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This book is a collection of essays on the author's journeys taken during the past fifteen years. They are journeys in time and of memory about a country that no longer exists: the Italy of Roberto Rossellini's Paisà, torn by war and sometimes in conflict with the American 'liberators'. The essays concentrate on the structure and forms of the films they discuss; a confrontation of cultures, the Italy of Luchino Visconti, a territory more cultural than physical, subject to transfigurations wrought by a sophisticated intellectual who viewed the world through the lens of his sensibilities. The first three essays focus on discussions and films relating to neorealism. They seek problems and inconsistencies in points of view and prejudices that have become institutionalized in popular accounts of neorealism. The next two essays are dedicated to Visconti's commemorative and antiquarian vein, to the central importance of mise en scène (in the theatrical sense) in his films. The final essay is an attempt to recover an archetypical image in Pasolini's work. The characteristics shared by these essays include a sensitivity and knowledge of the cinema, genuine scholarship, and the ability to see aesthetic resonances to painting, literature, poetry, music. The contrast between darkness and light in Paisà and in Visconti's Vaghe stelle dell'Orsais most incisive and dramatic. They are all traversed by recurrent themes and obsessions: the contrast between darkness and light, night and day.

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Mao and visuality in twentieth-century India
Sanjukta Sunderason

fail to reach their political destinies. Plural sites and vectors constitute such visibilities; we must look not at spaces of ‘high art’ or in concrete aesthetic agenda, but across dispersed citations, affiliations and actions that might reveal an identifiable aesthetic resonance of Mao and Maoism in twentieth-century aesthetics in India. To navigate this rich yet diffused landscape, we have to rethink notions of margins and marginality, and turn to sites that are marginal to mainstream narratives – both of the nation-state and of national-modern art. What is

in Art, Global Maoism and the Chinese Cultural Revolution
Thinking infantile eroticism
Victoria Best
Martin Crowley

framework to assimilate and heal them. Like the crazy discourse that has rebelled against the journalist’s attempts to contain it, this narrative remains at the level of threatening fantasy, its jagged and uncomfortable discontinuities repeatedly erupting through its attempts at aesthetic resonance. Most alarmingly of all, this is a text that contains no children. That is to say, the ones it features are little more than

in The new pornographies
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Deborah Martin

Almodóvar. As Shaw notes, ‘La niña santa is the result […] of a complex configuration of private and public finance, and is an example of auteurist Latin America cinema made possible thanks to the support of European organisations and companies’ (2013, 167).18 Both La niña santa and La mujer sin cabeza premiered at the Cannes Film Festival and received ACCA nominations and awards.19 In addition to the thematic and aesthetic resonances between their work – the films’ queer politics are an obvious point of comparison – Martel and Almodóvar actively endorse one another

in The cinema of Lucrecia Martel
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Griselda Pollock

with subjectivity, conscious, non-conscious and unconscious, I would explore the psychic-aesthetic resonance for a woman of the life-defining moment of the passing of her mother. When both parents have orphaned us, a chill wind blows over the once-a-child’s head, forcing us, the unprotected top generation, to anticipate death. Where does dying meet, if at all, with psychic defence mechanisms happening to confront the masculinist model of Oedipal killing that Anfam introduces via Harold Bloom to place Pollock as

in Killing Men & Dying Women