Im digitalen Zeitalter verschwimmen die institutionellen Grenzen innerhalb der Kulturlandschaft. Umso gewinnbringender wäre es, innerhalb der Kultureinrichtungen gemeinsame Handlungsfelder zu definieren und von etablierten Prozessen und vorhandenen Infrastrukturen zu profitieren. Worin bestehen die zentralen Probleme der bisher erst zaghaften…[Read more]

In: Hajo Diekmanshenke, Stefan Neuhaus and Uta Schaffers (eds.): Das Komische in der Kultur. Dynamiken der Vermittlung: Koblenzer Studien zur Germanistik. Marburg: Tectum-Verlag 2015, 413-429.

In: Hajo Diekmanshenke, Stefan Neuhaus and Uta Schaffers (eds.): Das Komische in der Kultur. Dynamiken der Vermittlung: Koblenzer Studien zur Germanistik. Marburg: Tectum-Verlag 2015, 413-429.

In: Hajo Diekmanshenke, Stefan Neuhaus and Uta Schaffers (eds.): Das Komische in der Kultur. Dynamiken der Vermittlung: Koblenzer Studien zur Germanistik. Marburg: Tectum-Verlag 2015, 413-429.

От задника к квази-вещи и настоящему мясу: плоскость и трехмерность в кино 1900-1920
Бюсты-Цари Бауэра
Оживление вещи в 1910-е годы: Черепки кувшина и жест спинки кресла
«Душа декорации» и диковинки Бауeра в трактовке Кулешова
Вещи в глубинном постранстве
Освобожденная вещь в монтаже
«Убрать неработающие вещи!»
Столетие…[Read more]

От задника к квази-вещи и настоящему мясу: плоскость и трехмерность в кино 1900-1920
Бюсты-Цари Бауэра
Оживление вещи в 1910-е годы: Черепки кувшина и жест спинки кресла
«Душа декорации» и диковинки Бауeра в трактовке Кулешова
Вещи в глубинном постранстве
Освобожденная вещь в монтаже
«Убрать неработающие вещи!»
Столетие…[Read more]

От задника к квази-вещи и настоящему мясу: плоскость и трехмерность в кино 1900-1920
Бюсты-Цари Бауэра
Оживление вещи в 1910-е годы: Черепки кувшина и жест спинки кресла
«Душа декорации» и диковинки Бауeра в трактовке Кулешова
Вещи в глубинном постранстве
Освобожденная вещь в монтаже
«Убрать неработающие вещи!»
Столетие…[Read more]

This paper discusses the emergence of a women’s diasporic cinema that challenges the representation of Indian women as guardians of Indian values. Through the examination of three films directed by women filmmakers (Mira Nair, Deepa Mehta and Nisha Pahuja), this analysis proposes to delve into the reconfiguration of Indian identity in a context o…[Read more]

Habitus​ ​und​ ​Gender:​ ​Dude​ ​Talk​ ​der​ ​pachucos​ ​und​ ​die​ ​stiljagi 2 Vorgestellte​ ​und​ ​gelenkte​ ​Gemeinschaften:​ ​Nationale​ ​und​ ​ ​religiöse​ ​Identität 5 1.​ ​Filmbeispiel:​ ​Die​ ​tote​ ​Frau​ ​in​ ​Ovsjanki​ ​(Ammern,​ ​2010) 8 Sprache​ ​und​ ​Gender​ ​in​ ​der​ ​postsowjetischen​ ​Situation 11 Feminismus​ ​in​ ​Russland;​ ​G…[Read more]

Habitus​ ​und​ ​Gender:​ ​Dude​ ​Talk​ ​der​ ​pachucos​ ​und​ ​die​ ​stiljagi 2 Vorgestellte​ ​und​ ​gelenkte​ ​Gemeinschaften:​ ​Nationale​ ​und​ ​ ​religiöse​ ​Identität 5 1.​ ​Filmbeispiel:​ ​Die​ ​tote​ ​Frau​ ​in​ ​Ovsjanki​ ​(Ammern,​ ​2010) 8 Sprache​ ​und​ ​Gender​ ​in​ ​der​ ​postsowjetischen​ ​Situation 11 Feminismus​ ​in​ ​Russland;​ ​G…[Read more]

Disciplina de graduação oferecida na Faculdade de Comunicação da Universidade Federal da Bahia no segundo semestre de 2017. Mais informações em: https://www.incinerrante.com/textos/teorias-do-cinema-2017-2

This essay makes direct comparisons and correlations between Steven Spielberg’s E.T.: The Extra-Terrestrial and the New Testament story of Jesus of Nazareth. In addition, the article situates the film (the highest-grossing movie ever, at that point) in its political and historical moment, the Age of Reagan.

This is no longer just kids on an adventure. Yates’s transtextual citations here imbue J.K. Rowling’s coming-of-age tale with a truly apocalyptic foreboding — one that exceeds the ostensible youth orientation of the Harry Potter films.

Depuis 1912, innombrables textes – romans, radio shows, bandes dessinées, séries de télévision, films – ont produit et articulé représentations de l’Afrique dans histoires dont le protagoniste est Tarzan, créé par l’étasunien Edgar Rice Burroughs (1875-1950). En prenant le nom « Afrique » comme référence, les textes qui orbitent et habitent…[Read more]

The projected image has become increasingly prominent in the art gallery over the past quarter century.2 In the accompanying catalog to an illustrative 1997 exhibition, Projections: Les transports de l’image, Dominique Païni argued that this prominence of projection heralded its crisis, resulting from the displacement of film and photography by…[Read more]

In this chapter I examine how post-coup Chilean cinema depicts the coming of age of boys who are entering manhood, a process executed within a single hegemonic socio-political structure in which issues of gender, sexual dynamics and class function both organically and indivisibly. The analysis will focus on a 1976 fictionalisation of the coming of…[Read more]

En 1950 Luis Buñuel produce Los olvidados, y sesenta años después Alejandro González Iñárritu le devuelve la mirada al filmar su cuarta película en los barrios marginales de Barcelona. Más allá de la denuncia socio-política de su argumento, Biutiful hace visible un centro cada vez más desplazado hacia los bordes al enfocarse en metrópolis…[Read more]

Central to the analysis of a corpus of films dealing with current psychosocial conditions in Chile and the challenges of communal reconciliation, are the concepts of collective memory and social trauma. Chilean cinema of the postdictatorship reflects a society whose channels of communication have been broken, in which the past continues to be a…[Read more]

Distinct modes of social and psychological angst are noted in a significant number of films from Chile and New Zealand, becoming most evident in the way family relations are portrayed, and in various modes through which the protagonists relate to their natural and social environment. This article focuses on the films In My Father’s Den (Brad M…[Read more]