Chris Marker’s portrait of Alexandre Medvedkine in the 1993 film Le tombeau d’Alexandre/The Last Bolshevik is highly instructive of his own relationship to Soviet cinema. Most especially, this difficult or troubled rapport with the antecedents to cinéma vérité in the West (and its protean formal properties, in terms of structure and often satirical-critical commentary) comes forth in the figures he assembles to comment upon Medvedkine’s life work. When Medvedkine’s Scast’e (Le Bonheur/Happiness) (1934) leaked to the West (c.1967), sent (...) like an “SOS” in multiple bottles to various film archives (one by one from deep within the Soviet film world), Marker and SLON received a copy by way of Jacques Ledoux (curator of the Cinémathèque Royale de Belgique, in Belgium). The film opened the floodgates of a retrospective survey of Soviet filmmaking repressed and forgotten other than by remote and distant figures (partisans) who somehow survived the Stalinist purges of the 1930s. (shrink)

У дослідженні проаналізовано теоретичні джерела і політичні наслідки статті московського кінокритика М. Блеймана «Архаїсти чи новатори?» (1970), яку вважають обґрунтуванням заборони школи українського поетичного кіно як «безперспективного» напряму. Статтю М. Блеймана вміщено в контекст дискусії про поетичне і прозаїчне кіно, яку систематизовано щодо двох підходів: нормативного, який вважає лише один із напрямів кіно релевантним його природі (йому відповідає сполучник «чи»), і плюралістичного, який розглядає обидва напрями як актуалізації різних кінематографічних потенцій згідно з тими завданнями, що ставлять режисери (йому відповідає сполучник (...) «і»). (shrink)

The collapse of the Soviet Union, all hope that Eastern European communism might somehow be transformed into a more attractive, less environmentally destructive social order than the liberal democratic societies of the West has been destroyed. The description of the modern predicament by Alvin W. Gouldner has become even more poignant: "The political uniqueness of our own era then is this; we have lived and still live through a desperate political and social malaise, while at the same time we (...) have outlived the desperate revolutionary remedies that had once been thought to solve them." If this is the case, there is reason to examine the failure of the Soviet Union more closely. Was it possible that things might have worked out differently; and if so, does this provide any orientation for the present? In this paper I will show how an alternative path for Soviet society had been charted, and partly implemented, in the 1920's by the radical wing of Bolshevism, a path which made environmental conservation a central issue. And I will suggest that this is the path which holds most hope for the future. (shrink)

Thomas Elsaesser’s recent scholarship has examined the “mind-game film”, a phenomenon in Hollywood that is broadly characterised by multi-platform storytelling, paratextual narrative feedback loops, nonlinear storytelling, and unreliable character perspectives. While “mind-game” or “puzzle” films have become a contentious subject amongst post-cinema scholars concerned with Hollywood storytelling, what is to be said of contemporary European independent cinema? Elsaesser’s timely publication, European Cinema and Continental Philosophy, examines an amalgam of politically inclined European auteurs to resolve this query. Elsaesser (...) concedes that there exists a phenomenological confluence between the mind-game film and contemporary European cinema. For instance, both produce characters afflicted by productive pathologies, designating new socially useful forms of agency and identity. One only needs to consult the amnesiac protagonist M (Markku Peltola) in Aki Kaurismäki’s The Man Without a Past (Mies vailla menneisyyttä, 2002) or, as regards Lars von Trier’s cinema, Beth (Emily Watson) in Breaking the Waves (1996), Selma (Björk) in Dancer in the Dark (2000), “She” (Charlotte Gainsbourg) in Antichrist (2009) or Joe (Charlotte Gainsbourg) in Nymphomaniac (2013) to evince this overlap. However, this book is more concerned with performative self-contradictions, whereby cinema-as-enunciator is put under erasure, thus aggravating the inherent discrepancies troubling Europe today. Elsaesser, indeed, evaluates a growing general disaffection with politics, the rise of populist nationalism and far-right fringe parties, as well as an increasing population of economic migrants, refugees, and asylum seekers. (shrink)

Cinema is not only a space in which directors act with the aim of making art, but they also reflect their own testimonies and political perspectives; this study, which claims to be related to representation strategies that contain various interests and desires; It is of the opinion that different ideological approaches are reflected on the screen by political and cultural elites in line with the construction, legitimacy and movement of identities and images. In this study, which examines the Türkiye’nin (...) Kalbi Ankara movie, which was shot in the intense socio-political atmosphere of the 1930s and was shot to tell Turkey's nationalization process and modernization experience through the capital Ankara; the manifestation of the Turkish nation-building process in cinema is discussed through the relationship between nationalism and cinema. (shrink)

Inspired by Farshad Zahedi’s audiovisual essay The Petrified Object and the Poetics of Time in Cinema, this article briefly presents three philosophical approaches to cinema’s ways of expressing time – as articulated by Bergson, Tarkovsky, and Deleuze – and questions how absolute time and chronological time are brought to a state of crisis by this modern form of art.

