Television

This essay distinguishes some significant commonalities and differences between the film-philosophies of Chilean filmmaker Raúl Ruiz (especially in his book Poetics of Cinema) and U.S. philosopher Stanley Cavell. I argue that despite shared senses of the poetics of the film image and certain shared philosophical references, Ruiz and Cavell differed over their conceptions of the model spectator and their relations to autonomous films and worlds from which spectators are excluded (on Cavell's picture) versus fragments out of which the spectator might (...) create their own films and worlds in which a spectator might become included (on Ruiz's picture). I then argue that a striking reconciliation between these perspectives takes place via each's conception of television, since it was precisely the features of the medium and its heteronomous parts that Cavell found bemusing from the perspective of his view of film (and its supposedly autonomous works) that allowed for Ruiz's natural career-long relationship with television and heteronomy, especially in Latin American telenovelas. I thus approach Ruiz's relation to telenovelas via Cavell's understanding of the possibilities of soap operas to explore arguments between different temporalities: "dialectical," narrative time and "undialectical" recurrences of needs and drives. I further explore this possibility with a reading of Ruiz's neglected, late-career Chilean TV series Litoral (2008), focused on the construction of stories by sailors aboard a ghost ship. I argue that the series' treatment of these different temporalities reaches its culmination in the poignant image of a sailor-storyteller stuck within a story of his own creation: a stark rendering of his taking a sideways-on view of the role of his own fantasies in its construction. (shrink)

Esta entrevista está orientada a desentrañar la participación actoral de Giselle Collao con su personaje de Lucía en la serie televisiva Mil oficios (2001- 2003). Los temas que se desarrollarán para confrontar esa realidad serán la formación y la vocación que tuvo, así como la actitud que debió adoptar por las mismas pautas y los parlamentos del guion. De ese modo, su papel sería más verosímil y acogido con simpatía por la audiencia. Su interpretación en sí ha sido singular y (...) destacable en el país. Esto se ha demostrado con el decurso del tiempo, puesto que el público peruano aún recuerda su tan entrañable rol. Considerando esa premisa, las interrogantes que resuelve la actriz revelarán y complementarán ese universo real y subrepticio que permitió que su desenvolvimiento en la pantalla chica sea exitoso con esta teleserie. (shrink)

Conan, el niño del futuro (1978) es un dibujo animado oriental que plasma a una sociedad futurista que ha sobrevivido a la Tercera Guerra Mundial. El personaje principal, un niño de 10 años, aparece en la historia para impedir que el grupo hegemónico continúe con su pretensión de dominar el mundo, sin importar la tiranía que ejercen contra los ciudadanos. Para lograr ese vil propósito, las autoridades de Isla Industria han incurrido en escenarios en los que se observa la esclavitud, (...) la dificultad para expresarse con libertad y el sometimiento obligatorio a las decisiones del sistema. Esas actitudes no solo revelan un contexto recreado en un mundo ficcional, sino que es latente al apreciar las revueltas sociales de la actualidad. A ese tipo de manifestación por los derechos, se le agrega otra modalidad correlativa: la censura. Esta se concreta de forma implícita y sutil, con el objetivo de que las víctimas desacrediten sus derechos y no reclamen ante los abusos frecuentes de un gobierno que los sanciona, los encarcela o los exilia con injusticia. Su condición de peligro para la hegemonía es esencial, porque puede acarrear una toma de conciencia para los demás pobladores y una posible rebelión. Para finalizar, esta investigación se valdrá de las teorías poscoloniales e interculturales para evidenciar cómo un proyecto político se instaura en un anime japonés y, en especial, en el protagonista que desea reorientar a toda una sociedad, junto con ese sistema represivo inherente. (shrink)

La producción alemana Heimat (1984) del director Edgar Reitz consta de 11 largometrajes que abordan, principalmente, la Primera Guerra Mundial y la Segunda Guerra Mundial; además de las repercusiones psicológicas, sociales y económicas que generan en los pobladores estos eventos históricos. Este conjunto de filmes se enfoca en un espacio rural denominado Schabbach. En ese lugar, se aprecia el desarrollo y la evolución de una genealogía que se supedita a la relación de María y Paul Simon, pero desde una perspectiva (...) disociada. Prevalecerán situaciones individualistas como alejarse del núcleo familiar para ser partidario de la guerra, migrar a otras localidades, buscar superarse, evitar a los congéneres o vivir en el recuerdo. En ese sentido, esta investigación se basará en esas motivaciones de los personajes y se recurrirá al análisis interdisciplinario, epistemología propia de los Estudios Culturales, para confrontar y explicar esa realidad social frente a la guerra. (shrink)

An analysis of some work by the Oaxaca-based Mexican experimental filmmaker and video artist Bruno Varela via the latter’s reading of the late U.S. philosopher Stanley Cavell, especially Cavell’s 1982 essay “The Fact of Television.” This essay focuses on the aesthetic possibilities of the very constitution of the electronic image, based in Cavell’s understanding of television’s dependence on notions of “switching,” as opposed to “succession,” as well as how those notions play a role in Varela’s understanding of what it is (...) to critique communications media while retaining their communal potential. Audiovisual work by Varela discussed in this essay include Línea 3 (2010-11) and Materia oscura (Dark Matter, 2016). (shrink)

