Strike (Sergei Eisenstein, 1925)

2018 ◽  
Author(s):  
Justus Nieland
Keyword(s):  
Popular Culture ◽  
Collective Action ◽  
Strong Influence ◽  
Socialist Realism ◽  
Russian Revolution ◽  
Feature Film ◽  
Soviet State ◽  
Sergei Eisenstein ◽  
The World ◽  
Made In

The first feature film of legendary Soviet director Sergei Eisenstein, Strike, is an anatomy of the germination of collective action, its surveillance within modern networks of power, and its violent repression. Based on the 1903 strikes at Rostov-on-the-Don, Strike was conceived as part of a never finished seven-film cycle entitled Toward the Dictatorship of the Proletariat. Made in the aftermath of the Russian Revolution, the film is the first of a series of Eisenstein’s filmic mythologies of revolutionary action – here an historical strike – that includes Battleship Potemkin (1926), a film about a famous mutiny, and October: Ten Days that Shook the World (1927), a picture about the revolution itself. Strike is, of course, a propaganda film for the nascent Soviet state, and rooted in an aspiration towards documentary actuality. But it is also one of the director’s most formally exuberant, theatrical films. Its dazzling display of technical trickery (superimpositions, double-exposures, shifting frame dimensions, hyperactive irises and dissolves), and its non-naturalistic performance styles, betray the strong influence of popular culture on the young Eisenstein. The director’s indebtedness to the anti-psychological, externalized approaches to acting characteristic of 1920s Soviet constructivist theatre of the 1920s – the biomechanical principles of Vsevolod Meyerhold, or the illogical, gag-based performance styles of the Factory of the Eccentric Actor (FEKS), a Petrograd-based acting workshop with which the young Eisenstein was associated – is also evident in Strike’s pile of gags, acrobatics, and clown routines. Strike illustrates Eisenstein’s early desire to structure his films as sensational attractions, whose aggressive montages – as in Strike’s famous intercutting of the slaughtering of an ox and the murder of the striking workers by tsarist forces – were calculated to manipulate spectators’ emotions and allegiances. During the 1930s, under the pressure of a new Soviet demand for Socialist realism, Eisenstein would disavow as youthful excesses the formal experiments of Strike that continue to astonish audiences.

The “tedious yammering of selves”: The End of Intimacy in Spike Jonze’s Her

2019 ◽  
pp. 176-192
Author(s):  
Richard Smith
Keyword(s):  
Popular Culture ◽  
Social World ◽  
The Body ◽  
Career Trajectory ◽  
Feature Film ◽  
Sound Image ◽  
Body Experiences ◽  
Aesthetic Form ◽  
The World

Spike Jonze’s unusual career trajectory, from the outer edges of popular culture to the center of indiewood, has resulted in a distinctive body of work that spans several genres and forms. This chapter traces Jonze’s career to ground a stylistic reading of his fourth feature film, Her (2013). Presented in three parts—Jonze’s short works, Gilles Deleuze’s “implied dream” and the “sound-image,” the lonely social world of Her—the chapter argues that Jonze’s cinematic style is an elaboration of a very simple image of a body in motion. As his style develops the relation of body and world becomes more central and more uncertain. In Her, the world is replaced by media affect and the body experiences itself as an aesthetic form. Smith explores a terrain of loneliness that sits at the center of much of Jonze’s work.

scholarly journals T. S. ELIOT’S “OLD POSSUM’S BOOK OF PRACTICAL CATS” IN THE CONTEXT OF “NURSERY RHYMES” TRADITION

2021 ◽  
Vol 26 (2) ◽  
pp. 191-199
Author(s):  
Kristina M. Marshaniya ◽  
Keyword(s):  
Research Method ◽  
Strong Influence ◽  
Russian Translation ◽  
Feature Film ◽  
Main Research ◽  
Cultural Methods ◽  
The World ◽  
Long Time ◽  
Andrew Lloyd Webber ◽  
Poetic Texts