We engage with all representational pictures by seeing things in them. Seeing-in is a distinctive form of visual experience, one in which we are aware of both the marks, projected lights, or whatever that make up the picture (its Design) and what the picture represents (Scene). Some seeing-in is inflected: what we then see in the picture is a scene the properties of which make essential reference to Design. Since cinema involves moving pictures, it too supports seeing-in. But can (...) that seeing-in be inflected? Film is a relatively transparent pictorial medium: properties of the representation other than its content have a relatively low profile in our experience of it. This prevents film from exhibiting the sorts of inflection common in other pictorial media. However, film is certainly not completely transparent. Among the Design properties of which we are aware are temporal properties of the film. Is our experience of cinema inflected by these properties? And, if so, is this one source of the feature some take to constitute cinema’s distinctiveness as an artform, the special relation in which it stands to time? I argue that the answer to both these questions is Yes. (shrink)

The church-funded CARFO or KARFO (Afrikaans Christian Filmmaking Organisation) was established in 1947, and aimed to ‘[socialise] the newly urbanized Afrikaner into a Christian urban society’ (Tomaselli 1985:25; Paleker 2009:45). This initiative was supported and sustained by the Dutch Reformed Church (DRC), which had itself been part of the sociopolitical and ideological fabric of Afrikaans religious life for a while and would guide Afrikaners through tensions between religious conservatism and liberalism and into apartheid. Given Afrikaans cinema’s ties with Christian (...) religious and political conservatism, we explore the role – even the centrality – of the Afrikaans church in cultural activity before 1994, and then after 1994. Here, Afrikaans church is an inclusive term that brings together various denominations of Afrikaans-speaking churches, but which mainly suggests the domination of the DRC. After establishing the role of the Afrikaans church in the way described above, we move towards the primary focus of our study: exploring the representation of clergy in the contemporary Afrikaans film Faan se Trein in order to describe certain theological implications of this representation. With reference to Faan se Trein, our article notes and comments on the shifts that have occurred in clergy representation in Afrikaans cinema over the past decades. Osmer’s four tasks of practical theology, namely, descriptive, interpretive, normative and strategic are used for theological reflection. With due contextual reference to Afrikaans film dramas such as Broer Matie [Brother Matie], Saak van Geloof [A Matter of Faith], Roepman [Stargazer], Stilte [Silence], Suiderkruis [Southern Cross] and Faan se Trein, we arrive at some preliminary conclusions about the representation of clergy in mainly contemporary Afrikaans cinema. (shrink)

In digital cinema, the ambiguity in the concept of representation asks us: How do moving pictures represent fictional objects? I am more concerned in the veracity of fictional objects than the representational theory of how fictional objects are generated. I claim that John Dilworth’s framework is uncritical, therefore, I will adopt an account of truth in fiction according to David Lewis. The purposes of this paper are: (1) to criticize John Dilworth’s framework, and (2) to provide Lewis’s theory as (...) an alternative solution in understanding the veracity of fictional objects. (shrink)

The influence of religious beliefs to several leading mathematicians in early Soviet years, especially among members of the Moscow Mathematical Society, had drawn the attention of militant Soviet marxists, as well as Soviet authorities. The issue has also drawn significant attention from scholars in the post-Soviet period. According to the currently prevailing interpretation, reported purges against Moscow mathematicians due to their religious inclination are the focal point of the relevant history. However, I maintain that historical data (...) arguably offer reasons to cast reasonable doubts on this interpretation. In this paper, by reviewing the relevant literature, I raise some methodological and philosophical concerns, in an attempt to contribute to a better understanding of the issue. I maintain that an efficient line of reasoning is to discuss issues in the context of their making, taking into consideration the specific features of each era’s culture. Thus, by focusing on P.A. Nekrasov’s case, I attempt to point to an alternative interpretation, in which the different treatment of religious inclined mathematicians by Soviet authorities is explained in the context of the ideological confrontation between two contrasting worldviews, as part of the ongoing class war in the several phases of Soviet history. (shrink)

