Cultural Critique最新文献

{"title":"Seen through the Camera Obscura: Life Photographs of the Korean War and Cold War Anxiety of the American Self","authors":"Junghyun Hwang","doi":"10.1353/cul.2023.a905077","DOIUrl":"https://doi.org/10.1353/cul.2023.a905077","url":null,"abstract":"Abstract:The Korean War as seen and shown by Life's photographic eye constitutes a contested geography in mapping the Cold War and locating America's place in it. Seen through the camera obscura of Life, Korea is conceived as a \"terra incognita\" of American imagination, and in turn, the magazine as the self-proclaimed national looking glass proves itself to be an interesting peep-box—a kaleidoscope of the American ways of \"seeing\" the war in Korea, the Cold War, and Americans themselves in the world. Specifically, the article situates Life's correspondent David Douglas Duncan's photo-essays on the Korean War in the intersections of American and Korean cultural histories, examining them through the lens of Cold War liberalism, which she argues taps deeper into the American frontier myth.","PeriodicalId":46410,"journal":{"name":"Cultural Critique","volume":"13 1","pages":"138 - 161"},"PeriodicalIF":0.2,"publicationDate":"2023-08-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89861297","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Art, Archive, and Fictive Historiography in Lebanon's \"Protracted Now\"","authors":"Renée Ragin Randall","doi":"10.1353/cul.2023.a905075","DOIUrl":"https://doi.org/10.1353/cul.2023.a905075","url":null,"abstract":"Abstract:This article analyzes the function of the archival aesthetic found in the works of prominent contemporary Lebanese artists, particularly the manipulation and use of found documents as part of a new visual narrative. Unlike other interpretations of postmodern art in which found documents are a major component, Lebanese artists subordinate the archive (as both object and practice) to the speculative praxis of arriving at a fictive historiography with archival material. As the article will show, this tendency is mimetic of both a contemporary historiographical problematic particular to Lebanon as well as a product of a condition of ongoing forms of violence.","PeriodicalId":46410,"journal":{"name":"Cultural Critique","volume":"54 2 1","pages":"68 - 99"},"PeriodicalIF":0.2,"publicationDate":"2023-08-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78314598","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Unsettled Spectatorship: On Anxiety and the Elusive Love of Cinema","authors":"Kenneth E. Berger","doi":"10.1353/cul.2023.a905079","DOIUrl":"https://doi.org/10.1353/cul.2023.a905079","url":null,"abstract":"In her 1995 essay “The Decay of Cinema,” Susan Sontag famously declares the end not of cinema but of cinephilia. Without cinephilia, without a committed love of cinema as a “distinctively” and “quintessentially modern” art form, the future of cinema itself is cast in doubt. And cinephilia, Sontag asserts, is dead. At the root of the problem, Sontag writes, is both the growth of homeviewing technologies (VHS tapes, DVDs, etc.) and the film industry’s increasing dependence on Hollywood blockbusters, which together spell an inevitable degradation not only of cinematic quality but of meaningful cinematic experience as well. Although Sontag ends the essay on a seemingly optimistic note, with a call for reinventing “cinelove” as the means to “resurrect” a dying cinema, her larger argument is clear: the mode of experience defined as cinephilia can no longer be sustained, and this is an unmistakable symptom of a culture in decline. In this way, Sontag’s argument both reflects and extends the traditional view of cinephilia. Yet “The Decay of Cinema” also marks the moment in which this view starts to be challenged. Indeed, since its publication, Sontag’s essay has been an important reference point for film scholars invested in revising—and reviving—cinephilia, in imagining a new and inclusive cinephilia that rejects the elitism expressed Kenneth Berger","PeriodicalId":46410,"journal":{"name":"Cultural Critique","volume":"37 1","pages":"195 - 206"},"PeriodicalIF":0.2,"publicationDate":"2023-08-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85301524","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"On the Cinematic Deconstruction of Logical Sounds: Raúl Ruiz's Quasi-Voice in La maleta","authors":"Laura Jordán González, Nicolas Lema Habash","doi":"10.1353/cul.2023.a905074","DOIUrl":"https://doi.org/10.1353/cul.2023.a905074","url":null,"abstract":"Abstract:Raúl Ruiz, one of Latin America's most prolific filmmakers, shot La maleta (The Suitcase) in 1963, but the film was only finished post- 2007. To complete La maleta, Ruiz focused on the