This paper presents the results of a comparative study of the collection of poems Old Possum’s Book of Practical Cats (1939) by T. S. Eliot and the collection of children’s verses Mother Goose Old Nursery Rhymes (published in 1760), compiled and illustrated by A. Rackham (1913). Consisting of 15 poems, and distinguished by its frivolity against the background of other works by Eliot, the cycle Old Possum’s Book of Practical Cats has been overlooked by both Russian and foreign researchers for a long time. Recently a surge of interest in this book of verse has been provoked by the release of a feature film Cats (2019) based on the world-famous musical by Andrew Lloyd Webber. This fact as well as the lack of serious academic studies of Eliot’s book of verse has determined the urgency and novelty of this paper. It is also important to show the involvement of this segment of Eliot’s poetry into the English literary tradition. The aim of this research is to identify the influence of Victorian aesthetics of nonsense on the poetry of T. S. Eliot’s cycle. The method of comparative analysis has been chosen as the main research method. Besides, structural-semantic and linguistic-cultural methods have been used. In understanding and interpreting the term “tradition” the author relies on Eliot’s aesthetics, in which this concept is central. The terminological unit “nursery rhymes” is used in its original traditional meaning since its historical and cultural background disappears in any Russian translation or scholarly interpretation. In the course of work, certain features of nursery rhymes have been identified in the poetic texts by the great Modernist. The study of the specificity of this genre (the playful atmosphere of the text, the special rhythms and forms of coding historical events, animalistic perspectives, the use of various repetitions and imitations, the creation of author’s occasionalisms and unusual names of characters, etc.) confirms strong influence of the tradition of English nursery rhymes on T. S. Eliot’s works.

1989 göçü sonrası Bulgaristan göçmenlerinin yemek kültüründeki değişim

2017 ◽  
Vol 4 (2) ◽  
pp. 227-245
Author(s):  
Cahit Kahraman ◽  
İlhan Güneş ◽  
Nanae Kahraman
Keyword(s):  
Eating Habits ◽  
Supply And Demand ◽  
Food Culture ◽  
Rapid Progress ◽  
Canned Food ◽  
Product Range ◽  
The World ◽  
Before And After ◽  
Day By Day ◽  
Made In

1989 göçü öncesi, dünyada eşzamanlı olarak gittikçe gelişen ve zenginleşen mutfak kültürü, Bulgaristan Türklerini de etkilemiştir. Pazardaki çeşitlilik arttıkça, yemek alışkanlıkları da değişime uğramıştır. Büyük göçten sadece 30-40 sene evvel kısıtlı imkânlar ile sınırlı sayıda yemek çeşidi üretilirken, alım gücünün artmasıyla yemek kültüründe de hızlı gelişmeler olmuştur. Artan ürün çeşitliliği yemeklere de yansımış, farklı lezzetler mutfaklara girmiştir. Göçmen yemekleri denilince hamur işleri, börek ve pideler akla gelir. Ayrıca, göçmenlerin çok zengin turşu, komposto ve konserve kültürüne sahip oldukları da bilinir. Bu çalışma, 1989 öncesi Bulgaristan’ın farklı bölgelerinde yaşayan Türklerin yemek alışkanlıklarına ışık tutmakla birlikte, göç sonrasında göçmen mutfak kültüründe bir değişiklik oluşup oluşmadığını konu almaktadır. Bu amaçla, 1989 yılında Türkiye’ye göç etmiş 50 kişiye 8 sorudan oluşan anket düzenlenmiştir. Bu verilerden yola çıkarak oluşan bulgular derlenmiş ve yeni tespitler yapılmıştır. Ayrıca, Türkiye’nin farklı bölgelerine yerleşen göçmenler, kendi göçmen pazarlarını kurmuşlardır. Bulgaristan’dan getirilen ürünlerin bu pazarlarda satılması böyle bir arz talebin hala devam ettiğine işaret etmektedir.ABSTRACT IN ENGLISHThe Diversity in Cuisine Culture of the Immigrants from Bulgaria After 1989 MigrationThe Cuisine culture that has been developing and getting rich day by day contemporaneously in the world before 1989 migration has also had an impact on Bulgarian Turks. By the increase in diversity in the market, eating habits have changed. While producing a limited number of food types with limited opportunities just some 30 or 40 years before the ‘Big Migration’, there has been a rapid progress in food culture by the help of the increase in purchase power. Enhancing product range has been reflected in food, and different tastes have entered the cuisines. When we say immigrant, the first things that come to our mind are pastry, flan and pitta bread. Moreover, it is also known that immigrants have a very rich cuisine culture of pickle, stewed fruit, and canned food. This study aims both to disclose the eating habits of Turks living in different regions of Bulgaria before 1989 and to determine whether there has been a difference in immigrant cuisine culture before and after the migration. For this purpose, a questionnaire consisting of 8 questions has been administered to 50 people who migrated to Turkey in 1989. The results gathered from these data have been compiled and new determinations have been made. In addition, immigrants that settled in different regions of Turkey have set their own immigrant markets. The fact that the products brought from Bulgaria are being sold in these markets shows that this kind of supply and demand still continues.