Одной из особенностей прагматизма является, как известно, трактовка познания, свободная от апелляции к корреспондентной теории истины и постулирования независимой (от человека) реальности. Все прагматисты, к каким бы воззрениям по частным вопросам они ни склонялись, придерживаются операциональной концепции познания. Согласно этой концепции, достаточным основанием знания является его применимость на практике. Данный аспект неоднократно затрагивался в ходе дискуссий о сходствах и различиях марксизма и прагматизма. Несмотря на существенное расхождение между прагматизмом и марксизмом в понимании природы знания, многие исследователи пытались провести параллели между (...) этими двумя интеллектуальными традициями. В частности, Бертран Рассел указывал на близость философии Дьюи «доктрине другого экс-гегельянца, Карла Маркса, как она была сформулирована в его “Тезисах о Фейербахе”». По мнению Рассела, если не придавать слишком большого значения терминологическим нюансам, Марксова теория деятельности, или праксиса, в главных моментах «едва отличима от инструментализма». Этот взгляд получил распространение даже среди прагматистов, а также американских марксистов (точнее, троцкистов), которые в конце 40-х годов прошлого века трактовали прагматизм Дьюи как прямое продолжение и развитие марксизма. Дж. Новак, к примеру, утверждал, что «самым выдающимся современным мыслителем, впитавшим в себя все лучшее, что было у Маркса, является Дьюи». В. Ленина — как практика, а не теоретика — Новак считал, в свою очередь, «скрытым последователем» Дьюи. Согласно бывшему марксисту С. Хуку, прагматизм — это философия «экспериментального натурализма», т. е. теория, «развивающая наиболее здравые и продуктивные идеи Маркса о мире». В статье (с опорой главным образом на аргументацию советских марксистов) критически пересматривается философский диалог между марксизмом и прагматизмом. Основное внимание уделяется понятию деятельности, или праксиса, а также взаимосвязи субъекта и объекта в познании. // It is well-known that pragmatism advocates an approach on cognition without appealing to man-independent reality and truth as correspondence with reality. Instead, pragmatists, notwithstanding the diversity of their particular views, hold an operational conception of knowledge, according to which all that is needed is knowledge to have a suitable kind of correspondence with practice. This point has been scrutinized in the long standing discussion about the convergences and deviations between Marxism and pragmatism. The profound divergence between Marxism and pragmatism with regard to the aforementioned issues was not enough to prevent philosophers from attempting to trace affinities between these two distinct intellectual trends. For example, Bertrand Russell pointed out the “close similarity” of Dewey’s doctrine to “that of another exHegelian, Karl Marx, as it is delineated in his Theses on Feuerbach.” Russell thinks that Marx’s concept of activity or praxis is in spite of differences in terminology “essentially indistinguishable from instrumentalism.” This line of reasoning seems to be quite influential, even among pragmatists. Notably, some American Marxists (especially Trotskyists, to be exact) at the late 40’s overemphasized the affinity between Dewey’s pragmatism and Marxism, and even understood Dewey’s pragmatism as a continuation of Marxism. For example, G. Novack comments that “[t]he most outstanding figure in the world today in whom the best elements of Marx’s thought are present is John Dewey,” and presents Lenin as “an unavowed disciple of Dewey in practice.” According to S. Hook, a former Marxist who turned to pragmatism and became one of the most influential philosophers who discussed the relation between Marxism and pragmatism, the latter is “the philosophy of experimental naturalism” which can be regarded “as a continuation of what is soundest and most fruitful in Marx’s philosophical outlook upon the world.” In this paper, I intend to critically reassess this philosophical dialogue between Marxism and pragmatism, by further deploying the argumentation provided mainly by Soviet Marxists with regard to the aforementioned issues, focusing especially on two of them: the concept of activity (or praxis) and the interrelation of subject and object in cognition. (shrink)

The following Introduction briefly traces, albeit in jarring cuts, the evolution of caste question and its relationship with Indian cinema. It also tries to point out some aspects of Indian film theory, its lacunae and hopes that some of the questions raised here may give rise to future works by other (better) theorists. Pre-Independence cinema in India rarely addressed caste question, and if it did, then it was through an abstract global humanist lens. This tendency to address caste (...) through a hollow and empty shell of a theoretical model unfortunately has stuck around even in these times, and only found newer ways to reinvent itself in Neoliberal times. To understand the reason of Indian cinema’s lack of addressing caste more directly and pointedly, it has to be seen as part of a historical process. Only then can we see the history of ideology that is “outside of itself”, that is, in the material conditions that made possible Indian caste-society as well as its cine-culture. It also tries to raise questions about the film form, and its many possibilities of experimentation with the caste question (i.e. both in ideological and experiential possibilities). Lastly, it introduces some of the key works in this issue. Of course, with the hope that the readers will forgive and give respite to the many lacuna of the issue, as well as the Editor himself. (shrink)

