FILM CRITICISM最新文献_第10页

Visible Stripes: Reenacting Trauma in Hollywood's Carceral Aesthetics 可见条纹：再现好莱坞丧葬美学中的创伤

4区艺术学

FILM CRITICISM Pub Date : 2021-10-14 DOI: 10.3998/fc.1032

Eli Boonin-Vail

引用次数: 0

Between the Fasces and the Cross: Politics and History in Federico Fellini's "La Strada" 在Fasces和Cross之间：费里尼《La Strada》中的政治与历史

4区艺术学

FILM CRITICISM Pub Date : 2021-10-14 DOI: 10.3998/fc.1035

P. Gardner, B. Foley

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Gönül Dönmez-Colin, "Women in the Cinemas of Iran and Turkey: As Images and as Image-Makers" (Routledge, 2020) Gönül Dönmez Colin，“伊朗和土耳其电影院中的女性：作为图像和图像制作者”（Routledge，2020）

4区艺术学

FILM CRITICISM Pub Date : 2021-10-14 DOI: 10.3998/fc.1047

Serkan Şavk

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Narrating General Performance: Art, Life, and Labor in Niña Weijers's The Consequences and Tom Mccarthy's Satin Island 叙述一般表演:Niña魏杰斯的《后果》和汤姆·麦卡锡的《缎岛》中的艺术、生活和劳动

4区艺术学

FILM CRITICISM Pub Date : 2021-09-01 DOI: 10.13110/criticism.63.4.0355

S. Besser

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The Eye of the Other in Edmund Burke's Enquiry: Language, Confrontation, and the (Subjective) Body of the Sublime 埃德蒙·伯克《探究》中的他者之眼:语言、对抗与崇高的(主观)身体

4区艺术学

FILM CRITICISM Pub Date : 2021-08-07 DOI: 10.13110/criticism.63.3.0223

Ellen Scheible

引用次数: 0

The Last Cigarette 最后一支烟

4区艺术学

FILM CRITICISM Pub Date : 2021-08-07 DOI: 10.13110/criticism.63.3.0313

Daniel Eltringham

{"title":"The Last Cigarette","authors":"Daniel Eltringham","doi":"10.13110/criticism.63.3.0313","DOIUrl":"https://doi.org/10.13110/criticism.63.3.0313","url":null,"abstract":"Criticism 63.3_07_Eltringham.indd Page 313 12/07/21 6:09 pm Criticism Summer 2021, Vol. 63, No. 3, pp. 313–318. ISSN 0011-1589. doi: 10.13110/criticism.63.3.0313 © 2021 by Wayne State University Press, Detroit, Michigan 48201-1309 As a temporal category “the Anthropocene” makes a fundamental claim about periodicity: the geological age of the anthropos is upon us, or “we” have ushered it in, and it is categorically distinct from what came before (geologically, the Holocene). Subjectively, this idea induces the nauseous vertigo of living as subjects in two radically incommensurate times at once: what Anne-Lise François calls “the simultaneity of speed and slow time. . . . To listen to the geologists, the Anthropocene would be humanity’s last cigarette, a name for the fast consumption of deep time.” Such a disjunctive “poetics of thick time,” to name one of the central modes David Farrier identifies in Anthropocene Poetics, is corralled in a particularly persistent way, he argues, by “lyric’s capacity to pull multiple temporalities and scales within a single frame” (9). One of the many virtues of this book is the way in which Farrier’s sustained focus on the viscous “now” of lyric address enables his close-reading practice to trespass the bounds of the words on the page, in order to access deep times that he reveals to be snagged in the trellises of stanzaic structure. Throughout, these textures of violence or tenderness are shown to add up to a “form of knowledge in the traffic between entities,” a politics of matter and relation to the more-than-human world (19). THE LAST CIGARETTE Daniel Eltringham","PeriodicalId":42834,"journal":{"name":"FILM CRITICISM","volume":"3 1","pages":"313 - 318"},"PeriodicalIF":0.0,"publicationDate":"2021-08-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74678077","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

