Cinematic Affect

It can be said that there is an evolving and renewed literature about digital games which is an increasing trend topic in new media. Further examination of the field may be helpful to realize that the medium of game inherits the characteristics of different visual media such as cinema, television or animation and gains an authentic approach by adapting their properties into its own visual language. The development of technology and the increase of inter-textuality in media resulted in hybridization in the game and film industry similar to the emergence of multi-disciplinary fields in academy. In this context, as much as the film to game adaptations, the game to film adaptations are encountered more frequently because of this reflexivity. As a result, the similarities of these two different media increased due to the effect of the cinematic game approach which adapts the cinematic properties of movies into the game by influencing the narrative and changing the game dynamics and technical features and transform them to enhance the cinematic experience of the game and give the player the experience of the movie audience. Considering this influence of film in digital games, in order to have a deeper understanding of the cinematic game concept and comprehend how does it changes the language of the game medium in technical and visual means; it will be useful to look at Tomb Raider franchise which has a 26 year background in both gaming and movie industry. This article will be focused on the last game of Tomb Raider named “Shadow of the Tomb Raider” released in 2018 and the last film of the franchise Tomb Raider (2018) released same year as the game, by comparing the features in means of distinctive properties of cinema and digital games. The comparison of both examples of the same franchise may be helpful to recognize the differences and similarities between the game and the movie adaptation to portray the meaning of the concept “cinematic game” and the change occurring in the digital game and the film accordingly. Both of the media will be analyzed from a photo-realistic approach, under the topics; cinematography, camera and virtual camera movements, graphics, sound effects and music, game mechanics and technical film analysis, narrative, color and editing.

This paper explores the presence of translation in the work of Svetlana Alexievich, the Belarusian journalist and 2015 Nobel laureate in Literature. Amid the ongoing debate about whether her books should be categorized as fiction or non-fiction, we propose an alternative perspective on her cycle Voices from Utopia, suggesting it can be viewed as a translation of Soviet history. By applying recent translation studies theories that broaden the definition of translation beyond mere interlingual transfer, we can observe how translation operates at various levels within her texts. This process involves not only the witnesses interviewed by the writer but also extends to the readers. Specifically, through a process of (self-) translation, the interviewees describe their lived experiences, and their voices become a polyphonic chorus that offers fresh insights on the history of the USSR. Alexievich translates these oral testimonies into written documents, which then undergo multiple retranslations due to the continuous changes in narratives, in which both her audience and the author herself are immersed. These translations and retranslations ensure the afterlife of original accounts and shape the way that the readers translate history by immersing themselves in a plurality of its versions. Seeing Alexievich's historical oeuvre as a continuous flow of translations that engage everyone-from the witnesses to the readers-opens up new ways to interpret her cycle.

The recent conclusion of Attack on Titan has ignited discussions about Eren Yeager's character in the anime series-to say, he represents conflicting tales of being the heroic figure for the Eldians and the anti-hero driven by his anger and desire for revenge. This leads to the ultimate question: was he really a hero? Rather than engaging in this debate, the researcher first presents the classical hero typology as it was first defined and exemplified by Gilgamesh and later developed by Joseph Campbell. The next section of the analysis will follow Eren's path in order to highlight the complicated circumstances that have created these contrasting stories. The textual analysis will then explain the anti-hero typology, leading to a suggested structure for an Antihero Journey story. This paper seeks to expand on the existing monomyth or Hero's Journey framework by adapting the Anti-hero narrative structure ideas of Bartley (2023) & Drake (2014) and providing a more complete chassis with which to understand modern antihero narratives.

Bidiya K Damian • Follow 6 min read • 2 days ago -oth Ingmar Bergman's Persona (1966) and Darren Aronofsky's Black Swan (2010) deal with characters who exist as conflicting dualities. In Persona, Alma, a nurse with simple and domestic desires vies for freedom from Elisabet Vogler, a famed actress who has turned mute due to psychological distress. In Black Swan, Nina Sayers, a ballerina with high aspirations, is haunted by her dark doppelgänger, mirroring the good/evil, White Swan/Black Swan dynamic of Odette and Odile in Tchaikovsky's ballet B Search Sign up

Bijdragen tot de Taal-, Land-en Volkenkunde 179 (2023) 1-4 bki brill.com/bki In the same spirit as previous editorials , we thought it informative at this juncture to cast some light on this journal's book review section. Susi Moeimam has been a review editor since 2005, with Tom Hoogervorst joining the board in the same capacity in 2017. In addition, Andrew Gebhardt has presided over language editing since 2010, with a focus on the style and mechanics of the sentences and paragraphs, sharpening and clarifying wherever possible to help the author's voice come through as compellingly and smoothly as possible. Ellen Sitinjak has worked for bki since 1992 and assumed charge of review-related logistics in 2003. Harry Poeze, in his rubric that concludes every issue, discusses the steady stream of Dutch books on Southeast Asia (primarily the Netherlands Indies). He has single-handedly carried out this job for almost thirty-five years (see Poeze 1988) and we lack the words to express our admiration. Susi and Tom are jointly responsible for seeking out reviewers and inviting them to discuss recently published academic monographs and edited volumes. In keeping with the scope of this journal, we prioritize works in the humanities and social sciences that appeal to general interests. Despite a historically rooted gravitation towards Indonesia, our interests encompass all of Southeast Asia, its connections to other regions, and its diasporas. Reviews are in English, but books written in a variety of languages are eligible for review. Whereas article submissions are author-initiated, book reviews are typically commissioned by the journal's editors. For this reason, we have come to adopt an informal modus operandi, handling the entire process by way of direct communication rather than the online portal that is used for bki articles. Susi Moeimam is primarily based in Jakarta and Tom Hoogervorst in Leiden. From these hubs, we mobilize our networks every week to enlist reviewers we know personally, through others, or through their writing. We also welcome marketing managers and aspiring reviewers to alert us to books that may have escaped our attention. Early-career scholars, including those without prior experience of publication, are especially encouraged to submit reviews. Many a junior colleague seems to appreciate our holistic way of editing the content, style, factual knowledge, and language. (Some senior ones, by contrast, appear to tolerate it, at best.) It is a useful exercise for young scholars to try their hand at a book review,

This piece attempts to capture in writing the affective dynamics of Terrence Malick's Days of Heaven. Siegfried Kracauer's concept of a particular kind of material, affective experience provides a conceptual framework to think about these dynamics.