This article deals with women-centred prose texts of the 1990s and 2000s in Russia written by women, and focuses especially on generation narratives. By this term the author means fictional texts that explore generational relations within families, from the perspective of repressed experiences, feelings and attitudes in the Soviet period. The selected texts are interpreted as narrating and conceptualizing the consequences of patriarchal ideology for relations between mothers and daughters and for reconstructing connections between Soviet and post-Soviet (...) by revisiting and remembering especially the gaps and discontinuities between (female) generations. The cases discussed are Liudmila Petrushevskaia’s ‘povest’ Vremia noch [The Time: Night] (1991), Liudmila Ulitskaia’s novel Medeia i ee deti [Medea and her Children] (1996) and Elena Chizhova’s novel Vremia zhenshchin [The Time of Women] (2009). These novels reflect on the one hand the woman-centredness and novelty of representation in women’s prose writing in the post-Soviet period. On the other hand, the author suggests that they reflect the diverse methods of representing the Soviet era and experience through generation narratives. The texts reassess the past through intimate, tactile memories and perceptions, and their narration through generational plots draws attention to the process of working through, which needs to be done in contemporary Russia. The narratives touch upon the untold stories of those who suffered in silence or hid the family secrets from the officials, in order to save the family. The narration delves into the different layers of experience and memory, conceptualizing them in the form of multiple narrative perspectives constructing different generations and traditions. In this way they convey the ‘secrets’ hidden in the midst of everyday life routines and give voice to the often silent resistance of women towards patriarchal and repressive ideology. The new women’s prose of the 1980s–90s and the subsequent trend of women-centred narratives and generation narratives employ conceptual metaphors of reassessing, revisiting and remembering the cultural, experiential, and emotional aspects of the past, Soviet lives. (shrink)

uses Schopenhauer, Lacan, and Buddhism to elucidate the tragic sense of human existence as conveyed by Wong Kar-wai.

K. Marx’s 200th jubilee coincides with the celebration of the 85 years from the first publication of his “Mathematical Manuscripts” in 1933. Its editor, Sofia Alexandrovna Yanovskaya (1896–1966), was a renowned Soviet mathematician, whose significant studies on the foundations of mathematics and mathematical logic, as well as on the history and philosophy of mathematics are unduly neglected nowadays. Yanovskaya, as a militant Marxist, was actively engaged in the ideological confrontation with idealism and its influence on modern mathematics and their (...) interpretation. Concomitantly, she was one of the pioneers of mathematical logic in the Soviet Union, in an era of fierce disputes on its compatibility with Marxist philosophy. Yanovskaya managed to embrace in an originally Marxist spirit the contemporary level of logico-philosophical research of her time. Due to her highly esteemed status within Soviet academia, she became one of the most significant pillars for the culmination of modern mathematics in the Soviet Union. In this paper, I attempt to trace the influence of the complex socio-cultural context of the first decades of the Soviet Union on Yanovskaya’s work. Among the several issues I discuss, her encounter with L. Wittgenstein is striking. (shrink)

ArgumentIn 1895 when the Lumière brothers unveiled their cinematographic camera, many scientists were elated. Scientists hoped that the machine would fulfill a desire that had driven research for nearly half a century: that of capturing the world in its own image. But their elation was surprisingly short-lived, and many researchers quickly distanced themselves from the new medium. The cinematographic camera was soon split into two machines, one for recording and one for projecting, enabling it to further escape from the laboratory. (...) The philosopher Henri Bergson joined scientists, such as Etienne-Jules Marey, who found problems with the new cinematographic order. Those who had worked to make the dream come true found that their efforts had been subverted. This essay focuses on the desire to build a cinematographic camera, with the purpose of elucidating how dreams and reality mix in the development of science and technology. It is about desired machines and their often unexpected results. The interplay between what “is” (the technical), what “ought” (the ethical), and what “could” be (the fantastical) drives scientific research. (shrink)