A Māori Girl Watches, Listens, and Learns – Coming of Age from an Indigenous Viewpoint: Mauri (Merata Mita, 1988)

2018 ◽  
Author(s):  
Alistair Fox
Keyword(s):  
Indigenous People ◽  
Coming Of Age ◽  
Natural World ◽  
Feature Film ◽  
Indigenous Woman ◽  
Spiritual Dimension ◽  
The World ◽  
Life Force ◽  
Relationship Of ◽  
The Relationship

This chapter examines Merata Mita’s Mauri, the first fiction feature film in the world to be solely written and directed by an indigenous woman, as an example of “Fourth Cinema” – that is, a form of filmmaking that aims to create, produce, and transmit the stories of indigenous people, and in their own image – showing how Mita presents the coming-of-age story of a Māori girl who grows into an understanding of the spiritual dimension of the relationship of her people to the natural world, and to the ancestors who have preceded them. The discussion demonstrates how the film adopts storytelling procedures that reflect a distinctively Māori view of time and are designed to signify the presence of the mauri (or life force) in the Māori world.

Auto Markets in the World and Strategy of Japan’s Companies

2019 ◽  
Vol 10 (10) ◽  
pp. 1003-1008
Author(s):  
Hiroyuki Matsuoka ◽  
Keyword(s):  
Saudi Arabia ◽  
Electric Vehicle ◽  
New Technologies ◽  
Auto Industry ◽  
Domestic Market ◽  
Automatic Driving ◽  
The World ◽  
Almost All ◽  
Made In

In the world auto market, top three companies are VW(Volkswagen), Runault-Nissan-Mistubishi, and Toyota. About some selected countries and areas, China, England, Italy, Australia, Germany, Turkey, Russia, Sweden, USA, Brazil, UAE, Japan, Vietnam and Thailand are more competitive. However, the situation is different. Seeing monopolistic market countries and areas, Saudi Arabia, Taiwan, Korea, Malaysia, France, India, and Pakistan, in particular, the influence of Japan to Taiwan, India, and Pakistan is very big. But in Korea and France, their own companies’ brands occupy the market. In Japan domestic market, the overall situation is competitive. Almost all vehicles made in Japan are Japanese brand. From now on, we have to note the development of electric vehicle (EV) and other new technologies such as automatic driving and connected car. That is because they will give a great impact on the auto industry and market of Japan. Now Japan’s auto industry is going to be consolidated into three groups, Honda, Toyota group, and Renault-Nissan-Mitsubishi group for seeking the scale merit of economy. Therefore, I will pay attention to the worldwide development of EV and other new technologies and the reorganization of auto companies groups.

