses to global epidemics of serious diseases. Case studies of cholera, influenza, and HIV/AIDS illustrate typical reactions to pandemic events. The initial stages of a pandemic are often characterized by collective anxiety and a desire for isolation. As the pandemic progresses, there are calls for collective global responses to protect human security and contain outbreaks while maintaining international trade and travel. As pandemics enter a recovery phase, there is often a shift toward the use of advocacy to promote international cooperation, secure continued funding for global health activities, and advance other strategic goals. The rhetoric of pandemics is now being used to describe obesity and other emerging noncommunicable diseases because the language of pandemics connotes risk and demands global action. Pandemics are the result of global interactions and globalization processes, and studies of pandemics are, by definition, global studies.


Author(s):  
David Neumeyer

This chapterpresents an overview of the coverage of this volume, which is about film music studies. It chronicles the development of film music studies as a discipline and suggests that its rise is associated with the commodity history of feature films. It describes the evolution of the application of music in motion pictures, from the silent films era to the present time. This chapteralso provides an outline of the chapters in the volume.


2020 ◽  
Vol 22 (4) ◽  
pp. 528-540
Author(s):  
Euclides Nenga Manuel Sacomboio

The global community is racing to slow down and eventually stop the spread of COVID-19, which is a pandemic that has killed thousands of lives and made tens of thousands sick. The new coronavirus has already reached Angola, with 25 confirmed cases, among them 2 died and 6 were cured. The government has decreed a state of emergency on 24 March 2020 for 15 days, which was extended twice for the same number of days that will make it possible to reduce clusters of people and keep them at home. This study reflected on the diverse ways of leadership. It is an article of theoretical, technical and scientific reflection, based on the experience of a new epidemiological situation, with a critical analysis based on technical, scientific and professional experience, with bibliographic input of data obtained from information published in scientific articles, newspapers, magazines and other official documents published in Angola and worldwide related to COVID-19. This article emerged from critical thinking based on the current situation of COVID-19 in Angola in the world and is reflected in this article, what Angola should learn and learned from the experience of other countries that also imported the disease, their history of investment in health, characteristics of their populations, their economies and other aspects.


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