Sob o título "Immanent Frames. Postsecular Cinema between Malick and von Trier", o livro editado por John Caruana e Mark Cauchi inclui um conjunto significativo de artigos sobre cinema “pós-secular”, de autores prestigiados, nomeadamente os próprios editores, mas também Robert Sinnerbrink, Catherine Wheatley, Sarah Cooper e William Rotham, entre outros. O livro está estruturado em 13 capítulos, distribuídos por três partes – Parte I: “The Poles of Postsecular Cinema: Malick and Von Trier”; Parte II: “The Spectrum of (...) Postsecular Cinema: Beyond Malick and Von Trier”; e Parte III: “Conversation on Cinema: Luc Dardenne and Jean-Luc Nancy”, esta última constituída por duas entrevistas, respectivamente com o cineasta e o filósofo. (shrink)

In the ancient Greek world, the concept of 'miasma,' which becomes permanent and has the potential to grow over time due to evil acts such as murder committed in the city, is a concept frequently referred to in many classical tragedies. To the extent that miasma has a bad connotation due to its nature and is a situation that occurs due to evil actions, it can be considered together with the philosophical problem of evil. In this study, we aim to (...) examine the concept of miasma by focusing on the characters in La Jauría, one of the most prominent films of recent South American cinema, rather than a purely conceptual analysis of the concept. Filmed in the jungles of Colombia and directed by Colombian director Andrés Ramírez Pulido, the 2022 film La Jauría is a psychological drama that focuses on the lives of young people involved in crime. The tragic story of Eliu, the protagonist of the film, which takes place mainly in a prison specially designed to rehabilitate inmates, seems to us to be a very suitable focal point for examining the concepts of miasma, catharsis, and ecstasy, which are frequently referred to in ancient Greek tragedy. To do so, we will first address the various contexts in which miasma has been used historically, considering the flow of events in the movie La Jauría. Then, we will look at the relationship of the concept of miasma with the problem of evil. Finally, we will discuss the possibilities of the concept of purification, which is seen as a kind of antidote to miasma. (shrink)

In 2003, biophysicist and Nobel Laureate Maurice Wilkins published his autobiography entitled The Third Man. In the preface, he diffidently points out that the title was chosen by his publisher, as a reference to the famous 1949 movie no doubt, featuring Orson Welles in his classical role as penicillin racketeer Harry Lime. In this paper I intend to show that there is much more to this title than merely its familiar ring. If subjected to a comparative analysis, multiple correspondences between (...) movie and memoirs can be brought to the fore. Taken together, these documents shed an intriguing light on the vicissitudes of budding life sciences research during the post-war era. I will focus my comparative analysis on issues still relevant today, such as dual use, the handling of sensitive scientific information and, finally, on the interwovenness of science and warfare. Thus, I will explain how science autobiographies on the one hand and genres of the imagination on the other may deepen our comprehension of tensions and dilemmas of life sciences research then and now. For that reason, science autobiographies can provide valuable input for teaching philosophy and history of science to science students. (shrink)

Os corpos no cinema estão sob a ordem de um olhar soberano que nos diz para onde devemos olhar e como devemos fazer isso. É um olhar poderoso que tudo sabe e tudo pode. Um olhar que nos posiciona não como simples espectadores, mas como sujeitos. É a partir daí que buscamos compreender como se arquitetam o medo, ou seja, qual é a ordem do cinema de horror, tecido com a pena do medo? Nessa arquitetura, os corpos aparecem (...) como lugares para vigiar e punir em espaços utópicos e heterotópicos. Espaços de memórias. Espaços de poder vigiar e punir. Espaço onde se impõe uma posição de sujeito, um poder sobre o sujeito. Portanto, os corpos no cinema de horror são artefatos para uma arqueologia do medo, escrita pelo poder do horror sobre estes corpos. Daí nosso interesse por esses lugares. Para demonstrar essa arqueologia, utilizaremos dois filmes franceses, produzidos em 2007, Frontière(s) e À l’interieur como espaços de horror construídos para o medo pelas vias da utopia e heterotopias pensadas por Michel Foucault, filósofo do presente, do nosso presente para compreender como se arquitetam tal medo por meio de sua história arqueológica, prática de um espaço chamado Labedisco/UESB. (shrink)

COVID-19 infects cities, here grasped as quasi-living functioning systems, and the changes inflicted can poetically open us to certain things. Drawing on ecological psychology, we maintain that this brings people into contact with different realities depending on their overall wellbeing, arguing that the aesthetic experience of cities accordingly varies. We then consider iterations of these ideas in dystopian cinema, which portrays global threats altering human relations with technology, art, and the world.