soundtrack and took up the role as the voice-over in the film, recording it himself. The result is something akin to an experimental piece, one of whose main characteristics lies in the peculiar relationship established between images and soundtrack. We propose an in-depth examination of the soundtrack of the film by analyzing two aspects. First, we look at the constitution of a \"mute\" film, a notion inspired in Michel Chion's ideas, used for characterizing endeavors that tend to sidetrack the traditional prominence of a speaking voice in cinema. Second, we study the presence in the film of a mode of synchronicity between body and voice that accentuates the abolition of an articulated language.","PeriodicalId":46410,"journal":{"name":"Cultural Critique","volume":"44 1","pages":"42 - 67"},"PeriodicalIF":0.2,"publicationDate":"2023-08-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78624428","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Epistemology of the Curtain: Sex, Sound, and Solidarity in Singin' in the Rain and Sorry to Bother You","authors":"B. Honig","doi":"10.1353/cul.2023.a905073","DOIUrl":"https://doi.org/10.1353/cul.2023.a905073","url":null,"abstract":"Abstract:Singin' in the Rain (Donen and Kelly, 1952) and Sorry to Bother You (Boots Riley, 2018) carry a common thread: one (mostly) enacts and the other subverts the \"epistemology of the curtain.\" The curtain, iconic to sound studies' acousmatic sound objects, is a figure of forensic knowing, but Sorry queers it, decentering Singin's curtained couples with a crowd and highlighting, maybe even repairing, the raced dance theft that Carol Clover first traced in Singin'. Harlem's Black Hoofers of early twentieth-century dance, usually unremunerated and uncredited, return with a vengeance in Sorry as the equisapiens that Cash Green first encounters in a men's room. Where Schaeffer named Pythagoras as a figure for sound studies, the queered curtain of sound studies might call, rather, for Pan.","PeriodicalId":46410,"journal":{"name":"Cultural Critique","volume":"17 1","pages":"1 - 41"},"PeriodicalIF":0.2,"publicationDate":"2023-08-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78922154","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"To Risk, One's Life","authors":"Bryan Counter","doi":"10.1353/cul.2023.0034","DOIUrl":"https://doi.org/10.1353/cul.2023.0034","url":null,"abstract":"To Risk, One's Life Bryan Counter (bio) IN PRAISE OF RISK BY ANNE DUFOURMANTELLE; TRANSLATED BY STEVEN MILLER Fordham University Press, 2019. IN PRAISE OF RISK BY ANNE DUFOURMANTELLE; TRANSLATED BY STEVEN MILLER Fordham University Press, 2019. Composed of short chapters and written in a poetic style, Anne Dufourmantelle's In Praise of Risk (Éloge du risque) makes a number of careful interventions related to the notion of risk, intercut with narratives of her own sessions as an analyst. Because of the inclusion of these narratives, as well as the text's overall intimate tone, one could understand it as a series of letters addressed to risk. Each section is granted a particular thematic heading—\"To Risk One's Life,\" \"Desire, Body, Writing,\" and \"Life—Mine, Yours,\" to name the main sections that I will discuss here—all uniquely related to the problematic of risk and its place in contemporary life. But Dufourmantelle does not simply piece together an oblique thesis from disparate fragments that happen to fall under a general idea. Rather, the very form of the book indicates an ethical position with regard to risk. It is through a close, sustained, and nuanced engagement with risk that Dufourmantelle gives voice to a stance that is unpopular, untimely, and risky in itself—namely, that risk is not only something to take seriously but may also be something to be celebrated. Its unorthodox structure notwithstanding, In Praise of Risk is first and foremost a psychoanalytic text. At its core, it is motivated by an understanding of the logic of the unconscious and its ability to disrupt a more traditional philosophical idea of causality, as seen in the descriptions of various analytical sessions. In particular, Dufourmantelle is concerned with highlighting risk as being already inscribed in [End Page 212] our lives before any idea of fate is mobilized, usually after the fact through our own narration. The inclusion of her analytical accounts is crucial in that they provide concrete examples of her patients' self-narration of their own lives, which in turn serve as the backdrop against which Dufourmantelle's discussion of risk takes place. In Praise of Risk begins with a simple but provocative statement: \"Life is a heedless risk taken by us, the living.