Pub Date : 2022-05-01DOI: 10.1215/01903659-9644604
D. Lloyd
This review of Seamus Deane's posthumously published volume of essays, Small World: Ireland, 1798–2018, is also a preliminary effort to assess the career and intellectual importance of a major Irish scholar, critic, and public intellectual. While the essays gathered in Small World focus on Deane's lifelong contributions, critical and polemical, to the analysis of Irish culture and the Troubles (1969–98), they reveal Deane to have been a thoroughly cosmopolitan intellectual whose work on Ireland and colonialism is of global import.
{"title":"Revenant of the Future","authors":"D. Lloyd","doi":"10.1215/01903659-9644604","DOIUrl":"https://doi.org/10.1215/01903659-9644604","url":null,"abstract":"\u0000 This review of Seamus Deane's posthumously published volume of essays, Small World: Ireland, 1798–2018, is also a preliminary effort to assess the career and intellectual importance of a major Irish scholar, critic, and public intellectual. While the essays gathered in Small World focus on Deane's lifelong contributions, critical and polemical, to the analysis of Irish culture and the Troubles (1969–98), they reveal Deane to have been a thoroughly cosmopolitan intellectual whose work on Ireland and colonialism is of global import.","PeriodicalId":46332,"journal":{"name":"Boundary 2-An International Journal of Literature and Culture","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2022-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49588315","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-05-01DOI: 10.1215/01903659-9644576
R. Kay
Prince was an artist who challenged many conventional notions of race, sexuality, and music. His music, characterized as the Minneapolis Sound, is a continuation and extension of America's indigenous music, the blues. This article is an explanation of the designation “Minneapolis Sound.” The first part establishes the Minneapolis milieu, specifically that of the black neighborhoods, and how it formed Prince and his cohort, such as James “Jimmy Jam” Harris Jr., Terry Lewis, André Cymone, Morris Day, and others. The second part is a close analysis of Prince's music and its sonic effects and how Prince engages and extends the blues idiom.
{"title":"Minneapolis, Prince, and the Minneapolis Sound","authors":"R. Kay","doi":"10.1215/01903659-9644576","DOIUrl":"https://doi.org/10.1215/01903659-9644576","url":null,"abstract":"\u0000 Prince was an artist who challenged many conventional notions of race, sexuality, and music. His music, characterized as the Minneapolis Sound, is a continuation and extension of America's indigenous music, the blues. This article is an explanation of the designation “Minneapolis Sound.” The first part establishes the Minneapolis milieu, specifically that of the black neighborhoods, and how it formed Prince and his cohort, such as James “Jimmy Jam” Harris Jr., Terry Lewis, André Cymone, Morris Day, and others. The second part is a close analysis of Prince's music and its sonic effects and how Prince engages and extends the blues idiom.","PeriodicalId":46332,"journal":{"name":"Boundary 2-An International Journal of Literature and Culture","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2022-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46331716","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-05-01DOI: 10.1215/01903659-9644562
T. Zartaloudis
This essay offers a reading of Stathis Gourgouris's The Perils of the One (2019). The peril of the One is primarily, Zartaloudis suggests, its poverty of experience. The impoverishment of experience is the purpose of transcendental foundations of the One, which, in Western traditions, is presupposed through a binary schema of power whereby potency is exhausted in actuality. This binary of power corresponds historically to the Christian Trinitarian oikonomia that predates the transcendental foundationalism of sovereign power/law and secular government. Hence, the age-old discourses that have been produced over many centuries over heteronomy and/or autonomy, across the theological, philosophical, juridical, and political spectrum, revolve around the same false paradox of how to form order in the world from a transcendental vantage point, without being able, by definition, to unfold it in the world. Determined to separate the false paradox (the “world” according to the One) from the true paradox (the cosmological abyss) within which it unfolds, humanity is thought to be destined to an inevitable state of war as if by nature. Secular criticism (in the manner of Edward Said and Gourgouris) as a tradition of thought offers an alternative to the polemic between traditions that are structured according to a false paradox (a world as the world) attempting to erase the unmappable cosmos. Such criticism, it is proposed, could become ever more creative and inviting if it reached out across traditions to compose an impassioned poietic thread that is premised on the negation neither of traditions nor of the irreparable cosmological abyss that marks our species.