Despite the closure of virtually all original grindhouse cinemas, ‘grindhouse’ lives on as a conceptual term. This article contends that the prevailing conceptualization of ‘grindhouse’ is problematized by a widening gap between the original grindhouse context (‘past’) and the DVD/home-viewing context (present). Despite fans’ and filmmakers’ desire to preserve this part of exploitation cinema history, the world of the grindhouse is now little more than a blurry set of tall-tales and faded phenomenal experiences, which are subject to present-bias. The (...) continuing usefulness of grindhouse-qua-concept requires that one should pay heed to the contemporary contexts in which ‘grindhouse’ is evoked. (shrink)

Why did human beings throughout the millennia so often think about a doomsday? Could there be a profit to our inner pleasure and pain equilibrium, when believing that doomsday is nearing, an idea suggested by Sigmund Freud? An analogous instinctive dynamics was thought by Nietzsche who wrote that human beings do prefer to want the nothingness rather than not to want anything at all. In this essay, 'Melancholia', a movie by Lars von Trier, is taken as an exquisite masterpiece, a (...) grandiose exposition of Schopenhauer and Nietzsche Philosophies.. (shrink)

Leading specialists explore the impact both perestroika and glasnost have had on Soviet women as workers, consumers and political actors. They discuss the implications of reform for female labor, the falling percentage of female deputies and the position of women in the Ukraine. The authors also show how glasnost had helped to expose social problems while at the same time obscuring the role of girls in youth culture, creating images of irresponsible mothers and leading to the spread of pornography (...) and anti-abortion sentiments. (shrink)

By utilizing words, photographs, and motion pictures, this multimodal and multisited project traces a rhizomatic genealogy of Russian Cosmism—a nineteenth century political theology promoting a universal human program for overcoming death, resurrecting ancestors, and traveling through the cosmos—throughout post-Soviet techno-utopian projects and imaginaries. I illustrate how Cosmist techno-utopian, futurist, and other-than-human discourse exist as Weberian “elective affinities” within diverse ecologies of the imagination, transmitting a variety of philosophies and political programs throughout trans-temporal, yet philosophically bounded, communities. With a particular (...) focus on the United States and Ukraine, and taking an apophatic analytical position, I dissect how different groups of philosophers, technologists, and publics interact(ed) with Cosmism, as well as how seemingly disparate communities (re)shape and deterritorialize Cosmist political theology in an attempt to legitimize their constructed political imaginaries. (shrink)

Neste capítulo, vamos tratar do discurso-corpo demarcado pelas utopias em justaposição com as heterotopias em duas produções cinematográficas do horror francês contemporâneo. Dessa forma, o corpo que operamos é feito de discurso, ou seja, todo seu tecido, seus órgãos, seus sistemas, seus ossos são discursos sobrepostos pelo visível e pelo dizível, da mesma forma, como demonstrou Foucault na obra O Nascimento da Clínica em 1963.

This article aims to enhance understanding of the changing nature of the pre-colonial, (neo)colonial and postcolonial imagination of space and time in Africa and of its organising principle in African cinema. It will focus on the cartographic and time reckoning techniques and traditions of Africans in precolonial times in contrast to the space-time imagination expressed in colonial film in Africa, such as in the instruction documentary Daybreak in Udi (1949). This documentary, which promotes British colonial self-help development projects in (...) Africa, tells the story of the building of a maternity home in an Igbo village in Nigeria. Furthermore, the article will enhance understanding of the cinematic turn to a counterhegemonic film tradition as a stepping stone to the newly emerging field of African intercultural philosophical cinema. The time-space imagination in Common Threads (2018), shortlisted by the Zanzibar International Film Festival (ZIFF) for the best documentary will be analysed as a case in point. This documentary concentrates on the nineteenth-century and current Afro-Indian textile trade, the associated oral narratives and their visual impact on the so-called Kanga and Vitenge textiles. (shrink)

Book review of Jean-Louis Schefer's The Ordinary Man of Cinema (2016) with particular attention to Schefer's conception of affect and its influence on Deleuze.

Une mise en lumière de la spécificité du cinéma en trois parties : le cinéma et l'image, le cinéma et le langage, le cinéma et le montage. Deux textes de G. Deleuze et N. Burch complètent l'ensemble.

English version of collaborative text with Bruno Varela on his film La máquina de futuro (2024), published in the catalog of Umbrales experimental film section of the FICUNAM film festival.

