{"title":"Nostalgia for Futures Past","authors":"Kristin Plys","doi":"10.1080/09528822.2022.2027672","DOIUrl":null,"url":null,"abstract":"Abstract This article investigates the intellectual and political legacies of Maoist and other left Third Worldist thought of the 1970s through an analysis of Naeem Mohaiemen’s 2020 film, Afsan’s Long Day, The Young Man Was. The film presents a narrative of the history of the 1970s anti-imperialist left, and in Brechtian fashion, compels the viewer to take an emotionally distanced assessment of the left’s chaotic trajectory through a unique engagement with themes of time, history, and repetition. In the article, I explore several aspects of the film − its relationship to the ‘essay film’ as a genre, the historical context of the global 1970s as depicted in the film, and then conclude with a discussion of the theoretical concept, hauntology, in order to interrogate the political praxis of the film. The 1970s Global left represents a future that never came to be but yet continues to animate contemporary left thought.","PeriodicalId":45739,"journal":{"name":"Third Text","volume":"36 1","pages":"41 - 55"},"PeriodicalIF":0.3000,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":null,"platform":"Semanticscholar","paperid":null,"PeriodicalName":"Third Text","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1080/09528822.2022.2027672","RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"ART","Score":null,"Total":0}
引用次数: 0
Abstract
Abstract This article investigates the intellectual and political legacies of Maoist and other left Third Worldist thought of the 1970s through an analysis of Naeem Mohaiemen’s 2020 film, Afsan’s Long Day, The Young Man Was. The film presents a narrative of the history of the 1970s anti-imperialist left, and in Brechtian fashion, compels the viewer to take an emotionally distanced assessment of the left’s chaotic trajectory through a unique engagement with themes of time, history, and repetition. In the article, I explore several aspects of the film − its relationship to the ‘essay film’ as a genre, the historical context of the global 1970s as depicted in the film, and then conclude with a discussion of the theoretical concept, hauntology, in order to interrogate the political praxis of the film. The 1970s Global left represents a future that never came to be but yet continues to animate contemporary left thought.
本文通过分析纳伊姆·莫海门(Naeem Mohaiemen) 2020年的电影《阿夫桑的漫长一天，年轻人是》(Afsan 's Long Day, the Young Man Was)，探讨20世纪70年代毛主义和其他左翼第三世界主义思想的知识和政治遗产。这部电影讲述了20世纪70年代反帝左翼的历史，以布莱希特式的风格，迫使观众通过独特的时间、历史和重复的主题，对左翼混乱的轨迹进行情感上的距离感评估。在这篇文章中，我探讨了这部电影的几个方面——它与作为一种类型的“散文电影”的关系，电影中描述的全球20世纪70年代的历史背景，然后以讨论理论概念“闹鬼学”作为结论，以质疑这部电影的政治实践。20世纪70年代的全球左派代表了一个从未实现的未来，但却继续激励着当代左派思想。
期刊介绍：
Third Text is an international scholarly journal dedicated to providing critical perspectives on art and visual culture. The journal examines the theoretical and historical ground by which the West legitimises its position as the ultimate arbiter of what is significant within this field. Established in 1987, the journal provides a forum for the discussion and (re)appraisal of theory and practice of art, art history and criticism, and the work of artists hitherto marginalised through racial, gender, religious and cultural differences. Dealing with diversity of art practices - visual arts, sculpture, installation, performance, photography, video and film.
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