This article analyzes how Béla Tarr’ and Agnes Hraniztky's The Turin Horse employs cinematic gestures to convey a slow unraveling of presence—both human and nonhuman. Through extended sequences of elemental struggle, silent exchanges, and moments of unsettling fusion, the film constructs a world where meaning emerges through movement, texture, and absence rather than dialogue. The film's structural emphasis on repetition and silence intensifies this effect, culminating in the uncanny disappearance of the woodworms’ sound, a gesture that signals an impending catastrophe. As presence gives way to absence, The Turin Horse evokes an apocalyptic atmosphere where the familiar rhythms of coexistence dissolve into an existential and cinematic emptiness.

In Being and Time, Martin Heidegger discusses the relationship between anxiety, dread, and nothingness, arguing that even in a seemingly meaningless world, anxiousness can still be directed toward objects. This essay explores how anxiety concerning imminent death and boredom can lead to feelings of meaninglessness, yet does not necessarily threaten the authenticity of Dasein (the being that we are). It examines themes of anxiety, boredom, death, and guilt to establish Heidegger’s question of Being, contrasting modern psychiatric views that treat anxiety as an ailment with Heideggerian perspectives that see it as a liberating force. The essay asserts that while anxiety compels individuals to confront their existence in ways unique to humans—beyond mere survival—those who do not seek deep meaning can still navigate their lives authentically. Ultimately, it posits that anxiety can serve as a catalyst for personal liberation and the creative pursuit of meaning, even amid life’s inherent insignificance.

Jean Dominique Bauby suffered from locked-in syndrome after a brainstem injury. He left us a narrative of his convalescence in the book entitled The Diving Bell and the Butterfly, first published in France in 1997. Based upon this book, Julian Schnabel directed the film of the same title, which provides an account of the evolution of a patient with such a condition. In the film, Jean Dominique asks himself questions about the meaning of life, and shows us the resources he used in order to fuel his will to live: memory and imagination. These resources, along with the love shown to him by his family and friends, became his "beacon" -a symbol of his resilience and hope. The film also addresses the attitudes of health care professionals and of society at large concerning such a dramatic situation.

The post-cinematic moving image installations enabled by highdefinition projection technologies create such atmospheric environments for their visitors that generate new forms of spectatorship activating both selfreflexive awareness of mediation and affective response to the surrounding audio-visual spectacle. The article intends to provide a description of this viewer experience by developing two concepts (embodied self-reflexivity and affective immersion) apprehending the spectacle of the exhibited moving image. To this end, phenomenological theories of affectivity will be briefly explored alongside the invocation of Deleuze's term affection-image and Giuliana Bruno's idea of atmospheric projection. The final suggestion of the paper is that the spectators' experience of such moving image installations is best understood through the description of the interplay between what I term embodied self-reflexivity and affective immersion.

This paper provides a sociological analysis of Pedro Almodóvar's film *The Skin I Live In* through the lens of intimate violence, power dynamics, and the concept of cruel optimism. The narrative unfolds as a harrowing tale of revenge, captivity, and transformation, where the wealthy surgeon Robert Ledgard forcibly transforms Vicente, his daughter’s rapist, into Vera, a woman who becomes the subject of his experimental surgeries. The study explores key themes such as double captivity, the male gaze, and the invasive penetration of power and surveillance. Drawing on theoretical frameworks including Bataille's notions of sacrifice and gift, as well as Berlant's concept of cruel optimism, the paper delves into the unsettling dynamics of intimacy and sovereignty that permeate the film. By examining the intersections of gender, identity, and violence, this analysis sheds light on the film’s portrayal of everyday monstrous intimacies, the socio-political implications of bodily control, and the paradoxical attachments that bind individuals to oppressive structures.

filmlerinin bir tasarım olarak gücü nasıl ürettiklerini teorik ortaya koymaktır. Bu teorik amaç ekseninde çalışmada literatür taraması yapılmıştır. Teorinin pratikle ilişkisiyse çalışmada amaca yönelik örneklem metodu ile belirlenen, yönetmen Tayfun Pirselimoğlu'nun 'Yol Kenarı' (2017) isimli filminin incelemesiyle gösterilmiştir. Film incelemesinde felsefi film çözümlemesi metodu kullanılmıştır. İncelemenin sonucunda filmin alımlayıcıya melez bir güç uyguladığı ve bir tasarım olarak açık yapıt özelliklerini taşıdığı ortaya koyulmuştur.

Although meditating on death has long been a central philosophical practice and is gaining prominence in modern European public discourse, certain misconceptions still persist. The Austrian filmmaker Michael Haneke does not shy away from confronting real and performed images of death, combining a denouncing cinematic approach with no less polemic aesthetic and ethical theories. Certainly, visually shocking and disturbing films can, in their own way, challenge the boundaries of what is thinkable, at times even touching upon the unthinkable. Images of death and death-related themes are particularly pervasive in Haneke’s films. His films raise significant philosophical and ethical questions about mortality, violence, death, and ageing. This analysis is a tentative attempt to map how Haneke explores representations of death and dying in Benny’s Video (1992) and Funny Games (1997), with particular reference to the rewind gesture depicted in both films. In doing so, it aims to examine the conversation such films prompt between moving images and the audience.

