implications of popular culture’s historical (and continued) marginalisation.
In order to make an overarching argument against the historical disassociation of popular culture and world politics, the chapter is structured in three parts. First, it begins by considering how and why it is that popular culture has so frequently been excluded from the study of world politics. To do this, the chapter traces a critical historiography of the study of world politics, mindful of the insights of MichelFoucault, Robert Cox, and Thomas Kuhn. Knowledge and power exist in a nexus
Equally important to the development of American law, as well as the Western’s imagination of gunslinging heroics, is the constitutional guarantee of gun possession, a guarantee explored in this chapter by examining key Supreme Court cases. This chapter argues that the modified conception of defense, from a collective duty to an individual right, enforces a rhetorical shift to normativity concomitant with the rise of modernity and the formation of dispersed, interrelated networks of power that create individuated subjects, what Michel Foucault has termed ‘biopower.’
(Auto)biography in Sandra Kogut’s Um Passaporte Húngaro (2001) and Albertina Carri’s Los rubios (2003)
Genealogy is most commonly represented through the family tree, as patrilineal and heteronormative understandings of the family unit create a body armoured with patriarchal notions of bloodline, inheritance and property. This discussion of genealogy finds a renewed relevance to contemporary developments in subjective and autobiographical filmmaking, particularly concerning those films which excavate family history at the intersection of private and public realms. This chapter discusses two films, Sandra Kogut's Um Passaporte Hungaro and Albertina Carri's Los rubios, which amply demonstrate family history need not be a linear, essentialising gesture in search of a pure origin. Rather, Um Passaporte Hungaro and Los rubios from Brazil and Argentina respectively, experiment with autobiography in order to discuss identity, memory and history, thus bringing Michel Foucault's genealogical model to fruition with remarkable effect. In demystifying the notion of foundational origins, Kogut and Carri challenge the law of the father which propels classical genealogical quests.
This chapter demonstrates how the development of Jean-Luc Godard's thinking about cinema have constantly mirrored wider trends in continental thought. The phenomenological method of Godard's early films interrogated the relationship between language and the reality perceived through our senses, the director's innovative approach to sound and image repeatedly questioning the nature of representation and its ability to circumscribe the real. Godard's cinema accompanied the renewal of Marxist thought in France, from Michel Debord's critique of spectacle, through Michel Foucault's analysis of power, to the determined unpacking of the harsh realities of postmodernism by the likes of Jean-Francois Lyotard. Godard followed philosophers such as Georges Bataille and Gilles Deleuze, in a tradition of thought inherited from Friedrich Nietzsche, in denouncing the nihilism of a society that smothers the vitality of life beneath the reifying discourse of truth, and in defending desire against the curmudgeonly categories of psychoanalysis.
Madchester may have been born at the Haçienda in the summer of 1988, but the city had been in creative ferment for almost a decade prior to the rise of Acid House. The End-of-the-Century Party is the definitive account of a generational shift in popular music and youth culture, what it meant and what it led to. First published right after the Second Summer of Love, it tells the story of the transition from New Pop to the Political Pop of the mid-1980s and its deviant offspring, Post-Political Pop. Resisting contemporary proclamations about the end of youth culture and the rise of a new, right-leaning conformism, the book draws on interviews with DJs, record company bosses, musicians, producers and fans to outline a clear transition in pop thinking, a move from an obsession with style, packaging and synthetic sounds to content, socially conscious lyrics and a new authenticity. This edition is framed by a prologue by Tara Brabazon, which asks how we can reclaim the spirit, energy and authenticity of Madchester for a post-youth, post-pop generation. It is illustrated with iconic photographs by Kevin Cummins.
J. Dudley Andrew, Concepts in Film Theory
(Oxford, Oxford University Press, 1984 ), p. 115.
Claire Johnston, ‘Women’s cinema as
counter-cinema’, in Nichols (ed.), Movies and Methods Volume
I, p. 211.
MichelFoucault, ‘Critical theory
of French cinema in the 1970s MichelFoucault argued that
recent French films (featuring the French Resistance) were engaged in
‘a battle . . . to reprogramme . . . the “popular
memory”; and . . . to . . . impose on people a framework in which
to interpret the present . . . So people are shown not what they were,
but what they must remember having been.’ 17 Although I reject Foucault’s rather
hampered by the vestiges of class
structure and cultural allegiances. Rather than evaluate the workers’ collective
enterprise in La Belle Équipe solely in terms of ‘failure’ or ‘success’, Flinn casts
the very construction of the riverside dancehall as an architectural metaphor
for community, in relation to the spatial theories of Louis Marin and MichelFoucault and in the context of themes that coalesced mid decade around France’s
Departing from the strict social geographies of popular narrative filmmaking, Erik Bullot (Chapter 6) addresses marginality and
Normative masculinity and disciplined gun violence
Justin A. Joyce
and Times of Judge Roy
Bean—‘the way it should have been.’
MichelFoucault and the numerous critics who have drawn on his
insights have painted a picture of the development of Anglo European
civilization that is by now familiar, a tale of the transition from complete
subjugation to monarchical law to the varied mechanisms, technologies,
and apparatuses of modernity that produce individual subjectivities.
Foucault’s conception of the generative, productive nature of diverse
networks of power, which he termed ‘biopower’ in his History of Sexuality,
has been massively
—and answered—by MichelFoucault, who dates
the nascence of authorship to the Renaissance as a response to the need
to attribute distinctive copyright or, alternatively, to allocate
personal responsibility. 2 The result was the ‘author as
creator’, whose works began to be viewed less in their own right
than as emanating from this or that individual originator.
As a creator, Ingmar Bergman has certainly benefited from
this transfer of power from work to author. Officially, however, he
lamented this state of affairs