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On the reality of film
Richard Rushton

between illusion and reality – that this book argues. The remaining six chapters of the book try to posit various ways of going beyond political modernism and its logic of illusion versus reality in the cinema. Each chapter focuses on the work of a specific film theorist, so that there are chapters on André Bazin, Christian Metz, Stanley Cavell, Gilles Deleuze, Slavoj Žižek and Jacques Rancière. What pans out, I think, is less a singular, pointed and specific theory of what filmic reality is and more of a sense that what I mean by filmic reality is an attitude one takes

in The reality of film
Saul Newman

systems and the general decline of the ideological apparatus of Marxism, far from seeing the promised universal reign of a liberal utopia we instead saw the uncanny return of ethnic violence, virulent nationalism and religious conservatism. As Jacques Rancière says: ‘The territory of “posthistorical” and peaceful humanity proved to be the territory of new figures of the Inhuman.’17 These forces have been intensified and invigorated by September 11. What we are seeing today is a global proliferation of religious fundamentalism – of both the Islamic and Judeo

in Unstable universalities
Selina Todd

C u lt u r e i n M a n c h e s t e r useful.15 However, this allows little scope for working-class resistance, which in MaD’s case took the form of seeking to create an alternative and oppositional cultural space. As we shall see later in this essay, MaD’s actions support Jacques Rancière’s conclusion that working-class actors can exercise a degree of autonomy and resistance within the cultural sphere, albeit within strict limits.16 I came to understand that any class analysis must interrogate those who hold power as well as those who lack it. Unfortunately, time

in Culture in Manchester
Sruti Bala

of participatory art (2012, p. 18). I share Bishop’s concern to find a suitable vocabulary and frame of analysis that will do justice to the complexity of participatory practices, rather than assessing them with unfitting standards. She proposes a ‘transversal aesthetic’ in the spirit of Félix Guattari, an agonistic approach inspired by Chantal Mouffe, and ‘an aesthetic regime that is constitutively contradictory’ in the spirit of Jacques Rancière (Bishop, 2012, p. 278; Rancière, 2002). It is no doubt possible to find convincing examples of artworks where tension

in The gestures of participatory art
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Carolyn Steedman

described) the historian’s crab-like thinking backwards, he also suggested that her nostalgia for origins and original referents cannot be satisfied, because there is actually nothing there: she is not looking for anything: only silence, the space shaped by what once was; and now is no more.41 What has survived – the ghost – is not the thing itself, but what has already been said and written about it. ‘There is history’, says Jacques Rancière, ‘because there is the past and a specific passion for the past. And there is history because there is an absence … The status of

in Poetry for historians
Jenny Edkins

be, in the face of attempts to interpellate her as a coherent ‘subject’. She refuses to misrecognise herself as ‘like’ the other woman, but she shows up at the party anyway. Interpellation is the process of ‘hailing’ whereby ‘concrete individuals’ are transformed into subjects. Louis Althusser’s famous example is the ‘Hey, you there!’ uttered by a policeman.30 When we recognise ourselves in the officer’s call and turn round, we are interpellated into a particular subject position: we become subjects of the police order, in Jacques Rancière’s terms.31 Interpellation

in Change and the politics of certainty
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
Open Access (free)
Dana Mills

members themselves. I ask that we, as readers–​ spectators of the argument, become more attentive to the dancing bodies that have interrupted and transfigured our symbolic frameworks across 4 4 Dance and politics space and time. I  have constructed my conceptual framework from a choreographic, critical reading of Jacques Rancière’s concept of dissensus. Rancière sees the essence of politics ‘as the manifestation of dissensus as the presence of two worlds in one’ (Rancière 2010: 37). Dissensus is the collision of two worlds, one intervening in the other and

in Dance and politics
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Alternative Ulster?
George Legg

: Cambridge University Press, 1973), p. 60. 38 Henri Lefebvre, The Production of Space, trans. by Donald Nicholson-­Smith (Oxford: Blackwell, 1991), p. 165. 39 Jacques Rancière, ‘Comment and Responses’, Theory and Event, 6.4 (2003), para. 4. 40 Quoted in Chris Harman, ‘Thinking it Through: Out of Apathy’, Socialist Review, 219 (May 1998), [accessed 24 July 2017]. 41 Wark, #Celerity, 3.2. 42 Colin Graham, ‘“Every Passer-­by a Culprit?” Archive Fever, Photography and the Peace in Belfast’, Third Text, 19

in Northern Ireland and the politics of boredom
Open Access (free)
Entanglements and ambiguities
Saurabh Dube

, turning on collective mentalities and anonymous forces in the unfolding of the past. Yet such readings ignore Michelet’s actual procedures of research and writing, which arguably recast both “hermeneutic” and “scientific” methods in order to create a genuinely “modernist” historical scholarship. Michelet’s history writing, Jacques Rancière has argued, brought to the fore the salient but repressed

in Subjects of modernity