Introduction: Film Reboots

Film Reboots ◽  
2020 ◽  
pp. 1-16
Author(s):  
Daniel Herbert ◽  
Constantine Verevis
Keyword(s):  
Digital Technologies ◽  
First Century ◽  
Complex Case ◽  
Turn Of The Millennium ◽  
Industrial Practice ◽  
Two Factors ◽  
Film Series ◽  
Cultural Forms ◽  
Twenty First Century ◽  
Discursive Approach

Since the turn of the millennium, ‘the reboot’ has appeared as a prominent cinematic category in both industrial practice and popular discourses. Resembling both the remake and the sequel, the film reboot is a complex case of industrial intertextuality, where an individual film is linked to an existing film, or film series, by commercial design, and yet often disavows those previous texts in an attempt to generate a new cycle of cinematic productions. This chapter discusses the serial formatting practice of the film reboot, not only its form and structure, but also its relation to other cultural forms, and to changing industrial practices, audience and fan activities. Adopting a broadly discursive approach, the chapter argues that two factors – the rise of digital technologies and the dominance of franchising – set the stage for film reboots in the twenty-first century.

“Is an Archive Enough?”: Megatextual Debris in the Work of Rachel Blau DuPlessis

Genre ◽  
2021 ◽  
Vol 54 (1) ◽  
pp. 139-165
Author(s):  
Bradley J. Fest
Keyword(s):  
Digital Technologies ◽  
Media Ecology ◽  
First Century ◽  
Long Poem ◽  
Cultural Logic ◽  
Television Film ◽  
Twenty First Century ◽  
Rachel Blau Duplessis ◽  
Film And Video

In the twenty-first century, digital technologies have made it possible for writers and artists to create massively unreadable works through computational and collaborative composition, what the author has elsewhere called megatexts. The ubiquity of texts appearing across media that are quite literally too big to read—from experimental novels to television, film, and video games—signals that the megatext is an emergent form native to the era of neoliberalism. But what happens to other long forms, such as the twentieth-century long poem, when written in an era of megatextuality? Rachel Blau DuPlessis's work, including Drafts (1987–2013) and Traces, with Days (2017–), readily suggests itself as a case study for thinking through a megatextual impulse in the twenty-first-century long poem. Though her work is plainly indebted to its modernist precursors (H.D., Pound, Williams, etc.) while disavowing at every level of its composition a patriarchal will toward totality, DuPlessis's various experiments in the long poem are also thoroughly contemporary and respond to the economic, military, political, and environmental transformations of the neoliberal era by drawing upon and producing fragmentary, megatextual debris. This essay positions DuPlessis's work amidst a larger twenty-first-century media ecology, which includes both the megatext and the big, ambitious novel, and argues that rather than simply (and futilely) resist the neoliberal cultural logic of accumulation without end, DuPlessis hypertrophically uses the megatext's phallogocentric form against itself in order to interrogate more broadly what it means—socially, culturally, economically—to write a long poem in the age of hyperarchival accumulation.

scholarly journals When Earth Matters: Bessie Head’s When Rain Clouds Gather

2019 ◽  
Vol 3 (1) ◽  
pp. 448-455
Author(s):  
Gerd Bayer
Keyword(s):  
Postcolonial Theory ◽  
First Century ◽  
Cultural Conflict ◽  
The Novel ◽  
Agricultural Revolution ◽  
The Earth ◽  
Early Twenty ◽  
Cultural Forms ◽  
Twenty First Century

Abstract This essay discusses Bessie Head’s When Rain Clouds Gather from an ecocritical perspective, asking how her late 1960s’ novel already anticipated some of the politics of early twenty-first-century environmental thinking in the postcolonial sphere. The alliance of various marginalized characters who, one way or another, violate against existing hegemonic structures replaces the ideological and cultural conflict over territory, which derived directly from the colonialist past, with an agricultural revolution that aims to empower those who most closely resemble the subaltern classes variously theorized in postcolonial theory. This re-turn to the physical or even Real, to the materiality of the earth, opens up an alternative to the cultural essentialism that, from its beginning, created numerous stumbling stones on the path towards decolonization. Through its turn towards farming and the land and away from cultural forms of hegemony, the novel emphasizes the materiality of reality.