This study examines playgrounds as lenses on urban transitions to explain the link between urban transformations and changes in the discourse of play and childhood. Specifically, it compares Soviet public playgrounds and post-Soviet privatized playscapes in the city of Yekaterinburg, Russia, through primary observation and secondary data analysis. Using the framework of social reproduction developed by Cindy Katz and Saskia Sassen to explain how the local forces affect cities, my analysis shows that the shift in the discourse of (...) play and childhood in the post-Soviet period is hinged on global influences combined with local transformations, from the abandonment of Soviet ideals of communal play spaces to the embracement of today’s consumerist play places. Whereas the old Soviet playgrounds have uncertain purposes, in contemporary Yekaterinburg private playgrounds offer a narrative of play in terms of leisure, love, and convenience for parents. Children turn into consumers of private play, leaving most of the Soviet playgrounds as idle spaces in the city. This article argues that Yekaterinburg’s shift toward participating in the globalized economy combined with its transition from the Soviet ideals maintains social relations and reproduces social inequalities in childhood, as this condition favors consumerist narratives of play. I conclude that the playgrounds in Yekaterinburg are bystanders of new global ecologies whereby social, political, and economic transformations become an impetus to reproduce new ways of seeing the social importance and meaning of play and playgrounds. (shrink)

Russians and Westerners access, process and communicate information in different ways. Whilst Westerners favour detailed analysis of subject matter, Russians tend to focus on certain components that are, in their view, significant. This disparity makes it difficult to achieve constructive dialogues between Western and Russian stakeholders contributing to cross-cultural communication problems. The author claims that the difference in the ways Russians and Westerners negotiate information is a significant cultural difference between Russia and West rather than an irritating (and in principle (...) amenable) lack of analytical skills on the Russian partners’ part. Understanding the reasons behind the Russian-specific approaches to dealing with information would be a positive step towards a more effective cross-cultural communication, important in business situations and essential in diplomacy. (shrink)

A series of essays on film and philosophy whose authors - philosophers or film studies experts - write on a wide variety of films: classic Hollywood comedies, war films, Eastern European art films, science fiction, showing how film and watching it can not only illuminate philosophy but, in an important sense, be doing philosophy. The book is crowned with an interview with Wittgensteinian philosopher Stanley Cavell, discussing his interests in philosophy and in film and how they can come together.

The paper highlights the key perspectives on mysticism typical for Soviet and Post-Soviet religious studies. Recognizing the vagueness of the ”mystical’, Soviet scholars interpreted it as a belief in ”communication’ with ”supernatural powers’. Furthermore, ”mysticism’ was thought of as a multicomponent entity composed of mystical experiences, mystical beliefs, and ”mysticism’ as a ”false ideology’. Such an understanding resulted from their epistemological settings, i.e. the reflection theory of dialectical materialism. In this light, mystical experiences and beliefs were distorted (...) ”reflections’ of objective reality in the human mind caused by factors both of an individual and a social nature. This understanding still defines the academic interpretations of the ”mystical’ in Russia today. (shrink)

In this paper, we intend to promote an analysis of the use of the artificial language Heptapod B in Story of Your Life written by Ted Chiang and in its filmic adaptation, Arrival, written by Eric Heisserer and directed by Denis Villeneuve in relation to the authors’ views on the metaphysics of time. In both literary and filmic texts, the glossopoeia is used as a plot device upon which the alien race’s time perception is constructed and explicated in connexion with (...) the strong metaphor provided by Fermat’s principle of least time. Throughout the article, we discuss these hybrid interfaces of literature, cinema and science, researching the stories’ specific diegeses, the writers’ own elicitations as well as various texts on the Philosophy of time. The result consists of a comprehensive exegesis of the problematics generated by the narratives and an extensive philosophical debate on the subject. (shrink)

Resumen: Resulta incuestionable la importancia que el filósofo francés Gilles Deleuze otorga al cinematógrafo. Conforme a su teoría del conocimiento, si la filosofía "piensa" mediante conceptos, el cine "piensa" mediante imágenes: se trata de un medio de creación artística a la vez que de reflexión (distinta de otras formas de "escritura") acerca de los problemas de la condición humana. De hecho, afirmamos que el propio pensamiento de Deleuze guarda mucho en común con las técnicas cinematográficas, al igual que sucedería en (...) la literatura del siglo XX, por ejemplo en James Joyce (en lengua anglosajona) y Jorge Luis Borges (en lengua castellana). -/- Abstract: There is no doubt as to the importance that cinematography has for the French philosopher Gilles Deleuze. According to Deleuze's theory of knowledge, just as philosophy "reasons" through concepts, cinema "reasons" by means of images. Cinema is a means of artistic creation and at the same time reflects in a way distinct from writing on the problems of the human conditions. In fact, this essay argues that Deleuze's own thought had much in common with cinematographic techniques, a relation which occurred in the twentieth century literature of James Joyce (in the English language) and Jorge Luis Borges (in the Spanish language). (shrink)

