Open Access. Powered by Scholars. Published by Universities.®
- Keyword
-
- Aesthetics politics ethics (1)
- Amir Soltani (1)
- Cinema (1)
- Commodity Fetishism (1)
- Conceptual art (1)
-
- Contact zones (1)
- Curatorship (1)
- Displacement (1)
- Documentary (1)
- Empty signifier (1)
- European Union (1)
- Exhibition (1)
- Figures of absence (1)
- French theory (1)
- Graphic novels (1)
- Historical Materialism (1)
- Incorporeal (1)
- Indian Cinema (1)
- Iranian diaspora visual literature (1)
- Jacques Rancière (1)
- Literature (1)
- Marjane Satrapi (1)
- Material Culture (1)
- Migration (1)
- Migration crisis (1)
- Modernity (1)
- Mrinal Sen (1)
- Muslim women in art; photography (1)
- Nationalism (1)
- Parsua Bashi (1)
- Publication
- Publication Type
Articles 1 - 4 of 4
Full-Text Articles in Other Film and Media Studies
Depicting Absence: Thematic And Stylistic Paradoxes Of Representation In Visual And Literary Imagery, Alexandra Irimia
Depicting Absence: Thematic And Stylistic Paradoxes Of Representation In Visual And Literary Imagery, Alexandra Irimia
Languages and Cultures Publications
The article draws up an inventory of, and compares strategies for, the theoretical and critical treatment of the absence–presence interplay at stake in the literary and visual representations of absence. This brings to our attention a multiplicity of heterogeneous and, to a greater or lesser degree, marginal signify-ing phenomena that have in common patterns of disrupting and deviating from the standard conventions of creating and conveying meaning through figures of absence. Lacking a name for these disparate yet similar instances where meaning is created from empty signifiers, we have chosen to call them figural voids. This attempt to produce a …
What Moves You?: Georges Didi-Huberman’S Arts Of Passage And Pittsburgh Stories Of Migration, Alexandra Irimia
What Moves You?: Georges Didi-Huberman’S Arts Of Passage And Pittsburgh Stories Of Migration, Alexandra Irimia
Languages and Cultures Publications
Contemporary art historian, critic, and theorist Georges Didi-Huberman thinks of images not as static objects, but as movements, passages, and gestures of memory and/or desire. For the French “historian of passing images,” as he has been called, “all images are migrants. Images are migrations. They are never simply local” (D2017). His book, Passer, quoi qu'il en coûte ("To Pass at Any Price"), co-written with the Greek poet and director Niki Giannari, takes on precisely the visual dynamics of passages, passengers, and passageways in the context of contemporary migration flows. In April 2018, only several months after the launching of the …
Politics, Ethics, And Aesthetic Play In Diasporic Iranian Visual Literature: Neshat, Satrapi, Bashi, Soltani, Mehraneh Ebrahimi-Eshratabadi
Politics, Ethics, And Aesthetic Play In Diasporic Iranian Visual Literature: Neshat, Satrapi, Bashi, Soltani, Mehraneh Ebrahimi-Eshratabadi
Electronic Thesis and Dissertation Repository
Does the study of aesthetics create response-ability or have tangible effects in the real world? Does the ambivalent form of word/images created by diaspora artists change our gaze toward the Other and the landscape of the possible? In the age of a global march against abstract terror which seems to be only reinforcing terrorism, the sign “Muslim-woman” along with the concept of democracy have become rallying cries for novel civilizing-missions. Leaving aside the failed efforts of littérature engagée, I resonate with Jacques Rancière that the study of aesthetics is intertwined with that of politics. Gayatri Spivak, too, asserts that …
Alternative Be/Longing: Modernity And Material Culture In Bengali Cinema, 1947-1975, Suvadip Sinha
Alternative Be/Longing: Modernity And Material Culture In Bengali Cinema, 1947-1975, Suvadip Sinha
Electronic Thesis and Dissertation Repository
Engaging in a dialogue with the recent body of scholarship on alternative/multiple modernities, postcolonial studies, Marxism and thing theory, this thesis has two main objectives: first, to examine how the transition of post-colonial India from a primarily feudal to a capitalist form of economy facilitated a historical-materialist relationship with things, objects and commodities; and second, to explore how this relationship challenges and ruptures the singularly hegemonic narrative of modern capital. Spanning a historical and political period from late-colonial India to the urban modernity of 1970s’, Satyajit Ray’s Jalsaghar (1958) and Pratidwandi (1971), Riwik Ghatak’s Ajantrik (1958), Tapan Sinha’s Harmonium (1963), …