What Forms Can Do

2020 ◽  
Keyword(s):  
Cultural Production ◽  
First Century ◽  
Literary Texts ◽  
Central Feature ◽  
French Studies ◽  
Cultural Forms ◽  
Twenty First Century ◽  
Formal Properties ◽  
French And Francophone

The chapters in this book respond to important questions about the formal properties of French literary texts and the agency of form. A central feature of twentieth- and twenty-first century French and Francophone writing has been the exploration of how cultural forms (literary, philosophical and visual) create distinctive semiotic environments and at the same time engage with external realities. The aim of this volume is to explore how the formal properties of a range of texts inflect our reading of them and, through that exploration, to renew the engagement with form that has been a key feature of French cultural production and of analysis in French studies.

Toward a (Re)signification of Cultural Hybridity: Guji Guji and Master Mason

2013 ◽  
Vol 6 (1) ◽  
pp. 28-42 ◽  
Author(s):  
Andrea Mei-Ying Wu
Keyword(s):  
Subject Matter ◽  
First Century ◽  
Cultural Hybridity ◽  
Turn Of The Millennium ◽  
The Past ◽  
Homi Bhabha ◽  
Twenty First Century ◽  
Political Milieu ◽  
Art Style

Drawing on the theories of M. M. Bakhtin and Homi Bhabha, among others, this paper examines the textual discourse of cultural hybridity in two paradigmatic picturebooks, Guji Guji (2003) and Master Mason (2004), published in Taiwan in the first decade of the twenty-first century, with a close look at the socio-political milieu of Taiwan at the turn of the millennium. The story of Guji Guji deals with the dilemma that a hybrid self inevitably comes to face and negotiate and the ambivalences associated with the discourse of culture's in-between, whereas Master Mason pivots on the tension and contestation between the past and the present and views hybridity as a transgressive power to counter, disrupt, or subvert tradition, as well as to bring in a mosaic representation and improvisational negotiation of cultures and ideas. Differing in subject matter and art style, both picturebooks, nevertheless, substantially work to interpret and interrogate the complex and often contentious negotiations and representations of cultural crossings and mixings.

scholarly journals Literature in Culture & Culture in Literature: Explain 21ST century

2021 ◽  
Vol 9 (10) ◽  
pp. 429-432
Author(s):  
Dr. Sanghamitra Behera
Keyword(s):  
Twentieth Century ◽  
Critical Thinking ◽  
21St Century ◽  
First Century ◽  
Cultural Environment ◽  
Contemporary Culture ◽  
Environment Perception ◽  
Cultural Forms ◽  
Twenty First Century ◽  
Century Literature

Abstract: As the cultural environment of the twenty first century comes into clear focus, Cambridge Studies in Twenty-First Century. Literature and culture presents a series of monographs that undertakes the most penetrating and religious analysis of contemporary culture and thoughts. The series is driven by perception that critical thinking today is in a state of transition. The global forces that produce cultural forms are entering into powerful new alignments, which demand new analytical vocabularies in the wake of later twentieth century theory. The series will demonstrate that theory is not simply availed revolutionary gesture that we need to move beyond, but rather brings us to the thresh hold of a new episteme, which will host work that explores the most important emerging critical contours of the 21st century, marrying inventive and imaginative criticism with theoretical and philosophical rigor. The aim of the series will be to produce an enduring account of the 21st century intellectual landscape that will not only stand as a record of the critical nature of our time, but that will also forge new critical language and vocabularies with which to navigate an unfolding age. Keyword: cultural environment, perception, revolutionary, episteme, transition, vocabularies