Since the advent of media archeology, a deep-seated bifurcation has found one end of the field arguing for the interventionist and appropriative weaponization of media whereas the other side has championed a “total war” with technology itself, insisting that new media’s military-industrial roots inherently color its drivability. Here, I implore a moment within the cultural history of net.art and post-internet art to examine how contemporaneous queries about control after militarism and decentralization, as prognosticated by Paul Virilio and Gilles Deleuze, are (...) part of a more deeply entrenched discourse on neural nets, predictive processing algorithms and machine learning, which the current media theory and post-cinema literature has yet to rigorously respond to. Simultaneously parsing philosophical and media sociology corollaries to ground this overview, I push for more attention towards psychopower, autosurveillance and algorithmic governmentality while distancing critique from the standard Foucauldian discourse of biopower. (shrink)

Статтю присвячено аналізові евфонічних, орфографічних, лексико-семантичних помилок, яких припускаються журналісти інтернет-ЗМІ. Систематизовані анормативи, зібрані із сучасних крос-медійних матеріалів, визначено чинники, які спричинили їх виникнення, наведено приклади типових помилок із сайтів інформаційних агенцій, інтернет-версій періодичних видань і телеканалів, сайтів державних установ.

Is it possible to recover lost moral ground? In the closing episodes of the TV show "Breaking Bad", it becomes clear that the protagonist, Walter White, believes that the correct answer to this question is an affirmative one. Walt believes that he can, and that he has, recovered lost moral ground. "Breaking Bad" may be said to explore two distinct and incompatible ways of attempting to recover lost moral ground. The first way is revisionist. This is to rewrite the script (...) of what, morally speaking, has occurred, so that it appears that nothing wrong was done. The second way is restorative. This is to admit to morally wrongful behavior, but to attempt to make amends for it. While we concede that it is possible to recover lost moral ground in both of these ways, we deny that Walt is able to do so in both of these ways. At best, Walt can only hope to recover lost moral ground by attempting to make amends for his past misdeeds. (shrink)

What is so striking about Breaking Bad is how centrally impairment and disability feature in the lives of the characters of this series. It is unusual for a television series to cast characters with visible or invisible impairments. On the rare occasions that television shows do have characters with impairments, these characters serve no purpose other than to contribute to their ‘Otherness.’ Breaking Bad not only centralizes impairment, but impairment drives and sustains the story lines. I use three interrelated themes (...) from Disability Scholarship to analyze Breaking Bad. The first theme, Bodily Control, is that good bodies are controlled bodies and that uncontrolled, messy bodies are frightening, bad bodies. Indeed, the messiness of impairment and disability is so bad, that impaired and disabled individuals are excluded or shut out or excluded from many areas of public life. The second theme, Normalcy, is that the effect of hiding away impairment, of attempting to conceal disability, is that society becomes defined by, and structured around, the concept of normalcy. Normalcy, being normal, attaining and maintaining normalcy, is the preoccupation of most in society. To fail to be normal, or to fall from what is considered to be normal, is a source of tremendous anxiety for most people. These two themes, Bodily Control and Normalcy are conceptually connected: impairment, disease and dying are so feared because they are socially invisible and, therefore unknown and unknowable. They are the undiscussable taboos. The third theme, Bodily Realism, is that having a realistic view of the body, which would at minimum require accepting the fact that human bodies are fragile things, prone to disease and accident and are ultimately destined to die, makes one more at ease in the world, and able to live better lives and live as a better person. Indeed, so the argument goes, our lives would be richer, more rewarding—emotionally and morally—if we cared less about normalcy because of a dread of abnormalcy, but instead learned to accept if not positively value the physical variability of human existence. (shrink)

The problem of why we identify with Barney Stinson on the show How I Met Your Mother.

Competitive quiz shows, and Jeopardy! in particular, occupy a unique place among TV game shows. The most successful Jeopardy! contestants—Ken Jennings, Brad Rutter, Frank Sparenberg, and so on—have appeared on late night talk shows, been given book contracts, and been interviewed by major newspapers. This sort of treatment is substantially different than, say, the treatment that the winners of The Price is Right or Deal or No Deal are afforded. The distinctive status of quiz shows is evidenced in other ways (...) as well; for instance, consider the widespread public outrage that accompanied the discovery of fixed quiz shows in the 1950s of the fact that, when IBM wanted to find a task to test the latest developments of artificial intelligence, they chose the game of Jeopardy. In this essay, I’ll take a look at Jeopardy! as an exemplar of a certain sort of game, and will suggest that part of what gives Jeopardy! its distinctive status is that it is a qualitatively good game—that is, it is a game that that fulfills just those functions a game is supposed to fulfill. I’ll begin by showing how Jeopardy! meets Bernard Suits’ (1967, 1988, 2005) definition of games, according to which games are characterized as activities that have certain sorts of rules and in which participants are required to have the right attitude toward these rules. Among other things, I’ll talk about the role played by some of Jeopardy’s distinctive rules (“remember to phrase your answer in the form of a question”) and about the possible differences a monetary reward makes to game players’ attitudes. I’ll then go on to talk about what distinguishes Jeopardy! from other, superficially similar sorts of games. I’ll concentrate on three factors in particular: (1) the fact that the skills required by Jeopardy! have value outside of the game, (2) the fact that observers in Jeopardy! can “play along” with the contestants on TV, and (3) the fact that success in the game is determined, to a very great extent, by the skills of the participant and not by other facts (such as luck). To close, I’ll talk more generally about the distinction between good games and not-so-good games, and will discuss why it is that good games are worth taking seriously. In this section, I’ll discuss some recent work on the value of games and sports, and will make some suggestions about how these accounts might be tailored to account for the specific virtues of a game like Jeopardy. (shrink)