这篇文章提供了一个阅读Stathis Gourgouris的The Perils of The One（2019）。Zartaloudis认为，“一”的危险主要在于它缺乏经验。经验的贫乏是“一”的先验基础的目的，在西方传统中，这是通过一种二元权力模式预设的，在这种模式中，效力在现实中被耗尽。这种权力的二元性在历史上对应于基督教三位一体的oikonomia，它早于主权权力/法律和世俗政府的先验基础主义。因此，几个世纪以来，在神学、哲学、司法和政治领域产生的关于他律和/或自治的古老论述，都围绕着同样的错误悖论展开，即如何从超越的角度在世界上形成秩序，而从定义上讲，却无法在世界上展开秩序。人类决心将虚假的悖论（根据“一”的说法是“世界”）与真实的悖论（宇宙学深渊）分离开来，人类被认为注定要进入一种不可避免的战争状态，就好像是天生的一样。世俗批评（以爱德华·赛义德和古尔古里斯的方式）作为一种思想传统，为传统之间的争论提供了一种替代方案，这些传统是根据一个错误的悖论（一个世界就是世界）构建的，试图抹去不可掩盖的宇宙。有人提出，如果这种批评跨越传统，以否定传统和标志着我们物种的不可挽回的宇宙深渊为前提，组成一条慷慨激昂的生动活泼的线索，那么它可能会变得更加富有创造性和吸引力。
{"title":"The Experience of Peril in Secular Criticism","authors":"T. Zartaloudis","doi":"10.1215/01903659-9644562","DOIUrl":"https://doi.org/10.1215/01903659-9644562","url":null,"abstract":"\u0000 This essay offers a reading of Stathis Gourgouris's The Perils of the One (2019). The peril of the One is primarily, Zartaloudis suggests, its poverty of experience. The impoverishment of experience is the purpose of transcendental foundations of the One, which, in Western traditions, is presupposed through a binary schema of power whereby potency is exhausted in actuality. This binary of power corresponds historically to the Christian Trinitarian oikonomia that predates the transcendental foundationalism of sovereign power/law and secular government. Hence, the age-old discourses that have been produced over many centuries over heteronomy and/or autonomy, across the theological, philosophical, juridical, and political spectrum, revolve around the same false paradox of how to form order in the world from a transcendental vantage point, without being able, by definition, to unfold it in the world. Determined to separate the false paradox (the “world” according to the One) from the true paradox (the cosmological abyss) within which it unfolds, humanity is thought to be destined to an inevitable state of war as if by nature. Secular criticism (in the manner of Edward Said and Gourgouris) as a tradition of thought offers an alternative to the polemic between traditions that are structured according to a false paradox (a world as the world) attempting to erase the unmappable cosmos. Such criticism, it is proposed, could become ever more creative and inviting if it reached out across traditions to compose an impassioned poietic thread that is premised on the negation neither of traditions nor of the irreparable cosmological abyss that marks our species.","PeriodicalId":46332,"journal":{"name":"Boundary 2-An International Journal of Literature and Culture","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2022-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46429559","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-05-01DOI: 10.1215/01903659-9644541
R. Judy
This interview with Anthony Bogues was conducted over two days in March 2021 as part of a larger project initiated by Paul Bové, editor of boundary 2, to constitute an archive, for the historical record, of the intellectual formation of members of the boundary 2 Editorial Collective. The idea of that project was somewhat along the lines of Count Gian Artico di Porcía's Enlightenment enterprise to solicit from Italy's preeminent scholars what he termed their “periautography”—what Leibniz, who most likely inspired Porcía through the mediation of Louis Bourguet and Abbé Conti, characterized as the history of their discoveries and the steps by which they have arrived at them—for the education of the young.
本次对Anthony Bogues的采访于2021年3月进行了两天，是《边界2》编辑Paul Bové发起的一个更大项目的一部分，该项目旨在建立一个档案，记录《边界2编辑集体》成员的知识形成，以供历史记录。该项目的想法在某种程度上与Gian Artico di Porcía伯爵的启蒙事业如出一辙，目的是向意大利杰出的学者征集他所称的“超乌托邦”——莱布尼茨很可能是通过路易斯·布尔盖和阿贝·孔蒂的调解激发了Porcí的灵感，其特征是他们的发现的历史以及他们达到这些发现的步骤——用于年轻人的教育。
{"title":"Always Thinking in Motion: An Interview with Anthony Bogues","authors":"R. Judy","doi":"10.1215/01903659-9644541","DOIUrl":"https://doi.org/10.1215/01903659-9644541","url":null,"abstract":"\u0000 This interview with Anthony Bogues was conducted over two days in March 2021 as part of a larger project initiated by Paul Bové, editor of boundary 2, to constitute an archive, for the historical record, of the intellectual formation of members of the boundary 2 Editorial Collective. The idea of that project was somewhat along the lines of Count Gian Artico di Porcía's Enlightenment enterprise to solicit from Italy's preeminent scholars what he termed their “periautography”—what Leibniz, who most likely inspired Porcía through the mediation of Louis Bourguet and Abbé Conti, characterized as the history of their discoveries and the steps by which they have arrived at them—for the education of the young.","PeriodicalId":46332,"journal":{"name":"Boundary 2-An International Journal of Literature and Culture","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2022-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47139096","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-05-01DOI: 10.1215/01903659-9644590
D. Simpson
This essay takes issue with the common assumption, ably represented by Herbert Marcuse and Wendy Brown, that tolerance belongs only to the powerful and is deployed to prevent access to political redress on the part of vulnerable groups or persons. But tolerance can also be understood as an unstable concept that does not finally support a sustainable sovereignty among those claiming a position to extend it. Engaging with the work of Wendy Brown, Rainer Forst, and others, a case is made for adding an “endurance conception” of tolerance that restores the early sense of the term as specifying a capacity to bear degrees of pain and suffering. Examples from William Wordsworth and Adam Smith, and from contemporary South Africa and the United States, suggest that such an expanded conception can lead us to imagine political agency as thinkable for persons more usually described as passive and subordinate.
