A family tale inspired the author to explore seemingly minor, but related details of the Saint-Domingue, French, and American Revolutions, including the population movements to and from the United States. “A Haitian Tale of Diasporas and Revolutions” is a documented historical and personal narrative through cultures and continents, as…[Read more]

The relationship between culture and policy has long been a major topic for media and cultural studies. With
this issue, we hope to broaden the meaning of cultural policy, from policies that are explicitly regulating
something we call the “cultural” (including media or traditional rituals or symbols) to include the practice of
policy-making and…[Read more]

The ruins of church-mosques, museums, and ancient cities inform material culture as allegories inform spiritual life, invoking transcendence amidst desacralization. Drawing on Benjamin, Jameson, and Koselleck to advance our understanding of the functioning of ruins across time, this ethnography of ruins engages with the paradoxes generated by…[Read more]

This essay explains that cultural studies is, by design, too diverse and heterogeneous a project to be reduced to a single methodology. It goes on to offer a brief definition of project, and to describe four of its major characteristics: (1) its leftist politics, (2) its radical contextualism, (3) its radical interdisciplinarity, and (4) its…[Read more]

The conference will explore the image of the supernatural city as expressed in narrative media from a variety of epochs and cultures. It will provide an interdisciplinary forum for the development of innovative and creative research and examine the cultural significance of these themes in all their various manifestations. As with previous OGOM…[Read more]

This paper assesses nine prominent readings of the imperial context/content of Verdi’s ‘Aida’ and offers a new perspective more adequate to basic tensions in the work. Readings have ranged from the literal (imperial Europe here stages an archaeological “ancient Egypt”) to the metaphorical (“Egypt” here is any repressive government). Or–somew…[Read more]

Commentators often express disappointment that the music for the main characters in _Aida_ is not more distinctive, i.e., does not make much use of the exotic styles that mark the work’s ceremonial scenes and ballets. It has also been argued that exotic style-elements here are mostly confined to female, hence powerless, characters. Such…[Read more]

Drawing on Stuart Hall’s influential “Notes on deconstructing ‘the
popular’” [Hall, S. (1981). In R. Samuel (Eds.), People’s history and
socialist theory (pp. 227–240). London: Routledge and Kegan Paul.],
this essay maps out some of the major shifts in cultural studies’
relationship to popular culture over the past several decades. It
co…[Read more]

This article introduces a special issue on the topic of Cultural Studies and Critical Literacies. The collection of articles is drawn from the central theme of the inaugural Summer Institute of the Association for Cultural Studies: to explore the implications of studying literacy by combining perspectives from cultural studies and (critical)…[Read more]

In its postwar institutional infancy, American mass communication research badly needed a history. Communication study in the United States, jerry-rigged from journalism schools and speech departments in the years following World War II, has from the beginning suffered from a legitimacy deficit. This paper traces Wilbur Schramm’s self-conscious a…[Read more]

Politics seems bound up with questions of the ordinary and everyday as opposed to the extraordinary. This may be a Cavellian way of articulating the problem of political praxis, i.e., the point at which theory “becomes” action, but notice, at least in Cavell-speak, which way the trajectory flows. The Wittgensteinian charge to bring language bac…[Read more]

In this short essay on “La Loi du marché” (“The Measure of a Man”, 2015), I argue that the film builds an accurate representation of the economic and social relations in capitalism, aggravated by the neoliberal offensive.

Entry on Senagelese filmmaker and writer Ousmane Sembène.

Music videos, like many other art works, are the result of a creative process of image creation that sometimes does not start from scratch. At times this process relies on visual material previously produced that is reused and recombined. The use and combination of pre-existing film footage is an example of this, an appropriation with the purpose…[Read more]

Taking “Heroes” (2006-10), the popular drama series about a group of ordinary human beings with superhuman abilities, as a case study allows us to expand on these ideas. This chapter aims at contributing to a stylistic analysis of the series without attempting to examine every major stylistic feature of the series in detail. Instead, the scope of…[Read more]

The fourth issue of “Cinema” addresses the topic of philosophy of religion and its connections with cinematic art. Film and religion have been fruitful research topics taken in conjunction. Researchers in this specific field have focused on particular periods (like the censorship era in the USA), on representations of religious traditions and pra…[Read more]

The fourth issue of “Conversations: The Journal of Cavellian Studies”, which explores Cavell’s philosophic interest in literature, an oft-repeated and rehashed thematic prism and vantage point from which to address Cavell’s work. However, it is our feeling that, at times anyhow, Cavell’s interest in Wittgenstein and film dwarfs slightly his liter…[Read more]

For the inaugural issue of “Conversations: The Journal of Cavellian Studies”, we solicited papers discussing Stanley’s autobiographical writings. To mirror types of conversations, we asked for both short and long (though we received mostly the latter).

The idea of a sci-fi ghetto that “Battlestar Galactica” tried to escape from suggests a fruitful way of analysing the show. Genres, especially those that are popular simultaneously in television and film, are defined and definable through a repertoire of elements: characters, plot, setting, iconography, and style. Since the focus of this cha…[Read more]

If Guy Maddin were a scientist, he would be a mad scientist. Perhaps, then, he is a mad artist, effusively mixing images that appear to come from the silent era and sounds that seem to come from the first talkies. The metaphor is apt—and not just because of the weird, frenzied scientist father in “Brand upon the Brain!” (2006). It is apt becau…[Read more]