Instrumentation of Freud’s Psychoanalysis, Marxism, Semiotic, Iconic & Realism in context of Politics & Class Struggle in Modern Day Arts & Motion Pictures

This project-based research in the form of a visual essay along with reflective summary will gaze into the political aesthetics of art and history collaborated with its communicative approach and correlation in the global appearance. The motto of this essay is the representation of political aesthetics and class struggle through modern day arts, images and graphic from Psychoanalytic, semiotic, iconic, realism and Marxist viewpoint and their impacts on the communication and correlation. As images could be read from various perspectives, how the formalism and visual form of art alongside psychoanalytic and connoisseurship point of view could encounter the reflection as a limitation, would also be elaborated. In order to perform that and to achieve a concrete establishment according to the finding, thirteen images will be evaluated in relation to their political aesthetic to find out their influences, political aesthetics and class-struggle perspectives on global-scale appearances from Psychoanalytic, semiotic, iconic, symbolic, realism and Marxist viewpoint. Apart from the accomplishment of the evaluation of their nature of communication, this essay would also enlighten the theoretical dimension of arts and images in contrast to the point of interests.

Reading Images and Practices through Diversities in Freud’s Psychoanalytic theory, Marxism, Feminism, Art and their Political Aesthetics

The key goal of this essay was to elaborate the diversities in Marxist, Psychoanalytic and feminism art interpretation and their political aesthetics. Additionally, the essay was arguing whether the aspects of art interpretation had to act on self-interest or psychoanalytical perspective and enchantment or would deliberately deliver social, political or global changes. According to the researched conducted previously, it could be told that almost all of the approaches of the painting would be viewed in conjunction to the specific political or psychic issues. However, it was also found that personal issues could also largely contribute to the social and political goals, as, psychoanalytically, the human nature is accentuated to reach out for suppressed feelings or desires which could lead to the contribution to a social and political struggle as well.

Teorema’s Death Drive

This chapter offers a reading of Pier Paolo Pasolini’s Teorema (1968), not only as a major queer film, but as an early work of queer theory. Made in 1968, Teorema appears at a moment of political upheaval, and yet confoundingly discards a narrative of class struggle in order to focus on a series of sexual encounters between a handsome, unnamed stranger (played by Terence Stamp) and every member of a wealthy Milanese family. Does Pasolini’s first film to explicitly depict homosexuality entail a failure of his Marxist politics? Exploring the film’s political aesthetics, the chapter argues that what is at stake in Teorema is an aesthetic inscription of what Guy Hocquenghem, a few years later, would call “homosexual desire.” Far from describing a socially intelligible sexual orientation, this term names a movement towards dissolution and revolution, both material and metaphysical.

Affect, blankness, theatrics: Rurality and faciality in three Chinese instances

The face and the close-up have been central to film theory since its early days. If modern visual theories of the face arose in Europe amid urbanization and imperial encounter, in the People's Republic of China (PRC), the political aesthetics of faciality became central to Maoist mass mobilizations of the countryside, in part through collective village film screenings. Bringing together themes of faciality, rurality and anxieties of global encounter, this article considers how the rural has been staged through genres of the face in Chinese cinema and television. Through close readings of the Maoist era The Youth of Our Village, Jia Zhangke’s Still Life and Zhao Benshan Media’s series Rural Love Story, I consider three distinct deployments of the face in depictions of rural and environmental transformation. Thinking with while also departing from Deleuze’s formulations in Cinema 1 and Cinema 2, the article traces an emotively intense face reminiscent of the affection-image, a blank face that operates in part as a time-image and a performative face of what might be called a theatrics-image. Across its readings as a site of affective immediacy, despotic inscription, moral character and social–political manoeuvring, the face offers a multivalent site for political, aesthetic and affective mediation, on- and off-screen.

Deleuze on Francis Bacon’s Paintings: A Performative Witnessing of Coloring Sensation Among Schoolchildren

Inspired by the work of the Irish-born British figurative painter, Francis Bacon, Gilles Deleuze, one of the most influential French philosophers of the 20th century, wrote a book titled, Francis Bacon: The Logic of Sensation. In this book, Deleuze creates novel concepts of coloring sensation that rely on relations between colors or the juxtaposition of tints and hues in relation to feelings or perceptions, resulting from something that happens to or comes into contact with the body. Deleuze illuminates how Bacon uses the figure, colors, contours, and broken tones to show raw and dark motifs such as horror, vulnerability, and brutality. Using loosely connected scenes, narrative interruptions, storyline turns, recitations, and pedagogical moments, I show a tissue of coloring sensations among children in a primary school that will not be stilled, calmed, or dimmed. In this way, I pursue a desiring, political aesthetics of pedagogical, scholarly, and life-wide meanings.

Review of Towards A Political Aesthetics of Cinema: The Outside of Film

Lie, S. (2020). Towards a Political Aesthetics of Cinema: The Outside of Film. Amsterdam University Press.