{"title":"Of People and Giants: The 74° Locarno Film Festival","authors":"Pascal M. Cicchetti","doi":"10.3998/fc.2720","DOIUrl":"https://doi.org/10.3998/fc.2720","url":null,"abstract":"","PeriodicalId":42834,"journal":{"name":"FILM CRITICISM","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-06-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46476897","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"The Frames That Unframe: Abbas Kiarostami’s Method of Decreation in 24 Frames","authors":"Mohammad Mehdi Kimiagari","doi":"10.3998/fc.2713","DOIUrl":"https://doi.org/10.3998/fc.2713","url":null,"abstract":"","PeriodicalId":42834,"journal":{"name":"FILM CRITICISM","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-06-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43385259","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Trotz alledem: The 72nd Berlin Film Festival","authors":"G. Gemünden","doi":"10.3998/fc.2471","DOIUrl":"https://doi.org/10.3998/fc.2471","url":null,"abstract":"","PeriodicalId":42834,"journal":{"name":"FILM CRITICISM","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-03-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49002492","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:This essay examines the modern temporization of labor to ask: what happens to the human subject that, in signing the labor contract, resigns their "self" to time? It begins by considering comments made by the "actors" in Jean-Luc Godard's Six fois deux / Sur et sous la communication (1976) as an interstice between labor, subjectivity, and capital, to argue for a confluence between all forms of inscription. It then shows how iterability, the infinite interpretability of inscription, offers a possibility of irrepressible difference, one that can never be timed out of laboring subjectivities or the writing that gives them.
摘要:本文考察了现代劳动的时间化，并提出了一个问题:人类主体在签订劳动合同时，把“自我”交给了时间，会发生什么?本文首先从戈达尔(Jean-Luc Godard)的《Six fois deux / Sur et sous la communication》(1976)中“演员”的评论出发，将其视为劳动、主体性和资本之间的间隙，以论证各种形式的铭文之间的融合。然后，它展示了可迭代性，铭文的无限可解释性，如何提供了一种无法抑制的差异的可能性，这种差异永远不会被劳动的主体性或给予它们的文字所限制。
{"title":"Look Busy: Chrematistics, Simulated Labor, and Signing for Time","authors":"JA Dutton","doi":"10.1353/crt.2022.0010","DOIUrl":"https://doi.org/10.1353/crt.2022.0010","url":null,"abstract":"Abstract:This essay examines the modern temporization of labor to ask: what happens to the human subject that, in signing the labor contract, resigns their \"self\" to time? It begins by considering comments made by the \"actors\" in Jean-Luc Godard's Six fois deux / Sur et sous la communication (1976) as an interstice between labor, subjectivity, and capital, to argue for a confluence between all forms of inscription. It then shows how iterability, the infinite interpretability of inscription, offers a possibility of irrepressible difference, one that can never be timed out of laboring subjectivities or the writing that gives them.","PeriodicalId":42834,"journal":{"name":"FILM CRITICISM","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"72916298","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:Detective stories feature prominently in Leslie Scalapino's innovative novels Orion, Defoe, Orchid Jetsam, and Dahlia's Iris. The novels combine narratives of crimes and investigations typical of the detective genre with formal and linguistic disruptions developed and theorized by writers associated with Language Writing. This essay traces Scalapino's experimentation with the detective genre back to her confrontation with Language Writing's exclusionary emphasis on formal disruption, articulated most fully in her 1991 Poetics Journal dialogue with Ron Silliman. Drawing on Nel Noddings's and Judith Butler's theories of interdependence and care, it argues that Scalapino's detective stories foreground the constitutive nature of human vulnerability. In so doing, the essay extends Joan Retallack's, Małgorzata Myk's, and Michael Cross's recent studies of Scalapino's philosophical poetics. It proposes that Scalapino's critical engagement with the conventions of the detective genre informs her layered conceptions of being, experiencing, and conscious subjectivity and argues that her detective novels pursue a series of questions posed by Gertrude Stein and Walter Benjamin decades earlier: What roles do stories play in inspiring or inhibiting care? Given that vulnerability is a shared condition, who deserves care, and who is responsible for providing it? At what cost?