Chosen Nation

2017 ◽  
Author(s):  
Benjamin W. Goossen
Keyword(s):  
Latin America ◽  
Collective Action ◽  
Weimar Republic ◽  
Religious Affiliation ◽  
Third Reich ◽  
Church Leaders ◽  
The World ◽  
German Identity ◽  
History Of ◽  
Nineteenth And Twentieth Centuries

During the nineteenth and twentieth centuries, the global Mennonite church developed an uneasy relationship with Germany. Despite the religion's origins in the Swiss and Dutch Reformation, as well as its longstanding pacifism, tens of thousands of members embraced militarist German nationalism. This book is a sweeping history of this encounter and the debates it sparked among parliaments, dictatorships, and congregations across Eurasia and the Americas. Offering a multifaceted perspective on nationalism's emergence in Europe and around the world, the book demonstrates how Mennonites' nationalization reflected and reshaped their faith convictions. While some church leaders modified German identity along Mennonite lines, others appropriated nationalism wholesale, advocating a specifically Mennonite version of nationhood. Examining sources from Poland to Paraguay, the book shows how patriotic loyalties rose and fell with religious affiliation. Individuals might claim to be German at one moment but Mennonite the next. Some external parties encouraged separatism, as when the Weimar Republic helped establish an autonomous “Mennonite State” in Latin America. Still others treated Mennonites as quintessentially German; under Hitler's Third Reich, entire colonies benefited from racial warfare and genocide in Nazi-occupied Ukraine. Whether choosing Germany as a national homeland or identifying as a chosen people, called and elected by God, Mennonites committed to collective action in ways that were intricate, fluid, and always surprising.

Between High Culture and Low Culture; and also The Difference Between Popular Culture and Folk Culture

2019 ◽  
Vol 7 (8) ◽  
pp. 12
Author(s):  
Kunal Debnath
Keyword(s):  
Popular Culture ◽  
Folk Culture ◽  
Common People ◽  
High Culture ◽  
The World ◽  
The Common ◽  
The Difference ◽  
Low Culture

High culture is a collection of ideologies, beliefs, thoughts, trends, practices and works-- intellectual or creative-- that is intended for refined, cultured and educated elite people. Low culture is the culture of the common people and the mass. Popular culture is something that is always, most importantly, related to everyday average people and their experiences of the world; it is urban, changing and consumeristic in nature. Folk culture is the culture of preindustrial (premarket, precommodity) communities.

Redefinisi Fungsi Desa dalam Manga Naruto dan Bande Dessinée Astérix: Sebuah Kajian Komparasi Budaya Populer

Metahumaniora ◽  
2017 ◽  
Vol 7 (3) ◽  
pp. 293
Author(s):  
Tania Intan
Keyword(s):  
Popular Culture ◽  
Rural Environment ◽  
Cultural Comparison ◽  
Structural Element ◽  
Legal Entity ◽  
Bande Dessinee ◽  
Spare Time ◽  
Popular Medium ◽  
The World ◽  
The Village