Edward Bergers Film Submerged ist der erste ‚scripted film‘ in immersivem 3D für Apple Vision Pro. Er setzt Maßstäbe einerseits, andererseits aber auch Fragezeichen. Veränderungen zeichnen sich ab auf der handwerklichen Ebene des Filmemachens wie im zugrundeliegenden Storytelling. Der cineastische Gewinn wie auch eine ebensolche Grundschwierigkeit besteht darin, dass man nicht mehr nur einen Film anschaut im Blickwinkel des distanzierten Beobachters, sondern am Geschehen tatsächlich teilnimmt. Letzteres bringt eine Immersion mit sich, welche zum ersten Mal eine echte Chance auf Gelingen hat. Folgerungen der Art werden diskutiert, was sich an der Einrichtung des Bildes wie auch an den Schnittgesetzen jetzt schon ändert oder künftig noch ändern muss. Anschauungs-Raum und Anschauungs-Zeit müssen neu verhandelt werden. Folgerungen werden aber auch gezogen dahingehend, was sich für die menschliche Erfahrung an grundlegend Neuem ergibt. Neben einer medialen Komplettierung der Ansichten (innen wie außen), steht eine neue Aussicht auf erzählerische Gesamtansicht und Weltversicherung.

Die beiden Konzepte »Migration« und »Medien«, deren komplexe Interdependenzrelation dieser Sammelband kritisch reflektiert, werden allzu häufig in einer problematischen Weise aufeinander bezogen: Den medialen Produktionen wird eine mimetische Abbildfunktion zum sozialen bzw. politischen Geschehen unterstellt, woraus sich sowohl ein theoretisches als auch ein politisches Problem ergibt. In einer solchen Sichtweise, so wird implizit behauptet, verhandelten sie direkt auf der Darstellungsebene Probleme des alltäglichen Zusammenlebens ihres Publikums sowie Fragen von Zugehörigkeit und Identität. Diese Behauptung ist nicht nur in filmtheoretischer, sondern auch in politischer Hinsicht problematisch, und zwar im Wesentlichen aus zwei Gründen: Zum einen weil dieses Denken auf der Voraussetzung basiert, man könne die filmischen Figuren als unabhängige Entitäten aus dem Bewegungsbild extrahieren und mit vorfilmischen Realitäten abgleichen – das ist das theoretische Problem. Es ist zum anderen problematisch, weil die Idee einer mimetischen Relation davon ausgeht, es gäbe ein gesichertes, nicht medial vermitteltes Wissen darüber, was die Realität der Migration sei – das ist das politische Problem.

ion may give way to particularity, contextuality, multiplicity; judgment may turn toward characteristic voices and localized accounts. But localization and contextualization are not fatal to meaning. It remains possible to seek rather than abandon meaning for concepts like truth and justice-even in the face of contingency, unpredictability, and spontaneity. In this way, human depth remains. Internal forces (like motivation and intention) rather than wholly external forces (like chance or fate) still account for events and provide a basis for meaning and accountability. Of course, to say as much is not to deny the presence of strange irrational forces within and without-forces that can never be fully mastered. Still, the ability to embrace meaning, to say "yes" to ethical enchantment, remains intact. Indeed, rather than deny the contingency and ultimate fragility of meaning, these now become the very conditions that inform our shared responsibility for meaning's constru...

This book explores the adversarial world of feminist activism by Muslim women within highly mediated environments (social media, screenwriting, documentary filmmaking, YouTube), focusing on agency, bodily integrity, and familial obligations. It highlights how adversarial Islamic feminism uses social media to spread intersectional feminist messages, creating virtual communities that both support and challenge these ideas. The book showcases the diversity within Islamic practices and the lived experiences of women beyond the gatekeeping authoritative interpretations of Sunni Islamic theology. It presents adversarial Islamic feminism as existing in a "borderland" between Islam and feminism, questioning and reshaping their confluence. This space allows for a vibrant dialogue that bridges Western and Islamic feminist perspectives, offering a new view on the intersection of these identities.

From 1960s to the present, colonial, postcolonial, social problems and migration have been among the dominant themes of Sub-Saharan African cinema. Today, among the sub-Saharan African filmmakers who grew up in the diaspora and shot their first films in their continent, there are those who use the sixty-year-old theme of African cinema by associating the place and characters with the ghost theme in their films. Mati Diop who was born in Senegal, living in France and Mario Bastos who was born in Angola but professionally trained in USA transform their cities into a dystopian universe through the ghost phenomenon and establish national allegories through their films Atlantique (2019) and Air Conditioner (2020). Although the relationship between time and space in these films is arranged in accordance with realistic codes, the extraordinariness of the narratives makes the current political and social inequality visible. It is also seen that African filmmakers who grew up in the diaspora did not put political inequality into a single cinematic genre, they try to hybridize it. The study aims to reveal the logic of the phenomena of genre transformation and dystopian universe construction in contemporary African cinema. In the study, the descriptive analysis method was used within the notion of Jacques Derrida's hauntology concept to analyse whether there is a parallelism between the political discourse of films and film type, which are hybridization strategies directors apply. It has been seen that the films show situations such as income injustice and inequality in the post-colonial period based on basic principles borrowed from science fiction and horror cinema.