{"title":"Tolerance from Below: Unsettling the Sovereign Subject","authors":"D. Simpson","doi":"10.1215/01903659-9644590","DOIUrl":"https://doi.org/10.1215/01903659-9644590","url":null,"abstract":"\u0000 This essay takes issue with the common assumption, ably represented by Herbert Marcuse and Wendy Brown, that tolerance belongs only to the powerful and is deployed to prevent access to political redress on the part of vulnerable groups or persons. But tolerance can also be understood as an unstable concept that does not finally support a sustainable sovereignty among those claiming a position to extend it. Engaging with the work of Wendy Brown, Rainer Forst, and others, a case is made for adding an “endurance conception” of tolerance that restores the early sense of the term as specifying a capacity to bear degrees of pain and suffering. Examples from William Wordsworth and Adam Smith, and from contemporary South Africa and the United States, suggest that such an expanded conception can lead us to imagine political agency as thinkable for persons more usually described as passive and subordinate.","PeriodicalId":46332,"journal":{"name":"Boundary 2-An International Journal of Literature and Culture","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2022-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48221546","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-02-01DOI: 10.1215/01903659-9615417
Rochona Majumdar
What changes in our understanding of Indian films when we treat the song sequence as a separate medium situated both within and outside the film text? I argue for treating the song text as operating simultaneously on multiple levels, both within the film and in its afterlife. Through a close reading of select song sequences from both popular and art cinema, I demonstrate how they may be read as allegories of temporal sensibilities at odds with the temporality presented in the main narrative of the film. Songs condense a heterogeneous variety of pasts and possible futures into a singular experience of the present, doing so by way of multiple registers of affect. This work is found not only in popular film songs but also in those of Indian art films; the anxieties over a transition to modernity is common to both varieties of filmmaking in the post-independence moment.
{"title":"Song Time, the Time of Narratives, and the Changing Idea of Nation in Postindependence Cinema","authors":"Rochona Majumdar","doi":"10.1215/01903659-9615417","DOIUrl":"https://doi.org/10.1215/01903659-9615417","url":null,"abstract":"What changes in our understanding of Indian films when we treat the song sequence as a separate medium situated both within and outside the film text? I argue for treating the song text as operating simultaneously on multiple levels, both within the film and in its afterlife. Through a close reading of select song sequences from both popular and art cinema, I demonstrate how they may be read as allegories of temporal sensibilities at odds with the temporality presented in the main narrative of the film. Songs condense a heterogeneous variety of pasts and possible futures into a singular experience of the present, doing so by way of multiple registers of affect. This work is found not only in popular film songs but also in those of Indian art films; the anxieties over a transition to modernity is common to both varieties of filmmaking in the post-independence moment.","PeriodicalId":46332,"journal":{"name":"Boundary 2-An International Journal of Literature and Culture","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2022-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43546706","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-02-01DOI: 10.1215/01903659-9615431
Joshua Malitsky
This article explores how nonfiction film in postwar Yugoslavia (1945–51) expressed a fundamental ambivalence that negotiated a desire for and image of a unified nation-state (supranationalism) with that of one made up of multiple nations (nationalism). I argue that nonfiction film became a key vehicle for communicating the ideological principle of “brotherhood and unity” (“bratstvo i jedinstvo”), a slogan Yugoslav Communists used to articulate a solution to the challenges of a unified, multinational, and multiethnic Yugoslavia. This effort, I contend, emerged not simply through cinematic textuality but also through the social experiences people have with cinema: not just by seeing national bodies laboring and cooperating with other peoples but also by viewing them together in a presentational space, by experiencing a film program with overlapping and conflicting thematics, and by the industrial and institutional organization of nonfiction film itself. Mobilizing Peircean semiotics and Taylor's concept of the social imaginary, I argue that the documentary imagination of “brotherhood and unity” emerges from a combination of textual and extratextual factors, an interrelation of materiality and discursivity.
