Futurist cinema as metamedium
Carolina Fernández Castrillo
Carolina Fernández Castrillo
Some of the most innovative artistic expressions at the beginning of the
twentieth century came from the Futurist desire for provocation and
rupture with tradition. After many unsuccessful attempts at the end of the
nineteenth century, Futurism tried to formulate new strategies to reflect
the transition of society and the arts to modernity. Its project consisted
of an integral restructuring of the universe
This interdisciplinary volume explores the role of images and representation in different borderscapes. It provides fresh insight into the ways in which borders, borderscapes and migration are imagined and narrated by offering new ways to approach the political aesthetics of the border. The case studies in the volume contribute to the methodological renewal of border studies and present ways of discussing cultural representations of borders and related processes. The case studies address the role of borders in narrative and images in literary texts, political and popular imagery, surveillance data, video art and survivor testimonies in a highly comparative range of geographical contexts ranging from northern Europe, via Mediterranean and Mexican–US borderlands to Chinese borderlands. The disciplinary approaches include critical theory, literary studies, social anthropology, media studies and political geography. The volume argues that borderlands and border-crossings (such as those by migrants) are present in public discourse and more private, everyday experience. This volume addresses their mediation through various stories, photographs, films and other forms. It suggests that narratives and images are part of the borderscapes in which border-crossings and bordering processes take place, contributing to the negotiation of borders in the public sphere. As the case studies show, narratives and images enable identifying various top-down and bottom-up discourses to be heard and make visible different minority groups and constituencies.
of international law and films. They are: genre, interpretation and interdisciplinarity. Next I offer some suggestions for further research in this field; chiefly, panning out to take in world cinema; investigating the material conditions in which films are produced as relevant context in their interpretation; and using Third World Approaches to International Law (TWAIL) and feminist approaches to analyse the representation of international law in film. Finally, I explore the status of women as providing a justification for the US military intervention in
underlying interdisciplinarity of this volume. While
interdisciplinarity is a standard expectation of many ambitious research
projects, its practical application is fraught with challenges. Our
explorations acknowledge and embrace them, negotiating these challenges
as the differing horizons of disciplinary expectations, methodologies
and discourse styles, and disciplines’ differing individual
Global South, and, by extension, the Global North, as a “ relation , not a thing in and of itself.”
Interdisciplinarity: beyond a fragmented approach to refugees
There is no dearth of works on refugees, asylum seekers, migrants, and the geopolitics surrounding their categorization, movement, and enclosure (Collyer, 2016 ; Hyndman, 2000 ; Hyndman, 2012 ; Malkki, 1995 ; Mountz, 2011 ; Zetter, 1991, 2018 ). Indeed, with the advent of the Syrian “crisis,” the media, academic work, and policy work have been inundated with
In 1909, the Italian poet Filippo Tommaso Marinetti's Founding Manifesto of Futurism was published on the front page of Le Figaro. Between 1909 and 1912, the Futurists published works celebrating speed and danger, glorifying war and technology, and advocating political and artistic revolution. In Europe, this avant-garde movement was active in the field of painting and sculpture, theatre, photography and politics. This book reassesses the activities and legacies of Futurism. It looks at Futurist manifestos by linking techniques of promotion with practices in commercial advertising, and exploring the question of how Futurist manifestos address notions of genius and gender. The book also reconstructs the historical, cultural and ideological background of Marinetti's Manifesto del tattilismo. Zurich Dadaists adopted cultural stances heavily indebted to the terms of critical engagement and cultural visibility initiated within the Futurist circle. The book analyses avant-garde's examination of its internal strategies of identity and canonization, and the importance of Futurism for the Pierre Albert-Birot. It charts the details of the argument on simultaneity between Umberto Boccioni and Robert Delaunay, and analyses the critical readings of Fernand Léger's La noce. The dialogue between Occultism and Futurism is explored by discussing the theme of night in the works of the Florentine Futurists. In La cucina futurista, food is separated from its nutritional function, and the act of eating is related to notions of creativity and identity. The book presents unique examples of innovative expressivity in Italian Futurists' free-word poems, and examines poetry celebrating the triumph of modern aviation.
Eamonn Wall explores the methodology and reach of Robinson’s work. Even though Robinson is not connected to the academy, his work exemplifies the idea of interdisciplinarity. Wall argues that Robinson has moved slowly and respectfully, allowing him to undertake many avenues of inquiry to great effect that continues to remain relevant in Irish Studies.
This book explores key critical debates in the humanities in recent times in the context of the legitimation crisis widely felt to be facing academic institutions, using Derrida's idea of leverage in the university. In particular, it concerns an account for the malaise in the university by linking critical developments, discourses and debates in the modern humanities to a problem of the institution itself. The book finds within these discourses and debates the very dimensions of the institution's predicament: economic, political, ideological, but also, inseparably, intellectual. It looks at some of the recurring themes arising in the early key texts of new historicism and cultural materialism. The book also argues that these approaches in a number of ways orient their critical strategies according to certain kinds of logics and structures of reflection. It instances disorientation and leverage in the university by exploring the problematic doubleness of economics as indeterminately both inside and outside contemporary cultural theory. The book also argues that the interdisciplinary approach of cultural analysis has a certain amount of difficulty positioning economics as either simply an outside or an inside. The orientation and leverage within the university apparently offered by the development of cultural studies and by certain forms of interdisciplinarity comes at the cost of an irresolvable disorientation between the object and the activity of criticism.
Cinema has been an object of study for the social sciences for some time now. The relationship between law and cinema has been the subject of a certain number of reflections by jurists who work essentially within a national legal framework, and from the true genre that courtroom movies have become. One can point also to studies linking cinema and international relations. In short, the relationship between international law and cinema has never been the subject of a specific book. The objective of the present book is to show what image of international law and its norms is conveyed in films and series. Beyond a strictly legal analysis, the ambition is to take into account, in a broader perspective marked by interdisciplinarity, the relations between international law, cinema and ideology. The volume is aimed at a readership made of scholars, researchers as well as practitioners, in the field of international law, and related fields, all of whom will benefit from being introduced to a variety of perspectives on core international legal questions present in movies and TV series. Further, the volume can also be used with advanced undergraduate and postgraduate students studying international law, politics and international relations because it will provide the possibility of introducing students to a variety of perspectives on key issues in international law present in movies and TV series.
This book aims to give new insights into the multifarious worlds of Angela Carter
and to re-assess her impact and importance for the twenty-first century. It
brings together leading Carter scholars with some emerging academics, in a new
approach to her work, which focuses on the diversity of her interests and
versatility across different fields. Even where chapters are devoted
specifically to her fiction, they tend to concentrate on inter-disciplinary
crossings-over as in, for example, psychogeography or translational poetics.
This collection is a response to the momentum arising from commemorative events
to mark the twenty-fifth anniversary since her death, including the first art
exhibition inspired by her life and work. The arts of Angela Carter builds on
existing scholarship and makes new interventions in regard to her
inter-disciplinarity. The arrangement of the material, indicated by the chapter
headings, draws attention to a variety of areas not normally associated with
dominant perceptions of Angela Carter. These encompass fashion, art, poetry,
music, performance and translation, which will be discussed in a number of
historical, literary and cultural contexts. The book will also explore her
interests in anthropology and psycho-analysis and engage in current debates
relating to gender, feminism and postmodernism.