{"title":"Detectives and Storytellers: On Vulnerability and Care in Leslie Scalapino's Genre Fiction","authors":"Nate Mickelson","doi":"10.1353/crt.2022.0009","DOIUrl":"https://doi.org/10.1353/crt.2022.0009","url":null,"abstract":"Abstract:Detective stories feature prominently in Leslie Scalapino's innovative novels Orion, Defoe, Orchid Jetsam, and Dahlia's Iris. The novels combine narratives of crimes and investigations typical of the detective genre with formal and linguistic disruptions developed and theorized by writers associated with Language Writing. This essay traces Scalapino's experimentation with the detective genre back to her confrontation with Language Writing's exclusionary emphasis on formal disruption, articulated most fully in her 1991 Poetics Journal dialogue with Ron Silliman. Drawing on Nel Noddings's and Judith Butler's theories of interdependence and care, it argues that Scalapino's detective stories foreground the constitutive nature of human vulnerability. In so doing, the essay extends Joan Retallack's, Małgorzata Myk's, and Michael Cross's recent studies of Scalapino's philosophical poetics. It proposes that Scalapino's critical engagement with the conventions of the detective genre informs her layered conceptions of being, experiencing, and conscious subjectivity and argues that her detective novels pursue a series of questions posed by Gertrude Stein and Walter Benjamin decades earlier: What roles do stories play in inspiring or inhibiting care? Given that vulnerability is a shared condition, who deserves care, and who is responsible for providing it? At what cost?","PeriodicalId":42834,"journal":{"name":"FILM CRITICISM","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83361157","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Writing through the Body","authors":"Eileen DiPofi","doi":"10.1353/crt.2022.0013","DOIUrl":"https://doi.org/10.1353/crt.2022.0013","url":null,"abstract":"","PeriodicalId":42834,"journal":{"name":"FILM CRITICISM","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74440401","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:This essay takes Thoreau's frustrations with the impossibility of perceiving the injustice of slavery as an invitation to discern within his larger corpus a distinct body of work that we can call Thoreau's antislavery writing. Beyond the mere topic of antislavery, I argue in this essay that Thoreau's antislavery writing is defined by a spatial politics that intersects with the politics of emotion: I argue that Thoreau is deeply invested in how the issue of slavery is consistently displaced spatially and emotionally. Through careful close readings of a number of shorter entries from Thoreau's Journal and his major antislavery essays—including "Resistance to Civil Government," "Slavery in Massachusetts," "A Plea for Captain John Brown," and "The Last Days of John Brown"—I show how Thoreau returns throughout his career to a recurring set of images and rhetorical tropes to help conceptualize the immediate importance of abolition, even to those who think themselves too far removed from slavery to do anything about it, or to care. In his writing, Thoreau wants to know why slavery and the abolitionist cause engender such an apathetic response, and why, similarly, slavery appears to be such a distant issue. As I show, the emotional and spatial distance from the issue of slavery that Thoreau notes in his neighbors results from how economics compartmentalizes the political sphere. Political economy and the language of economics make the most pressing political issues always seem remote and insignificant. Thoreau is interested in how political conviction and action can become disjointed: just because you know something is wrong does not mean you are going to do anything about it. This essay, then, starts from a place of frustration. It tracks Thoreau's frustrations, and it pairs those frustrations with a shared set of politically coded images and rhetorical tropes to consider Thoreau not just as an antislavery speaker and figure, but also as a literary writer whose most complex thinking reveals itself to us when we treat him and his writing as such.
{"title":"Apathy, Political Emotion, and the Politics of Space in Thoreau's Antislavery Writing","authors":"A. Moskowitz","doi":"10.1353/crt.2022.0008","DOIUrl":"https://doi.org/10.1353/crt.2022.0008","url":null,"abstract":"Abstract:This essay takes Thoreau's frustrations with the impossibility of perceiving the injustice of slavery as an invitation to discern within his larger corpus a distinct body of work that we can call Thoreau's antislavery writing. Beyond the mere topic of antislavery, I argue in this essay that Thoreau's antislavery writing is defined by a spatial politics that intersects with the politics of emotion: I argue that Thoreau is deeply invested in how the issue of slavery is consistently displaced spatially and emotionally. Through careful close readings of a number of shorter entries from Thoreau's Journal and his major antislavery essays—including \"Resistance to Civil Government,\" \"Slavery in Massachusetts,\" \"A Plea for Captain John Brown,\" and \"The Last Days of John Brown\"—I show how Thoreau returns throughout his career to a recurring set of images and rhetorical tropes to help conceptualize the immediate importance of abolition, even to those who think themselves too far removed from slavery to do anything about it, or to care. In his writing, Thoreau wants to know why slavery and the abolitionist cause engender such an apathetic response, and why, similarly, slavery appears to be such a distant issue. As I show, the emotional and spatial distance from the issue of slavery that Thoreau notes in his neighbors results from how economics compartmentalizes the political sphere. Political economy and the language of economics make the most pressing political issues always seem remote and insignificant. Thoreau is interested in how political conviction and action can become disjointed: just because you know something is wrong does not mean you are going to do anything about it. This essay, then, starts from a place of frustration. It tracks Thoreau's frustrations, and it pairs those frustrations with a shared set of politically coded images and rhetorical tropes to consider Thoreau not just as an antislavery speaker and figure, but also as a literary writer whose most complex thinking reveals itself to us when we treat him and his writing as such.","PeriodicalId":42834,"journal":{"name":"FILM CRITICISM","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88792081","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:Critical phenomenologies of space and sensation often represent them as forms of popular liberation because they draw from the modernist theories of Henri Lefebvre and Michel de Certeau. However, a historical phenomenology of movement through space in two early modern period's walking texts—as rhetorical ecologies—reveal public spaces and their sensations as controversial and uncanny landscapes bound by historical and cultural practice. This analysis employs John Stow's 1598 Survey of London and the recently discovered 1618 "Foot Voyage" of Ben Jonson from London to Edinburgh as case studies for phenomenal experiences of space in Renaissance cultural history.
{"title":"Moving in the Renaissance: The Rhetorical Ecologies of John Stow's Survey of London and Ben Jonson's \"Foot Voyage\"","authors":"P. Reid","doi":"10.1353/crt.2022.0007","DOIUrl":"https://doi.org/10.1353/crt.2022.0007","url":null,"abstract":"Abstract:Critical phenomenologies of space and sensation often represent them as forms of popular liberation because they draw from the modernist theories of Henri Lefebvre and Michel de Certeau. However, a historical phenomenology of movement through space in two early modern period's walking texts—as rhetorical ecologies—reveal public spaces and their sensations as controversial and uncanny landscapes bound by historical and cultural practice. This analysis employs John Stow's 1598 Survey of London and the recently discovered 1618 \"Foot Voyage\" of Ben Jonson from London to Edinburgh as case studies for phenomenal experiences of space in Renaissance cultural history.","PeriodicalId":42834,"journal":{"name":"FILM CRITICISM","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77350120","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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