The Long Cold War

2016 ◽  
Author(s):  
John Beck ◽  
Ryan Bishop
Keyword(s):  
Twentieth Century ◽  
Cold War ◽  
Large Scale ◽  
First Century ◽  
Contemporary World ◽  
Politics And Culture ◽  
Temporal Frame ◽  
Cultural Forms ◽  
Twenty First Century ◽  
The Cold War

The central assumption of the essays collected here is that the historically bounded period known as the Cold War (1946–1991) does not fully capture the extent to which the institutional, technological, scientific, aesthetic and cultural forms decisively shaped during that period continue to structure, materially and conceptually, the twenty-first-century world. While it is not our intention to claim that the 1946–1991 period did not constitute a specific and distinctive set of historical, geopolitical and cultural circumstances, we are interested in extending the temporal frame in order to consider the intensifications, reversals and irreversibilities brought about by the politics and culture of the latter half of the twentieth century. In numerous ways, the essays gathered here insist that the infrastructure of the Cold War, its technologies, its attitudes and many of its problems continue to shape and inform contemporary responses to large-scale political and technological issues. The essays also explore the various ways in which the continued influences of the Cold War emerge in aesthetic and conceptual/theoretical engagements with contemporary geopolitical conditions. The introduction provides a theoretical and historical articulation of the notion of a 'long' Cold War that continues to shape the contemporary world.

Analysing the challenges for large public libraries in the twenty-first century: A case study of the State Library of Victoria in Australia

First Monday ◽  
2008 ◽  
Author(s):  
Vivienne Waller ◽  
Ian McShane
Keyword(s):  
Public Libraries ◽  
Digital Technologies ◽  
The State ◽  
First Century ◽  
Policy Framework ◽  
Institutional Goals ◽  
Twenty First Century ◽  
State Library ◽  
Ecology And Economy

For large public libraries, the development of digital technologies poses challenges that have yet to be fully explored. While library sector rhetoric rightly imagines that digital technologies bring change to all aspects of library operations, it is not enough to focus on the technologies. Using the State Library of Victoria in Australia as a case example, this paper identifies two key challenges for large public libraries in the new millennium. The first is to obtain a thorough understanding of the nature of the environment in which they operate; in particular, an understanding of the ways in which both the ecology and economy of information are changing. The second challenge is for libraries to develop a policy framework that clarifies institutional goals and brings coherence to diverse and sometimes conflicting policy demands in rapidly changing technological and service settings.

Media and Cognition

2013 ◽  
Vol 17 (2) ◽  
pp. 253-273
Author(s):  
Sébastien de la Fosse ◽  
Keyword(s):  
Cognitive Processes ◽  
Digital Technologies ◽  
First Century ◽  
The Other ◽  
Human Cognition ◽  
Marshall Mcluhan ◽  
Twenty First Century ◽  
The One

While throughout history, knowledge and information have been mostly bound in language and text, new twenty-first-century media increasingly tend to break with this tradition of linear sequentiality. This paper will present an account of how this development may be explained by a relationship between the use of digital technologies on the one hand, and the (human) user’s cognitive processes on the other. This will be done by, first, outlining two existing conceptions of human cognition and, subsequently, by confronting these with observations in the field of philosophy of media, most prominently the position of Marshall McLuhan.

Conclusion

2019 ◽  
pp. 253-254
Author(s):  
Tim Milnes
Keyword(s):  
Literary History ◽  
Golden Age ◽  
First Century ◽  
Two Factors ◽  
Long Time ◽  
Secondary Form ◽  
Twenty First Century

What, if anything, does the fate of the essay in its ‘Golden Age’ tell us about the condition of the genre today? There is little doubt that interest in the essay is flourishing in the twenty-first century.1 Two factors have contributed to this resurgence. The first is the genre’s traditional status as ‘secondary’ form of literature. This meant that, while for a long time the essay was confined to the footnotes of literary history, it attracted the attention of approaches concerned with identifying marginal forms of writing, a tendency that can be traced from Adorno’s landmark essay, the ‘Essay as Form’, to the postmodern essayism of Barthes and Derrida....

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