本文探讨了战后南斯拉夫(1945-51)的非虚构电影是如何表达一种基本的矛盾心理，即对统一民族国家(超国家主义)的渴望和形象与由多个民族组成的国家(民族主义)的形象进行协商。我认为，非虚构电影成为传达“兄弟情谊和团结”(“bratstvo I jedinstvo”)这一意识形态原则的关键工具，这是南斯拉夫共产党人用来阐明解决统一、多民族和多民族南斯拉夫所面临挑战的口号。我认为，这种努力不仅通过电影的文本性出现，而且通过人们对电影的社会经验出现:不仅通过看到国家机构与其他民族的劳动和合作，而且通过在一个呈现空间中一起观看它们，通过体验具有重叠和冲突主题的电影节目，以及通过非虚构电影本身的工业和机构组织。运用皮尔森的符号学和泰勒的社会想象概念，我认为“兄弟情谊和团结”的纪录片想象来自文本和文本外因素的结合，是物质性和话语性的相互关系。
{"title":"The Documentary Imaginary of Brotherhood and Unity: Nonfiction Film in Yugoslavia, 1945–51","authors":"Joshua Malitsky","doi":"10.1215/01903659-9615431","DOIUrl":"https://doi.org/10.1215/01903659-9615431","url":null,"abstract":"This article explores how nonfiction film in postwar Yugoslavia (1945–51) expressed a fundamental ambivalence that negotiated a desire for and image of a unified nation-state (supranationalism) with that of one made up of multiple nations (nationalism). I argue that nonfiction film became a key vehicle for communicating the ideological principle of “brotherhood and unity” (“bratstvo i jedinstvo”), a slogan Yugoslav Communists used to articulate a solution to the challenges of a unified, multinational, and multiethnic Yugoslavia. This effort, I contend, emerged not simply through cinematic textuality but also through the social experiences people have with cinema: not just by seeing national bodies laboring and cooperating with other peoples but also by viewing them together in a presentational space, by experiencing a film program with overlapping and conflicting thematics, and by the industrial and institutional organization of nonfiction film itself. Mobilizing Peircean semiotics and Taylor's concept of the social imaginary, I argue that the documentary imagination of “brotherhood and unity” emerges from a combination of textual and extratextual factors, an interrelation of materiality and discursivity.","PeriodicalId":46332,"journal":{"name":"Boundary 2-An International Journal of Literature and Culture","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2022-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48548659","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-02-01DOI: 10.1215/01903659-9615459
Jenny L. Blaylock
Television in Ghana was born at a radical time when Africans across the continent were boldly inventing systems of governance resistant to imperialism and racial inequality. Alongside the formation of the new state, the new medium was designed to help realize visions of Pan-Africanism and African socialism promoted by Kwame Nkrumah. With the February 24, 1966, coup d’état seven months after its first broadcast, Ghanaian socialist television ended. Based on archival research and interviews with Ghanaian television pioneers, in this essay I argue that this Afrofuturist segment of Ghana's media past provides a counternarrative to new media discourse from the colonial era that positioned Africa as the passive receiver of television. I show how transnational influences were actively adapted to theorize the new medium in opposition to racial capitalism and propose that media archaeologies attuned to Afrofuturism may reorient the field toward social and political justice in the present.
{"title":"New Media, Neo-Media: The Brief Life of Socialist Television in Ghana","authors":"Jenny L. Blaylock","doi":"10.1215/01903659-9615459","DOIUrl":"https://doi.org/10.1215/01903659-9615459","url":null,"abstract":"Television in Ghana was born at a radical time when Africans across the continent were boldly inventing systems of governance resistant to imperialism and racial inequality. Alongside the formation of the new state, the new medium was designed to help realize visions of Pan-Africanism and African socialism promoted by Kwame Nkrumah. With the February 24, 1966, coup d’état seven months after its first broadcast, Ghanaian socialist television ended. Based on archival research and interviews with Ghanaian television pioneers, in this essay I argue that this Afrofuturist segment of Ghana's media past provides a counternarrative to new media discourse from the colonial era that positioned Africa as the passive receiver of television. I show how transnational influences were actively adapted to theorize the new medium in opposition to racial capitalism and propose that media archaeologies attuned to Afrofuturism may reorient the field toward social and political justice in the present.","PeriodicalId":46332,"journal":{"name":"Boundary 2-An International Journal of Literature and Culture","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2022-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49087286","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-02-01DOI: 10.1215/01903659-9615389
Weihong Bao
This essay explores a critical dialogue between methods and conceptions of cultural techniques—the second wave of media archaeology—and a case in contemporary Chinese documentary. I examine filmmaker Mao Chenyu, who is also an organic farmer, a critical thinker and writer, and a film exhibitor. Mao provides an intriguing case of how ethnography, ecology, and cosmology intertwine; how media art can take the form of media activism by redefining its boundaries and exhibition space; and how media art can be rethought by replacing its usual focus on media as object with a focus on media as space, community, and social process. By engaging Mao's film practice and critical writings, I test the promise and limits of cultural techniques to reopen the question of culture and public sphere without privileging the a priori of technical operations as the programmability of society.