Introduction When in June 2017, I saw The Tempest on the stage of the Barbican Centre in London, I found it breath-taking and amazingly innovative. Perhaps this was due to my unawareness of the new capacities that digital art could already provide the stage with. The invasion of screens and high-tech in the theatrical space is however not new and the dialogue between cinema and theatre started decades ago so much so that we, as members of the audience, are expecting a reciprocal influence whenever we attend a play, notably those written by Shakespeare. Yet in Doran’s production, the technology seemed to be even more challenging as it claimed to have a narrative function (See Genette Figures III). In other words, the artefact created by computers was meant to tell the story of The Tempest, more than the actor’s body and voice that merely appeared as media through which the image could be conveyed. As we will see, by replacing a real décor, the 3D image was vivid enough to make the au...

In digital performance, video and sound technologies are frequently used to establish simultaneous presences of performers and their non-material counterparts. From the early explorations of closed circuit television by artists such as Dan Graham and Bruce Nauman to the advanced digital sound and video synthesis by contemporary groups like Blast Theory and the Chameleons Group, the use of technological means to multiply performers' presence has been an important strategy to thematize issues of the subject's embodiment and consciousness. The combination of 'live' and 'mediated' presence in performance has been discussed by theorists such as Philip Auslander and Steve Dixon. Whilst Auslander discusses the tension between the 'live' and the 'mediated' presence of performers, and argues how this opposition tends to contract in people's perception in present day's mediatized culture, Dixon suggests that, in digital performance, a simultaneously present 'mediated' performer may be considered as a 'digital double'. Dixon identifies Artaud's The Theatre and its Double as the primary cue for his concept of the digital double and describes Artaud's notion of the double as 'theatre's true and magical self' (2007: 241). In a letter to his publisher, Artaud concisely, and in an equally mysterious manner, described the theatre's double as 'reality untouched by the men of today' (1989: 87-8). Possibly giving somewhat more insight into his understanding of the concept, Artaud's call for a 'Theatre of Cruelty' proposes a cruel, violent attitude to performance. Not in a literal, physical sense, but in an endeavour to confront audiences with uncomfortable realities of life (theatre's double) and remind them of the fact that '[w]e are not free. And the sky can still fall on our heads' (1958: 79).

With the German Stimmung, which can be translated as "mood," or, better, as "attunement," 1 Heidegger describes the being of the human being as "being-there" (Dasein). This Dasein is always in a mood or attunement. For it can be (not) in the mood for something; it can be in one of its moods; it can be moody; or Dasein can be in a bad or a happy mood. In Being and Time, Heidegger argues that, because of our moods, our world is "never the same from day to day." 2 Even scientific research does not know reality in an absolute manner, since the attunement of the researcher opens up the world it investigates: "even the purest θεωρια [theory] has not left all moods behind it." 3 Although this perhaps appears as a limitation, our attunements, in fact, make the world accessible in the first place: they open up the world to us. 4 In his 1929-30 lecture course, the Fundamental Concepts of Metaphysics, 5 Heidegger describes the opening up of the world through our being attuned, in opposition to the poverty in world that, according to Heidegger, characterizes the being of the (non-human) animal. While our constant attunement constitutes the very accessibility to the world, the animal is poor in world, as it can only behave towards the objects that it encounters. It lacks the kind of opening up of the world that is made possible through our (human) attunements. 6 In this essay, I discuss the poverty in world of the (non-human) animal, as analyzed by Heidegger. Heidegger himself admits that it is a somewhat obscure statement, and that it only seems to have meaning in relation to the Dasein of the human animal: the animal is poor in

In film and screen media theory theories of cinematic affect, phenomenology and embodied spectatorship often invoke a certain kind of 'materialism' which concerns a sensorial rapport or correspondence between the human and non-human bodies which appear on-screen and those found in front of it. From Laura Mark's "connective materialism" (2002, xi-xii) to Vivian Sobchack's (2004, 2) emphasis on "sensible ensemble of the materialized capacities and agencies" of embodied sense-making, to Giuliana Bruno's (2014, 4) interest in the affective dimension of "surface materiality," the matter at stake in these recent disciplinary developments varies from that of pro-filmic entities to the materiality of the medium of cinema itself. This panel will explore the influence of philosophical idealism upon the philosophical sources from which these theories have drawn inspiration, most notably Gilles Deleuze and Maurice Merleau-Ponty. If, as has long been the case for the discipline of philosophy, spectatorship theory today is driven by a desire to dissolve the boundary between subject and object, materiality and ideality, or the sensible and the intelligible, then this panel questions to what extent various enigmas and problems already prevalent in German idealism have been imported, wittingly or otherwise, into the margins of contemporary film theory.

Since the publication of Peter Wollen’s 1975 essay “‘Ontology’ and ‘Materialism’ in Film” (1975), for the film scholar, ‘ontology’ has principally been associated with the question of cinema’s ‘essence’, in other words its identity as an artform or medium. In more recent years, following the work of Stanley Cavell (1979) and Gilles Deleuze (2013a, b) , new inflections have been bestowed upon the idea of the ‘ontology of film’, with the ‘ontological’ approaches to film analysis which characterise much film-philosophy often contrasted with more traditional ‘epistemological’ film hermeneutics; the key difference being that whereas the latter seeks understand how films produce meaning through the analysis of cinematic signs, the former seeks to interrogate how films engage perception, affection and intellection without reference to any external semiotic system approximating language. Following Thomas Elsaesser’s discussion of the “New Ontology of Film” in European Cinema and Continental Philosophy (2019, 26-31), this paper seeks to complicate this division by introducing the idea of cinema’s ‘sense’ – sense being an ambiguous, yet recurrent term in twentieth century French philosophy which is used to refer to signification, sensation, and orientation, and sometimes all three simultaneously. Against a tendency in contemporary film theory to subsume signification and sensation under a single unified concept of embodied spectatorship, which renders obsolete epistemologically oriented interrogations into the meaning of a given film/film sequence, I argue that cinema’s sense can be understood dialectically as a negotiation between what Jacques Rancière (2006, 2) calls its ‘sensible’ and ‘intelligible’ dimensions. In this regard, I maintain that cinema’s capacity to propagate a sense of ‘significance,’ and thereby point towards ideas, concepts or meanings which cannot be given by its images alone, lies in our very failure to reconcile these two seemingly incongruous registers of sense.

