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The Bonn Handbook of Globality
This two-volume handbook provides readers with a comprehensive interpretation of globality through the multifaceted prism of the humanities and social sciences. Key concepts and symbolizations rooted in and shaped by European academic traditions are discussed and reinterpreted under the conditions of the global turn. Highlighting consistent anthropological features and socio-cultural realities, the handbook gathers coherently structured articles written by 110 professors in the humanities and social sciences at Bonn University, Germany, who initiate a global dialogue on meaningful and sustainable notions of human life in the age of globality. Volume 1 introduces readers to various interpretations of globality, and discusses notions of human development, communication and aesthetics. Volume 2 covers notions of technical meaning, of political and moral order, and reflections on the shaping of globality.
Anecdotal Evidence
Ecocritique is a practice of radical questioning, as essential to the critical armoury as feminism and postcolonialism have become. Like them, it extends beyond judgements about texts with clear ecological themes, demonstrating the significance of ecocriticism for any advanced understanding of cultural forms. Anecdotal method is ecocritical because it focuses on encounters, concentrated moments of crisis when social ordering and ecological forces clash. The anecdote's power to produce events, meanings and history forms a methodological entry to aesthetic politics. Anecdotal Evidence provides an outline of the need for and principles of anecdotal method; a case study of eco-critical themes in...
Disruption in the Arts
The volume examines from a comparative perspective the phenomenon of aesthetic disruption within the various arts in contemporary culture. It assumes that the political potential of contemporary art is not solely derived from presenting its audiences with openly political content, but rather from creating a space of perception and interaction using formal means: a space that makes hegemonic structures of action and communication observable, thus problematizing their self-evidence. The contributions conceptualize historical and contemporary politics of form in the media, which aim to be more than mere shock strategies, which are concerned not just with the ‘narcissistic’ exhibition of art...
Sensational Movies
Tracing the rise and development of the Ghanaian video film industry between 1985 and 2010, Sensational Movies examines video movies as seismographic devices recording a culture and society in turmoil. This book captures the dynamic process of popular filmmaking in Ghana as a new medium for the imagination and tracks the interlacing of the medium’s technological, economic, social, cultural, and religious aspects. Stepping into the void left by the defunct state film industry, video movies negotiate the imaginaries deployed by state cinema on the one hand and Christianity on the other. Birgit Meyer analyzes Ghanaian video as a powerful, sensational form. Colliding with the state film industry’s representations of culture, these movies are indebted to religious notions of divination and revelation. Exploring the format of "film as revelation," Meyer unpacks the affinity between cinematic and popular Christian modes of looking and showcases the transgressive potential haunting figurations of the occult. In this brilliant study, Meyer offers a deep, conceptually innovative analysis of the role of visual culture within the politics and aesthetics of religious world making.
Before Quality
Wenn in den vergangenen Jahren ästhetische Innovationen im Feld serieller Ästhetik in den Blick genommen wurden, so war häufig von "narrativer Komplexität" und "neuer Intelligenz" die Rede, bezogen stets auf aktuelle Serienproduktionen von Pay-TV-Sendern und Streaminganbietern. Der vorliegende Band problematisiert die diskursive Dominanz des sogenannten Quality-TV und unterbreitet den Vorschlag, die Serienforschung durch eine verstärkte Historisierung neu zu perspektivieren. Ein Schwerpunkt liegt dabei auf dem Genre der Sitcom, das gängige Qualitätskriterien auf besonders originelle Weise in Frage stellt.
Alexander Bogdanov and the Politics of Knowledge after the October Revolution
In this book, Maria Chehonadskih unsettles established narratives about the formation of a revolutionary canon after the October Revolution. Displacing the centre of gravity from dialectical materialism to the rapid dissemination, canonisation and decline of a striking convergence of empiricism and Marxism, she explores how this tendency, overshadowed by official historiography, establishes a new attitude to modernity and progress, nature and environment, agency and subjectivity, party and class, knowledge and power. The book traces the adventure of the synthesis of empiricism and Marxism across philosophy, science, politics, art and literature from the 1890s to the 1930s, offering a radical rethinking of the true scope and scale that the main proponent of Empirio-Marxism, Alexander Bogdanov, had on the post-revolutionary socialist legacies. Chehonadskih draws on both key and forgotten figures and movements, such as Proletkult, Productivism and Constructivism, filling a gap in the literature that will be particularly significant for Marxism, continental philosophy, art theory and Slavic studies specialists.
Cinematic Independence
"Cinematic Independence traces the emergence, demise, and rebirth of big-screen film exhibition in Nigeria. Film companies flocked to Nigeria in the years following independence, beginning a long history of interventions by Hollywood and corporate America. The 1980s and 90s saw a shuttering of cinemas, which were almost entirely replaced by television and direct-to-video movies. After 1999, the exhibition sector was again revitalized with the construction of multiplexes. Cinematic Independence is about the periods that straddle this disappearing act: the decades bracketing independence in 1960, and the years after 1999. At stake in both instances is the postcolony's role in global debates about the future of the movie theater. That it was eventually resurrected in the flashy form of the multiplex is not simply an achievement of commercial real estate but also a testament to cinema's persistence--its capacity to stave off annihilation or, in this case, come back from the dead"--
Spuren eines Dritten Kinos
Das aktuelle Filmschaffen aus Nigeria, Algerien/Frankreich, Brasilien, China und den Philippinen knüpft in je unterschiedlicher Weise an die politischen und ästhetischen Voraussetzungen des so genannten »Third Cinema« an. Die diskursive Klammer indes, wie sie die Rede von einer »Dritten Welt« einst zur Verfügung stellte, hat heute an Evidenz eingebüßt. Dieses Buch will nicht die Klammer, aber doch den Diskurs wieder aufgreifen und fragt dafür nach der historischen Bedingtheit des zeitgenössischen Weltkinos ebenso wie nach seiner prekären Gegenwart und Zukunft auf heimischen Märkten und internationalen Filmfestivals.
ReFocus: The Films of Sohrab Shahid-Saless
An Iranian immigrant struggling to integrate into 1970s German society, the filmmaker Sohrab Shahid Saless (1944-98) has become a neglected figure in discussions of diaspora cinema. In this - the first English-language book to reflect on his work and its implications for creativity in the diasporic conditions of urban displacement - a range of international scholars provide a comprehensive account of Shahid Saless's films and production methods. Outlining his affinity with celebrated directors like Chantal Akerman and Abbas Kiarostami, as well as visual artists like Romuald Karmakar, the contributors firmly position Shahid Saless as a filmmaker who speaks forcefully to the traumas of displacement and migration.