\"1 As Dufourmantelle suggests by characterizing it as \"heedless,\" risk is installed before any intervention on the part of those who live (and before any calculation of outcome) before the very question of outcome is raised. From the text's beginning, life is established as a risk, indeed as risk itself, something reckless and resistant to calculation. If the living necessarily take part in the heedless risk of life, then living—life itself—is already permeated by risk. Dufourmantelle touches on this apparent paradox just a few lines down, in a passage that includes an important pair of clarifying questions: \"To risk one's life\" is among the most beautiful expressions in our language. Does it necessarily mean ","PeriodicalId":46410,"journal":{"name":"Cultural Critique","volume":"114 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135575407","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Editorial Statement","authors":"","doi":"10.1353/cul.2023.0021","DOIUrl":"https://doi.org/10.1353/cul.2023.0021","url":null,"abstract":"","PeriodicalId":46410,"journal":{"name":"Cultural Critique","volume":"21 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135575408","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Rhetoric, Affect, and \"A Whole Lot of French Novels\": A Marxian Response","authors":"C. Barbour","doi":"10.1353/cul.2023.0028","DOIUrl":"https://doi.org/10.1353/cul.2023.0028","url":null,"abstract":"Abstract:This essay offers a response to the special issue of Cultural Critique on the theme of \"Communication, Biopolitics, and Social Reproduction.\" Drawing on the record of Marx's personal library compiled by Roland Daniels in 1849, it begins by arguing that, given his expansive intellectual and cultural interests, Marx would have had little trouble recognizing himself in all of the papers collected together here. The essay goes on to argue that his work can be understood not only as a historical phenomenon but also as a contribution to contemporary discussions of rhetoric, affect, biopower, and the so-called new materialism. It concludes with a brief consideration of what a Marxian history of rhetoric might entail.","PeriodicalId":46410,"journal":{"name":"Cultural Critique","volume":"133 1","pages":"114 - 125"},"PeriodicalIF":0.2,"publicationDate":"2023-05-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86698170","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Living and Dying in the Age of COVID-19: Social Murder, Reproduction, and Rhetoric","authors":"M. R. Greene-May","doi":"10.1353/cul.2023.0029","DOIUrl":"https://doi.org/10.1353/cul.2023.0029","url":null,"abstract":"Abstract:Situating this collection of essays within the global pandemic associated with COVID-19, the author returns to Marx and Engels to account for how the unhealthy history of capitalism they document transforms their writings into what Mark Neocleous terms a \"political economy of the dead.\" From this starting point, the author amplifies the importance of biopolitics, social reproduction, and rhetoric as important concepts for the future study of Marx and Marxism.","PeriodicalId":46410,"journal":{"name":"Cultural Critique","volume":"46 1","pages":"126 - 141"},"PeriodicalIF":0.2,"publicationDate":"2023-05-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74237001","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Introduction: (Re)producing Subjects, Objects, and Resistances","authors":"Matthew W. Bost","doi":"10.1353/cul.2023.0022","DOIUrl":"https://doi.org/10.1353/cul.2023.0022","url":null,"abstract":"Abstract:This essay introduces the Cultural Critique special issue \"Communication, Biopolitics, and Social Reproduction.\" Social reproduction has been a central concept for theorizing the relationship between economic exploitation and oppression along axes of race, gender/sexuality, nationality, and ability, as well as for considering how capitalism shapes contemporary subjectivity. First, I situate social reproduction's relationship to communication and biopolitics, discussing rhetoric and communication as key modalities of contemporary capitalist social reproduction. Second, I consider the ways that scholars in rhetorical studies and in the critical humanities have turned to biopolitics as a vocabulary for theorizing power and resistance under capitalism. Finally, I introduce the special issue conversation, discussing the essays' contributions to biopolitical readings of Marx, to theories of affect and extractive capitalism, and to strategies for resisting capital's reproduction.","PeriodicalId":46410,"journal":{"name":"Cultural Critique","volume":"48 1","pages":"1 - 29"},"PeriodicalIF":0.2,"publicationDate":"2023-05-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76639219","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}