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Marcia Landy

reconsideration. Since the films’ uses of history were a prominent feature of their representational strategies, my object in this chapter is to examine how cinema appropriates the past so as to recognise ‘the power it holds from its shameful kinship with the makers of history and the tellers of stories’, in Jacques Rancière’s words. 12 Therefore in the films that I have chosen to discuss I probe their kinship

in Medieval film
Rethinking ‘directors’ theatre’
Peter M. Boenisch

perfect example of what French philosopher Jacques Rancière, one of several intellectual inspirations of the thinking behind the present study, terms mésentente, or dissensus. He introduces the term to describe a peculiar form of misunderstanding, which is 2 Directing scenes and senses not the conflict between one who says white and another who says black. It is the conflict between one who says white and another who also says white but does not understand the same thing by it or does not understand that the other is saying the same thing in the name of whiteness

in Directing scenes and senses
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Bryce Lease

. This positioning of the theatre as a crucial space in the public sphere is a concrete move away from the one-way relationship between theatre, audiences and critics, which renders the former as a passive object to be interpreted by the latter. As Paweł Mościcki has argued, political theatre today is not, contrary to a widespread opinion, an empty word. ‘You just need to fill it with new content, discarding old habits and unnecessary nostalgia. Activating new interactive forms of engagement’ (2008:  9). Jacques Rancière claimed that ‘politics is, above all, an

in After ’89
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Mark Robson

, does not. As Jacques Rancière notes, the Aristotelian distinction between human and animal can only be the result of a rather unlikely forgetting of Plato. In particular, it involves suppressing the passages in the Republic that are all too clear on the animalistic nature of crowds who, at the instigation of an orator, will express pleasure and displeasure. 11 Rancière argues

in The sense of early modern writing
Christine Kiehl

’s report for Les Inrockuptibles, 27 January 2009. Fabienne Pascaud, Télérama n° 3079. Ibid. Bernard Stiegler, De la Misère symbolique, La catastrophe du sensible (Paris: Galilée, 2005), pp. 281–2. Fabienne Pascaud, Télérama. H. Barker, Ces tristes lieux, pourquoi faut-il que tu y entres?, Actes Sud, 2009, p. 18. Jacques Rancière, Le Spectateur émancipé (Paris: La Fabrique éditions, 2008), p. 20. My translation of « […] les processus de production aussi bien que de consommation […] qui vise à capter et à canaliser la libido des individus, et à réduire toutes singularités

in Howard Barker’s Art of Theatre
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Nijinsky, Delaunay, Duchamp
Mary Shaw

that argument was Maurice Blanchot in his 1959 Le Livre à venir . 8. Jacques Rancière makes a powerful argument affirming and defining Mallarmé’s engagement with the world in La Politique de la sirène (1996), which builds on Marchal’s research in La Religion de Mallarmé , as does Anna Sigrídur Arnar, from a different angle, in The Book as Instrument (2011). Arnar also gives a useful overview situating many works of Mallarmé criticism over several decades with respect to this question. 9. All of these texts can be found with extensive critical apparatus

in 1913: The year of French modernism
Open Access (free)
Alternative pasts, sustainable futures
David Calder

Giraud, Le murmure des plantes, web, https://fr.ulule. com/murmure/ (created December 2012, last accessed November 2017).  9 The nature of that participation varies from one practice to the next, and the politics of participation are (of course) contested. See Bishop, Artificial Hells; Claire Bishop, ed., Participation (London: Whitechapel Gallery, 2006); Grant Kester, The One and the Many: Contemporary Collaborative Art in a Global Context (Durham, NC: Duke University Press, 2011); Jacques Rancière, The Emancipated Spectator (London: Verso, 2011); and Gareth White

in Street theatre and the production of postindustrial space
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Emergencies and spectatorship
Sam Haddow

as somehow passive and voyeuristic, and the latter an uncomfortable thought of the ways in which spectatorial appetites  –​especially those that spectators are unwilling to admit  –​may be catered for by people who produce spectacles. I consider this latter worry in Chapter 1, in a discussion of the IS murder videos produced for western spectators. In terms of the debates around spectatorial ‘passivity’, Jacques Rancière’s The Emancipated Spectator is still one of the most valuable contributions of recent years. Rancière dismisses the ‘passive’ argument, calling

in Precarious spectatorship
Aesthetico-political misprision in Derricke’s A Discoverie of Woodkarne
Thomas Cartelli

polyscenic frames, which, as in the present instance, invite viewers to assume or imagine both continuous connections and discontinuous collisions between juxtaposed actions or events. In so doing, I plan to apply to these scenes an understanding of the ‘aesthetico-political’ – a term Jacques Rancière and others employ to identify aesthetic transactions that cross and complicate established orders of reason and channels of perception – that mainly signifies a politically motivated and ideologically informed aesthetic choice

in John Derricke’s The Image of Irelande: with a Discoverie of Woodkarne
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Shakespeare’s voyage to Greece
Richard Wilson

–9. 61 Jacques Rancière, The Emancipated Spectator , trans. Gregory Elliott (London: Verso, 2009), pp 122–3; Judith Halberstam, The Queer Art of Failure (Durham, NC: Duke University Press, 2011), pp. 60, 80 et passim. 62 Hugh Grady, Shakespeare and Impure

in Free Will