{"title":"Archaeology of a Medium: The (Agri)Cultural Techniques of a Paddy Film Farm","authors":"Weihong Bao","doi":"10.1215/01903659-9615389","DOIUrl":"https://doi.org/10.1215/01903659-9615389","url":null,"abstract":"This essay explores a critical dialogue between methods and conceptions of cultural techniques—the second wave of media archaeology—and a case in contemporary Chinese documentary. I examine filmmaker Mao Chenyu, who is also an organic farmer, a critical thinker and writer, and a film exhibitor. Mao provides an intriguing case of how ethnography, ecology, and cosmology intertwine; how media art can take the form of media activism by redefining its boundaries and exhibition space; and how media art can be rethought by replacing its usual focus on media as object with a focus on media as space, community, and social process. By engaging Mao's film practice and critical writings, I test the promise and limits of cultural techniques to reopen the question of culture and public sphere without privileging the a priori of technical operations as the programmability of society.","PeriodicalId":46332,"journal":{"name":"Boundary 2-An International Journal of Literature and Culture","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2022-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46231899","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-02-01DOI: 10.1215/01903659-9615445
A. Lovejoy
This essay traces the evolution of the idea of “international documentary” during the early Cold War through the history of the World Union of Documentary (1947–50), an association spearheaded by documentarian Joris Ivens that aimed to articulate a common purpose for postwar documentary and to facilitate the international exchange of films, professionals, and knowledge in the field. I investigate the links between the association and contemporaneous international initiatives, chiefly film festivals and the peace movement, focusing throughout on Eastern Europe, where the World Union was headquartered for most of its existence. Indeed, the association's history is inextricable from that of Ivens's 1949 film about the East European “new democracies,” The First Years (Pierwsze lata). Both projects, I argue, were impeded not only by the polarized political atmosphere of the period but also by complex political, administrative, and generational dynamics within the documentary community and the international Left.
本文通过世界纪录片联盟(1947 - 1950)的历史追溯了冷战早期“国际纪录片”概念的演变，该联盟由纪录片导演约里斯·伊文斯(Joris Ivens)领导，旨在阐明战后纪录片的共同目标，并促进该领域电影、专业人员和知识的国际交流。我调查了该协会与当代国际倡议之间的联系，主要是电影节和和平运动，重点放在整个东欧，那里是世界联盟大部分时间的总部。的确，该协会的历史与伊文斯1949年拍摄的关于东欧“新民主国家”的电影《第一年》(the First Years)密不可分。我认为，这两个项目不仅受到当时两极分化的政治氛围的阻碍，还受到纪录片社区和国际左派内部复杂的政治、行政和代际动态的阻碍。
{"title":"The World Union of Documentary and the Early Cold War","authors":"A. Lovejoy","doi":"10.1215/01903659-9615445","DOIUrl":"https://doi.org/10.1215/01903659-9615445","url":null,"abstract":"This essay traces the evolution of the idea of “international documentary” during the early Cold War through the history of the World Union of Documentary (1947–50), an association spearheaded by documentarian Joris Ivens that aimed to articulate a common purpose for postwar documentary and to facilitate the international exchange of films, professionals, and knowledge in the field. I investigate the links between the association and contemporaneous international initiatives, chiefly film festivals and the peace movement, focusing throughout on Eastern Europe, where the World Union was headquartered for most of its existence. Indeed, the association's history is inextricable from that of Ivens's 1949 film about the East European “new democracies,” The First Years (Pierwsze lata). Both projects, I argue, were impeded not only by the polarized political atmosphere of the period but also by complex political, administrative, and generational dynamics within the documentary community and the international Left.","PeriodicalId":46332,"journal":{"name":"Boundary 2-An International Journal of Literature and Culture","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2022-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45514551","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：