Since the end of the prohibition of Chinese New Year celebrations, the night sky of towns and cities across Indonesia has been illuminated with fireworks on the eve of Chinese New Year. Most notably, the traditional street parades and accompanying festival on the fifteenth day of the New Year have been growing in size in a number of West…[Read more]

Public space as a visual spectacle contributed for discovery and possible strengthening of new rhetorics outside the planning sector. Contestation of public space featuring various aspects of life residents, including; economy, entertainment, politic, and life style. One of the paradox emerging from this, manifest in the use of public space that…[Read more]

The Pasupati flyover (Pasteur-Surapati) connecting Bandung to Jakarta has become a new symbol for the city. Recent policy has made the space located under the bridge, transformed from ‘dead space’ into a socially-significant urban space for marginal people governed by many stakeholders and consequently a contestation of multiple and con…[Read more]

Car Free Day has become a contested aren of production and consumption where by a contemporary social and cultural transformation of space also forms a new contemporary composite agencies of urban public in the city of Bandung, West Java. Such agencies also shape a new identity for the image of a city landmark. The cit appears to prioritize its…[Read more]

Since the end of the prohibition of Chinese New Year celebrations, the night sky of towns and cities across Indonesia has been illuminated with fireworks on the eve of Chinese New Year. Most notably, the traditional street parades and accompanying festival on the fifteenth day of the New Year have been growing in size in a number of West…[Read more]

Public space as a visual spectacle contributed for discovery and possible strengthening of new rhetorics outside the planning sector. Contestation of public space featuring various aspects of life residents, including; economy, entertainment, politic, and life style. One of the paradox emerging from this, manifest in the use of public space that…[Read more]

Illustration as part of art works has often been considered a form of low art, but as it has progressively become more developed, it has established a decent place in the art community. Through this paper, the authors have tried to apply a primarily participatory research method, including participant observation, deep interview, and literature…[Read more]

The Pasupati flyover (Pasteur-Surapati) connecting Bandung to Jakarta has become a new symbol for the city. Recent policy has made the space located under the bridge, transformed from ‘dead space’ into a socially-significant urban space for marginal people governed by many stakeholders and consequently a contestation of multiple and con…[Read more]

Illustration as part of art works has often been considered a form of low art, but as it has progressively become more developed, it has established a decent place in the art community. Through this paper, the authors have tried to apply a primarily participatory research method, including participant observation, deep interview, and literature…[Read more]

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]

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/cinema-internacional-cinemas-africanos-2017-2

Configurações político-ideológicas, estéticas e geográficas dos cinemas africanos, em perspectiva histórica e…[Read more]

Proponho a análise do filme O mundo (2004), de Jia Zhangke, como alegoria aberta da globalização. A noção de alegoria aberta, ou abertura alegórica, possibilita abordar a globalização como condição de possibilidade do filme (que decorre, em parte, da participação da China nos circuitos globais de capital e de comércio) e como horizonte de…[Read more]

Com base na hipótese de que a emergência histórica dos cinemas africanos e sua contemporaneidade são indissociáveis de uma reivindicação do direito de olhar, de narrar e de imaginar o mundo, este artigo busca estabelecer um quadro conceitual para uma história das formas de imaginação do comum nos cinemas africanos. Nessa história ainda a escrever…[Read more]