AbstrakSecara alamiah, manusia membutuhkan sarana untuk mengisi waktu luangnyasetelah bekerja keras. Satu media yang murah, mudah dijangkau, dan digemari oleh semuakalangan di seluruh dunia adalah cerita bergambar atau komik yang merupakan bagiandari budaya populer. Pada umumnya, karya paraliteratur-visual ini memang bersifat fiktifdan hanya merupakan peniruan dari kenyataan yang digambarkan secara berlebihan(grotesque). Namun demikian, di dalam komik, sering ditemukan nilai-nilai kehidupanyang bersifat universal dan abadi sehingga dianggap layak sebagai bahan kajian budaya.Naruto, salah satu manga Jepang, dan Astérix, bande dessinée dari Prancis, akan ditelitisebagai representasi dunia Timur dan Barat. Latar sebagai unsur struktural dalam karyakaryafiksi ini ternyata juga menunjukkan kesamaan mendasar, yaitu keberadaan desasebagai tempat hidup para tokohnya. Dalam tulisan ini, akan dibahas pemaknaan lainterhadap lingkungan rural tersebut, yang memiliki andil dalam pembentukan karakterpara tokoh dari kedua komik. Metode kajian komparasi budaya akan digunakan denganpenerapan teori-teori yang relevan. Penelitian singkat ini bertujuan untuk melengkapistudi mengenai komik yang belum banyak dilakukan di Indonesia.Kata kunci: Desa, komik, Naruto, Astérix, Komparasi BudayaAbstractNaturally, humans need a way to fill their spare time after working hard. Acheap, accessible and popular medium by all circles around the world is a picture or comicstory, which is part of popular culture. McCloud (1993:7) defines comics as drawings andembossed symbols in a particular order, aimed at providing information or achievingaesthetic responses from the reader. In general, this visual-paraliterature work isindeed fictitious and merely an imitation of grotesque reality. However, in the comics, itis often found that values of life that are universal and eternal so comics are consideredappropriate as a material of cultural studies. Naruto, one of the Japanese manga, andAstérix, the bande dessinée of France, are examined as a representation of the East andWest. The background as a structural element in these works of fiction also shows the basicsimilarity of the existence of the village as the place of life of the characters. According toKartohadikoesoemo (1984:16), the village is a legal entity, in which a ruling society livesits own government. In this paper, other meanings of the rural environment, which hascontributed in the character formation of the characters from both comics are discussed.The method of cultural comparative is used with the application of relevant theories. Thisbrief study aims to complete the study of comics which is still very limited in Indonesia.Keywords: Village, Comic, Naruto, Astérix, Cultural Comparison

RISHTAN SCHOOL OF CERAMICS

2019 ◽  
Vol 16 (2) ◽  
pp. 73-77
Author(s):  
Akmal Marozikov ◽  
Keyword(s):  
Central Asia ◽  
Building Materials ◽  
Works Of Art ◽  
The World ◽  
Ferghana Valley ◽  
History Of ◽  
Made In ◽  
National Style

Ceramics is an area that has a long history of making clay bowls, bowls, plates,pitchers, bowls, bowls, bowls, pots, pans, toys, building materials and much more.Pottery developed in Central Asia in the XII-XIII centuries. Rishtan school, one of the oldest cities in the Ferghana Valley, is one of the largest centers of glazed ceramics inCentral Asia. Rishtan ceramics and miniatures are widely recognized among the peoples of the world and are considered one of the oldest cities in the Ferghana Valley. The article discusses the popularity of Rishtan masters, their products made in the national style,and works of art unique to any region

M. A. Ayuh. Made in Jamaica: The Development of Manufacturing Sector. Baltimore: The Johns Hopkins University Press. 1981. xxii+128 pp.

1986 ◽  
Vol 25 (1) ◽  
pp. 93-95
Author(s):  
Najam-us- Saqib
Keyword(s):  
Manufacturing Industry ◽  
Manufacturing Sector ◽  
Policy Makers ◽  
Industrial Base ◽  
Johns Hopkins University ◽  
Key Characteristics ◽  
The World ◽  
Caribbean Country ◽  
Bauxite Ore ◽  
Made In

Jamaica, known in the world for her rich deposits of bauxite ore, is a small Caribbean country with an area of 10991 square kilometers and a population of just over two million individuals. This beautifu11and, which was described by Columbus as "The fairest isle that eyes have beheld" has developed a remarkably diversified manufacturing sector starting from a modest industrial base. Jamaica's manufacturing industry enjoyed a respectable growth rate of about 6 percent per annum during the good old days of the euphoric '50s and '60s. However, those bright sunny days ''when to live was bliss" were followed by the chilling winter of much subdued progress. The rise and fall of growth have aroused considerable interest among economists and policy• makers. The book under review probes the causes of this behaviour by analysing key characteristics of Jamaican manufacturing sector and tracing its path of evolution.

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