New Materialism's Second Phase 新唯物主义的第二阶段

4区艺术学

FILM CRITICISM Pub Date : 2021-08-07 DOI: 10.13110/criticism.63.3.0309

Tobias Skiveren

引用次数: 3

"Patriarchy": A Black Feminist Concept “父权制”:黑人女权主义概念

4区艺术学

FILM CRITICISM Pub Date : 2021-08-07 DOI: 10.13110/criticism.63.3.0303

Matty Hemming

{"title":"\"Patriarchy\": A Black Feminist Concept","authors":"Matty Hemming","doi":"10.13110/criticism.63.3.0303","DOIUrl":"https://doi.org/10.13110/criticism.63.3.0303","url":null,"abstract":"Criticism 63.3_05_Hemming.indd Page 303 12/07/21 6:01 pm Criticism Summer 2021, Vol. 63, No. 3, pp. 303–308. ISSN 0011-1589. doi: 10.13110/criticism.63.3.0303 © 2021 by Wayne State University Press, Detroit, Michigan 48201-1309 The concept of patriarchy inhabits a fraught position within the history of feminist thought. While recent years have seen a resurgence of the term’s use within popular culture, with media coverage of the US-originated women’s march producing headlines such as “The Twenty Best Protest Signs to Dismantle the Patriarchy This Weekend,” the concept has not always held such seemingly evident descriptive appeal. Women of color feminists have long decried the term’s single-issue focus on gender-based inequalities conceptualized within a US-based academy, suggesting that “patriarchy” offers little of use to a more radical, transnational, and context-specific critique of power’s workings. Not so, according to Imani Perry’s Vexy Thing: On Gender and Liberation (2018). In this generative and at times breathtakingly sharp work of interdisciplinary Black feminist theory, Perry argues that not only do we need analyses of “patriarchy” in order to practice feminism, but that the term can be used to do precisely what it has seemed to foreclose: it can account for the “layers of domination” produced by globalized systems of inequality. Responding both to what she regards as the vagueness of current popular usage of the concept, as well as the fraught problematic of its universalizing potentiality, Perry re-tools the term to be simultaneously more specific and more “PATRIARCHY”: A BLACK FEMINIST CONCEPT Matty Hemming","PeriodicalId":42834,"journal":{"name":"FILM CRITICISM","volume":"7 1","pages":"303 - 308"},"PeriodicalIF":0.0,"publicationDate":"2021-08-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82057756","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

How Practical is Critique? From Matters of Concern to Matters of Commitment 批判有多实用?从关注事项到承诺事项

4区艺术学

FILM CRITICISM Pub Date : 2021-08-07 DOI: 10.13110/criticism.63.3.0193

William Coker

{"title":"How Practical is Critique? From Matters of Concern to Matters of Commitment","authors":"William Coker","doi":"10.13110/criticism.63.3.0193","DOIUrl":"https://doi.org/10.13110/criticism.63.3.0193","url":null,"abstract":"Abstract:Recent critical discourse on \"critique\" tends to betray a certain discomfort with critique's Enlightenment origins and its corresponding alignment with notions of autonomous subjectivity and universality. Especially since Bruno Latour's broadside against critical \"anti-fetishism,\" supporters have been at pains to distance critique from the image of a self-satisfied vanguard chiding the unenlightened.This paper stages a defense of critique that reclaims its Enlightenment lineage in order to assemble, in Mark Hulliung's words, an \"autocritique of Enlightenment.\" Reading Kant and Marx via Kojin Karatani and Slavoj Žižek, I trace a line of thought in which critique foregrounds the intersection between theory and practice. It is at that intersection that the fetish appears. In contrast to Latour and some of critique's defenders, I consider the fetish not a blind spot that immobilizes but a point of contact representing a practical commitment. Even Kant himself performs a \"fetishistic disavowal\" of sorts: I know very well that there is no empirical ground for metaphysical commitments, but nevertheless I will make them because it is the only way to live autonomously and foster others' autonomy. In the symbolic order of capitalism, such \"faith without belief\" loses its intentional character, crystallizing in commodity fetishism as \"the religion of everyday life.\" Yet it also informs the Romantic view of the literary work as the site for a dialectic of truth and illusion, and Adorno's thesis that a \"fetish character\" inhabits artworks no less intrinsically than commodities. This fetish character makes the literary text, like ideology, a particularly fitting object of critique. Herein lies the parallel between literary reading and the critique of ideology, and the reason why critique need not subordinate one to the other in order to be properly critical.","PeriodicalId":42834,"journal":{"name":"FILM CRITICISM","volume":"8 1","pages":"193 - 222"},"PeriodicalIF":0.0,"publicationDate":"2021-08-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78484740","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Ghosts and Anchors: Translingualism in Contemporary U.S. Poetry 鬼与锚:当代美国诗歌的翻译主义

4区艺术学

FILM CRITICISM Pub Date : 2021-08-07 DOI: 10.13110/criticism.63.3.0255

Piotr K. Gwiazda

引用次数: 0