The Turner Prize is awarded annually to an artist born, living or working in Britain, for an outstanding exhibition or public presentation of their work anywhere in the world in the previous year. Every year 4 artists are shortlisted and exhibit their work together from September to January. In December one of the four receives the award.

Watts CATHERINE BREILLAT has been keen to claim the label of pornography for her work,1 confounding attempts to argue that the film should not be classed as such.2 In this article, we have sought to reach beyond the debate on pornography which has to some extent limited responses to the film, engaging rather with the challenge to the cinematic apparatus Breillat presents through the "pornographic." This challenge is illustrated first of all through an exploration of the process governing identification in the cinema and Breillat's reconfiguration of the production of fantasy. The relation of the individual (female) spectator to the film is then focused upon, and the problematics of pleasure, directly confronted by Breillat in her encounter with pornography, are thus interrogated. These twin approaches, though both psychoanalytically influenced, are not necessarily compatible, and the aim of including them both here is to gesture towards the multiple possibilities opened up for the female viewer by Breillat's film.

Deleuzes und Guattaris Zurückweisung der Konzeptkunst ist allgemein bekannt und passt so garnicht zur derzeitigen Hegemonie der “post-konzeptionellen” Kunstpraktiken. Genauso unpassend erscheint Deleuzes ontologische und politische Abneigung gegen die Photographie, die „Schnappschüsse“ oder Repräsentationen des Werdens liefert, indem sie Klischeebilder unmittelbar in unserer Gehirne pflanzt, die dann unsere Handlungen und Reaktionen kontrollieren, indem sie uns der Fähigkeit zum kreativen Denken berauben. In Cinema 2 weitet Deleuze diese Argumentation auf das neue “elektronische Bild” aus das, wie auch die Konzeptkunst, die Ebene der Komposition in eine „Schneidetischebene“ oder einen „Bildschirm“ verwandelt, welche Informationen und mit ihnen unsere zu Schnittstellen gewordenen Gehirne einfach nur formatieren. Heutzutage werden Konzeptpraktiken, Photographie und digitale Technologien von der zeitgenössischen Kunst als selbstverständlich angesehen, die auch fröhlich „D&G“ anwendet. ...

Matthias Grotkopp Zweifelhafte Subjekte Detektive, Gangster und andere Münchner Utopisten des Gammelns 43 Michael Wedel Kreuzungen und Kollisionen Wim Wenders' polizeifilm 69 Hanno Berger Der Superbulle und der Gangster ich spreng' euch alle in die luft!-inspektor blomfields fall nr. 1 a.k.a der superbulle 87 Christian Rüdiger Gaudeamus igitur Poetische Weltentfaltung und ästhetische Weltwahrnehmung als zeithistorische Dimensionen in Werner Jacobs' zur hölle mit den paukern 95 David Gaertner Die Revolution im Gedanken Lindsay Andersons if.... 113 Hannes Wesselkämper Kein Kind seiner Zeit oder: Von der Ästhetik des Aushaltens in Roland Klicks bübchen 137 Eileen Rositzka Im Anagramm gefangen Lektüren in und von rosemary's baby 153 XIV Inhalt Zoé Iris Schlepfer "I can no longer associate my self" Zu einer Poetik der unheimlichen Atmosphäre mit rosemary's baby 163 Tobias Haupts Nach dem Konzil oder Der Geist vergangener Weihnacht Ulrich Schamonis alle jahre wieder 191 Michael Ufer Zeitgenossenschaft der Aufklärung Heterogenes zu und um Oswalt Kolles das wunder der liebesexualität in der ehe 221 Thomas Scherer The Revolution Will Not Be Televised '68 mit George Moorses existentialistischen Fernsehfilmen der griller und liebe und so weiter 255 Jasper Stratil Erinnerung an eine schematische Zeit Berlin-Bilder, Rhetorik und die Welt von make love not war 269