In this essay, I look at more or less sympathetic portrayals of egoists in film. I start by explaining some basic concepts: psychological egoism; ethical egoism; default egoism; rational egoism; egotism; cynicism; narcissism; and psychopathy. I then review in-depth two excellent WWII films, Stalag 17 and The Bridge on the River Kwai. I note that the key protagonist in both pictures is the same type of character—both played by the same fine actor, William Holden. The main protagonist in both is (...) a soldier in a POW camp, who appears completely egoistic; however, in both cases, the movie shows that he is just a man acting for self-preservation, but within moral limits. The character in both cases is certainly not an egotist, nor a narcissist, much less a psychopath. (shrink)

In this essay, I look at two films as possible exemplars of the Nietzschean view of egoism. Compulsion is based on the infamous 1924 Leopold and Loeb murder case. In the movie, two arrogant young men—one of whom admires Nietzsche and preaches the (apparently Nietzschean) view that the strong and superior don’t need to follow conventional morality—kill a boy to prove they can outsmart the unter-menschen police. For a different take on what Nietzsche may have had in mind as “the (...) Overman,” I also look at the film The Moon and Sixpence. Here the protagonist isn’t violent or aggressive, but a completely self-absorbed artist, who paints with genius but uses others without feeling any gratitude or friendship, let alone love. (shrink)

Feminist theorists try to approach their philosophical perspectives from various systems. They approach it from the perspectives of liberalism, Marxism, radicalism, existentialism, postmodernism, etc. Whatever may be the system they use, their aim seems to be to divulge the oppressions undergone by the women. They use a method or adopt philosophical thinking so that they can spell out their cries in a philosophical manner. Using the philosophical systems does not mean that the philosopher who forwarded the system was aiming at (...) the liberation of women. I would like to present in this essay the utilitarian and Marxian perspectives on Feminism. For the utilitarian perspective, I base myself on Harriet Taylor Mill and the Marxian perspective is from the writings of Karl Marx. I also attempt to connect the philosophy of Harriet Taylor with the Iranian movie, The Day I Became a Woman, and the philosophy of Karl Marx with the illustrious play of Bertolt Brecht, The Caucasian Chalk Circle. (shrink)

This dissertation describes and assesses post-1961 Soviet discussions of the nature of the person. It focuses on post-1961 literature because the volume of Soviet material on the nature of the person increases dramatically following the 22d Congress of the Communist Party of the Soviet Union . At that congress the CPSU declared that the USSR had become a socialist nation and that the country would now build a communist society. According to the CPSU, building communism required educating (...) persons capable of living in communist society. ;Unlike many Western theories on the nature of the person, Soviet theories do not proceed from the proposition that a person's consciousness or self-consciousness differentiates him from all other kinds of entity. They proceed rather from the proposition that a person is different from all other kinds of entity because he is social. Soviets attempt to describe what makes persons social. ;Soviets have argued among themselves concerning a number of issues regarding the nature of persons. During the early 1960s some argued that no general theory of the person was possible and that theories must center on persons of particular classes and historical eras. In the late 1960s Soviets came to believe that a general theory of the person is possible. ;General theories of the person presented by Soviets sometimes distinguish between persons, humans and individuals. This distinction is most clear when these are conceived as properly social, bio-social, and properly biological entities, respectively. There is no general agreement concerning this distinction, however, and this lack of agreement has carried over into discussions of the essence of Man. This essence is said to consist in social relations. ;Soviets have attempted to account for a person's social nature by concentrating on his ethical behavior, his social roles and his activity. None of these accounts succeeds in describing what makes persons social. ;Since social relations are considered the essence of Man, Soviets attempt to characterize them. The best attempt to do this describes social relations as relations between conscious entities. This attempt fails because it is inconsistent with Marxist dogma that consciousness is a consequence--not a cause--of Man's social nature. It also fails because it does not exclude some apparently non-social relations. ;Research for this dissertation was conducted at the libraries of Duke University, the University of North Carolina at Chapel Hill, Moscow State University and Leningrad State University, and at the Library of Congress and the Lenin Library. (shrink)