Ein berühmtes Foto : Es zeigt einen Soldaten mit leerem Blick und weit geöffneten Augen; er scheint nicht bei Sinnen, entgeistert, doch nicht wahnsinnig, paralysiert, doch nicht tot. "Shell-Shocked Marine" lautet die Bildunterschrift, so als sei der Granatenblitz nur eine Steigerung fotografischer Belichtungstechnik. Kann man doch die Bildlegende nicht nur auf das dargestellte Gesicht, sondern auch auf die mediale Darstellungsform selbst beziehen. Jedenfalls schien mir das Foto seine Intensität daraus zu gewinnen, dass sein Sujet auf eigentümliche Weise mit dem medialen Prinzip der Fotografie übereinkommt: Die Zeit des im Granatenblitz erstarrenden Gesichts wird fassbar als die im Augenblick des Blitzlichts erstarrende Bewegung. Bewegung meint hier nicht irgendeine Bewegung im Raum, sondern eben jenes intensive Zusammenspiel mimischer Mikrobewegungen, das uns die Vorderseite eines Kopfes erst als ein Gesicht wahrnehmen lässt. Als mir dieses Bild in einem Fotoband der Arbeiten Don McCullins zum ersten Mal in den Blick kam, galt mein Interesse tatsächlich dem Gesicht selbst als Darstellungsform in den verschiedensten Künsten und Medien. Ich war auf der Suche nach Beispielen, an denen sich die Muster des Mienenspiels als eine spezifische Expressivität von Bewegung beschreiben ließen, die grundlegend für die kinematografische Visualität war. Dass diese Expressivität keineswegs an das filmische Bild gebunden ist, davon erzählt die lange Geschichte der Gesichtsdarstellung: von den Fayum-Porträts über die christliche Ikone bis zur neuzeitlichen Malerei. Und noch die fotografische Porträtkunst zielt in ihren Konventionen auf die Illusion des bewegten Mienenspiels, den lebendigen Ausdruck des Empfindens. Die Intensität, mit der das Foto als ein shell-shocked face den Betrachter trifft, ist also durchaus ein Effekt des poetischen Verfahrens. Doch hatte diese Intensität für mich noch einen ganz anderen Bezugspunkt. Denn in dem shell-shocked face der Fotografie schien sich eine Affektqualität zu enthüllen, in der ich ein Empfindungsmuster wiedererkannte, das mir kurz zuvor in einem Film begegnet war. Es handelte sich bei diesem Film um Terrence Malicks the thin red line (der schmale grat, USA 1998). Der Anblick des Fotos traf den gleichen Nerv; und das war nicht nur eine Frage verwandter Sujets. In dem einen wie in dem anderen Beispiel begegnete mir eine Art von "Gesicht ", das sich nicht als ein Sujet oder Motiv, ja das sich überhaupt nicht auf der Ebene des Dargestellten fassen ließ. An der Fotografie wurde greifbar, dass Gesichter keine fixierbaren Objekte darstellen; dass sich in ihnen vielmehr ein spezifischer Typus von Bewegungs

Scherer, T., & Stratil, J. (2024). Can't read my broker face?—Tracing a motif and metaphor of expert knowledge through audiovisual images of the financial crisis. Literature Compass, e12756. https://doi.org/10.1111/lic3.12756

Based on the question of the representability of economy and economics in audiovisual media, developments on the financial markets have often been discussed as a depiction problem. The abstractness and complexity of economic interrelations seem to defy classical modes of storytelling and dramatization. Nevertheless, public opinion about economic changes and dependencies crucially relies on audiovisual media. But how can the public communicate in images, sounds, and words about forces that are out of sight and out of reach, and can supposedly only be adequately grasped by experts? In a case study on audiovisual images of the global financial crisis (2007–), this paper tracks and analyzes a recurring motif: the staging of expert knowledge as close-ups of expressive faces vis-à-vis computer screens in television news, documentaries, as well as feature films. It draws on the use of digital tools for corpus exploration (reverse image search) and the visualization of video annotations. By relating and comparing different staging strategies by which these “broker faces” become embodiments of turbulent market dynamics, the paper proposes to not regard them as repeated instantiations of the same metaphor, but as a developing web of cinematic metaphors. Different perspectives (news of market developments or historical accounts of crisis developments) and affective stances toward the global financial crisis are expressed in these variations of the face-screen constellation. The paper thus presents a selection of different appearances of “broker faces” as a medium for an audiovisual discourse of the global financial crisis. A concluding analysis of a scene from Margin Call focuses on its specific intertwining of expert and screen as an ambivalent movement figuration of staging insight. Between the feeling of discovery (of a potential future threat) and the sense of being haunted (by a menacing force), the film stages the emergence of a “broker face” in an atmospheric tension between suspense and melancholy. We argue that the film thereby reframes the motif and poses questions of agency, temporality, and expert knowledge.

Deserts have influenced a number of experimental filmmakers and video  artists  who  have  visited  them  to  make  audiovisual  pieces  of-fering glimpses of unusual aesthetic connotations and unique epis-temological considerations. The works analysed in this article place the desert in the main role, eschewing the informational objectives associated  with  conventional  documentary  and  rejecting  the  func-tional quality assigned to the desert as a dramatic location in fiction feature films. These artists offer a different configuration of the de-sert,  focusing  on  the  sandy  abstraction  of  its  dunes,  exploring  the  insignificance  of  the  human  figure  in  the  face  of  its  vastness,  and  imagining possible temporal representations of its horizons. This ar-ticle  considers  the  poetic,  mythical  and  metaphysical  nature  of  the  desert through the analysis of various experimental films and video creations that study the idiosyncrasies of its landscape, reflecting on the existential connotations suggested by desert regions and testing out the multiple options offered by audiovisual techniques. These are pieces  that  range  from  lyrical  abstraction  to  autobiographical  testi-mony, from minimalist fiction to self-reflexive essay. The analysis of a film installation with an environmentalist discourse concludes this study of sounds and moving pictures that imagine new readings that can help us understand the importance of the desert.

This article argues that the strengths and problems of Shawn Loht's Phenomenology of Film: A Heideggerian Account of the Film Experience (2017) are rooted in its method, which derives from a specific interpretation of Heidegger's existential analytic and from the critical strategy implemented by Heideggerand thus later adopted by his readers and applied to various disciplinary domainsin his polemical engagement with the history of philosophy. Central to this method is what I refer to as the ontic-ontological schema, and the article maps out the ways in which it operates in Loht's book: how it shapes his critical intervention into film studies and his claims about film ontology and spectatorship. My argument is that the ontic-ontological schema, while allowing the author to make interesting inroads into debates in film-philosophy, nonetheless undermines the coherence and efficacy of his claims about the cinematic experience as well as his attempts to mobilize these claims in the analysis of specific films. That is, Loht's disciplinary application of the ontic-ontological schema makes for a compelling discursive polemic, but it also exposes a crucial conceptual incompatibility in the work's configuration of and navigation between ontology, aesthetics, and criticism.

Back to the bare bone of suffering Kantemir Balagov's Beanpole (Dylda, 2019) provides a rare peek into the sombre lives of traumatised women in postwar Leningrad. Regarded as the wunderkind of Russian cinema today, Balagov creates a haunting sense of suspense and uses an original colour palette, which turns Leningrad into an ethereal place. Taught by Aleksandr Sukurov, whose Russian Ark (2002) and Father and Son (2003) have entered the cinematic canon, Balagov has managed to develop his own distinctive style and has become an acclaimed artist in his own right.

Back to the bare bone of suffering Kantemir Balagov's Beanpole (Dylda, 2019) provides a rare peek into the sombre lives of traumatised women in postwar Leningrad. Regarded as the wunderkind of Russian cinema today, Balagov creates a haunting sense of suspense and uses an original colour palette, which turns Leningrad into an ethereal place. Taught by Aleksandr Sukurov, whose Russian Ark (2002) and Father and Son (2003) have entered the cinematic canon, Balagov has managed to develop his own distinctive style and has become an acclaimed artist in his own right.

Back to the bare bone of suffering Kantemir Balagov's Beanpole (Dylda, 2019) provides a rare peek into the sombre lives of traumatised women in postwar Leningrad. Regarded as the wunderkind of Russian cinema today, Balagov creates a haunting sense of suspense and uses an original colour palette, which turns Leningrad into an ethereal place. Taught by Aleksandr Sukurov, whose Russian Ark (2002) and Father and Son (2003) have entered the cinematic canon, Balagov has managed to develop his own distinctive style and has become an acclaimed artist in his own right.

The Fast and Furious franchise is one of the longest running, highest grossing movie franchises ever. Spanning ten movies, with three more in the works, which take place in multiple countries, released over the course of 20 plus years, as well as one additional sub-franchise movie, amusement park rides, toys, and games, the films and their characters have captured the attention and hearts of fans like few others. I intend to track these films and their meteoric rise, from their humble roots centering on illegal street-racing in Los Angeles to their current iteration, which involves multi-million dollar heists and cooperating with government agencies to take down supervillain-esque enemies. However, the films never veer completely into Marvel territory, because they maintain a level of pastiche and self-reflexivity even as the stunts and narrative arcs become more and more impossible. I will also analyze what has endured in these films: a focus on family, or familia, as Dom (Vin Diesel) puts it, and a home-grown, multicultural sensibility that has endeared the films to a variety of viewers and demographics. Referring to scholar Mary Beltrán, who discusses the “potential and limitations” of presenting a “bilingual aesthetic” in her article “Fast and Bilingual: Fast & Furious and the Latinization of Racelessness,” I will argue that the films are the unique franchise to center non-white audiences and present a not post-race, but raceless society in which coalitions are built through familial affiliation led by Dominic Toretto, the indomitable patriarch. I will examine how the movies were gentrified aesthetically as the franchise grew, but what elements that initially drew in viewers remained the same: namely, a multi-ethnic and tight-knit crew of characters that espouse virtues such as family, loyalty, and faith. I will also suggest that the impossibility and “one-upping” of each successive sequel with absurd stunts is another element of the films that endears them to viewers, and which reflects the Fast franchise’s status as the ever-successful and optimizing motion picture franchise– a feat achieved through cinematic innovation.

Watts CATHERINE BREILLAT has been keen to claim the label of pornography for her work,1 confounding attempts to argue that the film should not be classed as such.2 In this article, we have sought to reach beyond the debate on pornography which has to some extent limited responses to the film, engaging rather with the challenge to the cinematic apparatus Breillat presents through the "pornographic." This challenge is illustrated first of all through an exploration of the process governing identification in the cinema and Breillat's reconfiguration of the production of fantasy. The relation of the individual (female) spectator to the film is then focused upon, and the problematics of pleasure, directly confronted by Breillat in her encounter with pornography, are thus interrogated. These twin approaches, though both psychoanalytically influenced, are not necessarily compatible, and the aim of including them both here is to gesture towards the multiple possibilities opened up for the female viewer by Breillat's film.

In his last book Chaosmosis, Felix Guattari (1995, p. 129) argues that both "intellectuals and artists have got nothing to teach anyone," and that they produce "toolkits composed of concepts, percepts and affects, which diverse publics will use at their convenience." In this video presentation and accompanying article, the authors explore Guattari's claim as a provocation for visual pedagogy and play with the idea that an artist might have nothing to teach anyone in relation to the idea of visual pedagogies. And, then, what happens when an artist and a teacher talk about visual pedagogies? To open up a dialogue, they employ the cliché, 'I don't know much about art but I know what I like'. This statement invites thoughts on the tensions between truth-telling, disciplinarity, and affect. Here the authors take the cliché a step further within the context of visual pedagogies and meaning making. They position this dialogue with the cinematic art work, Flight (2018), which aims to give the viewer a different sensation of the world, to render the familiar unfamiliar, and to let things be (Roder & Sturm, 2017), in order to think differently.

Any person who does any unauthorized act in relation to this publication may be liable to criminal prosecution and civil claims for damages. vii Acknowledgements This book could not have been completed without the support and encouragement of a great many people. I am very much indebted to Belinda Smaill for her invaluable knowledge, insight and guidance. I also owe my sincere thanks to Claire Perkins for her generous advice and expertise. I am grateful to Belinda Glynn for her professional assistance in editing earlier drafts of this work. I would like to thank all my colleagues in Film and Screen Studies at Monash University who have so graciously shared their knowledge and experience with me. I am particularly appreciative of my fellow alumni who inspire me with their intelligence, enthusiasm and camaraderie. My greatest thanks go to

In this groundbreaking work, author David Scott Diffrient explores largely understudied facets of cinematic horror, from the various odors permeating classic and contemporary films to the wetness, sliminess, and stickiness of these productions, which, he argues, practically scream out for a tactile mode of textural analysis as much as they call for more traditional forms of textual analysis. Dating back to Carol Clover’s and Linda Williams’s pioneering work on horror cinema, film scholars have long conceptualized this once-disreputable category of cultural production as a “body genre.” However, despite the growing recognition that horror serves important biological and social functions in our lives, scholars have only scratched the surface of this genre with regard to its affective, corporeal, and sensorial appeals.

Diffrient anatomizes horror films in much the same way that a mad scientist might handle the body, separating and recombining constitutive parts into a new analytical whole. Further, he challenges the tendency of scholars to privilege human over nonhuman beings and calls into question ableist assumptions about the centrality to horror films of sight and sound to the near exclusion of other forms of sense experience. In addition to examining the role that animals—living or dead, real or fake—play in human-centered fictions, this volume asks what it means for audiences to consume motion pictures in which actors, stunt performers, and other creative personnel have put their own bodies and lives at risk for our amusement. Historically grounded and theoretically expansive, Body Genre: Anatomy of the Horror Film moves the study of cinematic horror into previously unchartered waters and breathes life into a subject that, not coincidentally, is intimately connected to breathing as our most cherished dividing line between life and death.

This paper considers how we understand what it is to be literate. It contrasts the common understanding of this term as a state of having acquired a limited set of skills, with a richer conception of a relationship to language. In seeking to describe this relationship, the paper considers Heidegger's writings on the ontological structures of Dasein and explores how useful Heidegger's thinking might be to a discussion of being literate. It considers in particular the ideas of forgetfulness of being' and 'temporality' from Heidegger's major work, 'Being and Time' and then, from his later work on language, discusses language as `calling' and the 'experiences we undergo with language'. The paper then moves to discuss how Henry David Thoreau's 'Walden', and Stanley Cavell's readings of this work, show what the possibilities are of a relationship to reading and writing. In the fuller expression that they give to perfectionist ideas of the development and transformation of self and society through language, I find possibilities for a richer understanding of being literate. It was whilst browsing through a library database recently that I came across the following intriguing titles of papers published in journals: `Literate Programming in Quantum Chemistry' (Quiney and Wilson , 2005);

O artigo narra a percepção construída pelo cineasta Clementino Junior do processo de uma comunidade cujo deslocamento forçado ocorrera devido ao rompimento da barragem de Fundão, na zona rural de Mariana, Minas Gerais. Os movimentos de uma atingida ativista, Luzia, conduzem o cineasta ao registrar uma celebração à padroeira do Brasil. Entre as paredes da igreja, cobertas de  lama do desastre tecnológico da Samarco, como no cortejo, o realizador interpreta o território. A comunidade de Paracatu de Baixo manifestava ali resistência ao distanciamento forçado da vida construída na localidade.

IÕve talked so much about my mother in these films. Have I really worked so many years on her, around her, about her? (Or, as I have just read in a review, against her. Not her personally, especially not that. ItÕs more complex than in the review) Chantal Akerman. Memory is always reinvented but with a story full of holes itÕs as if there is no story left. What to do then? Try to fill the holesÐand I would say even this holeÐ with an imagination fed on everything one can find, the left and the right and in the middle of the hole. One attempts to create oneÕs own imaginary truth. Chantal Akerman. 1 Preparing to make the fiction film Tomorrow we Move (2004), analysed in this issue by Alison Rowley, Chantal Akerman visited her mother in Brussels one Sunday and asked Renaud Gonzalez to film an impromptu conversation. A piece of ÔresearchÕ for a prospective scene that would later be scripted for and performed by two professional actors (Aurore ClŽment and Sylvie Testud) in the commercial movie, this informal encounter filmed on a little digital camera, which recorded Chantal Akerman and her mother on screen together for the first time, was subsequently reworked into a dual-screen projection and framed by a two-part sculptural installation that was exhibited in Marian GoodmanÕs Gallery in 2004 in Paris and New York. The title of the installation was To Walk Next to OneÕs Shoelaces Inside an Empty Fridge, and it was also shown at the Camden Arts Centre, London in 2008 (referenced hereafter as Walking/Marcher). 2 I first encountered this piece, however, unexpectedly in Berlin at the Jewish Historical Museum in 2006, where AkermanÕs installation was paired with the first showing in Berlin of a major exhibition of Berlin-born painter Charlotte SalomonÕs Life? Or Theatre? (1941-2). Salomon was murdered in Auschwitz at the age of 26 having created a major work of 769 paintings that in part invented what I have called a Ôtheatre of memoryÕ through which to examine the lives, and the tragic deaths, of her own mother and grandmother, both of whom committed suicide. Seeing AkermanÕs work in which she

This article interprets David Lynch's Mulholland Drive (2001) to argue for the morphological influence cinematic images have on modernity's monstrous identity. It shows how Lynch's tactic of interweaving apparently discrete spaces of dream and realityone often inverting or uncannily ironising the otherrelies on the virtual space of cinema, which leaves a mark on understanding, irrespective of its apparent truth. To do so, I employ Peter Sloterdijk's philosophy of spaceespecially the spherology developed in his Spheres trilogyand Bernard Stiegler's approach to cinematic phenomenology to consider the transferential force of cinema, and its power to cultivate and shape popular consciousness. Mulholland Drive is acutely aware of this force, and its interplay with the expectations and disappointments of Hollywood monstrosity inserts itself into the sphere-forming traffic of modern meaning-making. In doing so, I argue, the film takes up Lynch's familiar approach to irony and the weird to unwind the destructive uniformity of Hollywood hegemony. The productive bifurcations that result, inscribed in between cinema and consciousness, and forgettable as the very spheric intimacy of memory, gesture to what might live beyond discrete forms.