Documents found
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691.More information
This essay explores the television and cinematographic work of Sicilian filmmakers Daniele Ciprì and Franco Maresco from a posthumanist perspective with a view to examine the state of exhaustion as the main common denominator within the settings, bodies and gestures of their films. As Rosi Braidotti points out, the state of exhaustion becomes a generative precondition to learn to think differently, and to put an affirmative ethics into practice (Braidotti, Posthuman Knowledge 18–19). Reviewing the work of the two Palermitani in a posthumanist key allows us to examine their cynical and dejected world from a new, positive and edifying perspective. Segments of Daniele Ciprì and Franco Maresco’s television program Cinico TV (1989–96) will be analysed, as well as their film Lo zio di Brooklyn (The Uncle from Brooklyn; 1995). My aim is to vindicate the work of two radical but still little-known filmmakers, who are essential to understanding the power of film and television in combating the homogeneity and aesthetic and narrative indoctrination of the media.
Keywords: Posthumanism, hybridization, affirmative ethics, non-professional actors, obscenity, Samuel Beckett, gestural repetition, television of pain
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692.More information
AbstractThe essay considers the geography and economic significance of the sex trade in Victoria, British Columbia, a city that has historically associated itself with notions of gentility and images of English country gardens. The essay problematizes that image. Influenced by the spatial turn in the Humanities and informed by Henri Lefebvre's ideas on the production of space, the production of prostitutional space is the focus of this piece. The essay discusses how and why space was demarked by local authorities for what Foucault called “illegitimate sexualities.” It delineates geographies of sexual commerce in Victoria and invites questions about sexuality in other Canadian and American cities, as well as other British colonial cities. This piece is a tentative step towards mapping moral geographies in nineteenth century cities and placing them within a broader temporal, societal, spatial, and theoretical framework.
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693.More information
Brazilian artists of the 1960s and 1970s were deeply engaged with their own modernist legacy, especially in relation to European models that had fascinated the cultural scene since the 1920s. Following in the spirit of Oswald de Andrade's “Manifesto Antropófago” (1928), which argued that artists in Brazil should aggressively devour imported source material as a means of creating something unique to their country, Brazilian artists and critics during this period sought to define their relationship to international modern art. This essay examines two exhibitions. The first, the Salão da Bússola (1969), revealed the emergence of “anti-art” characterized by bodily performance and the use of “poor” materials. The second, Do Corpo à Terra (1970), more clearly defined the Brazilian response to the burgeoning movements of “post-studio” art such as arte povera, process art, and land art. The curatorial efforts and critical response to these exhibitions reveal a deliberate positioning of such experiments with regard not only to contemporary artists such as Jan Dibbets, but also to historical vanguard artists such as Kurt Schwitters and Kazimir Malevich. Taking up both the legacy of the European avant-garde and contemporary local concerns, Brazilian artists at this time effectively answered Andrade's call to create art that was born of Brazil but walking in step with international art.
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695.More information
Although Philip Roth's literary work has long been the subject of adaptations, few of them have been able to satisfy the novelist's readers or film critics. The difficulty in transposing the prose of the famous American writer can perhaps be explained by the importance of the psychological determinisms, both conscious and unconscious, of his characters in the development of his narrative. If with Deception (2021), Arnaud Desplechin was able to get around this problem by choosing to adapt a fragmented story that lent itself to reconstruction but also to the experimentation of film editing, the same thing is clear in Roth's novels with a more traditional structure (from The Human Stain, [Robert Benton, 2003] to American Pastoral [Ewan McGregor, 2016] and Elegy [Isabel Coixet, 2008]). An exception to the rule is The Plot Against America (2020), a miniseries created by David Simons and Ed Burns, broadcast on HBO and adapted from Roth's 2004 novel of the same name. This article will seek to understand the reasons for this success by questioning the narrative construction of the television series and by analyzing how it was able to adapt to the singularities of Roth's writing.
Keywords: séries télévisées, TV series, adaptation, adaptation, littérature, literature, Histoire, history, The Plot Against America, The Plot Against America
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696.More information
Of the two spiraling threads that make up the DNA of AI, this paper argues, one is algorithmic, the other is anthropic. This paper argues that, due to seven powerful drivers, 150% Synthetic Humans, that is, fully engineered “artificial persons” with brains, senses, bodies and durability augmented beyond our own, may be irrevocably baked into evolving Artificial Intelligence. If this is the case, what risks would humans face and how would those risks balance with the advantages we’d reap? In the 1982 classic Blade Runner, the Tyrell Corporation boasts that physically and mentally upgraded versions of you and me are “more human than human.” This paper presents seven reasons – both conscious and subliminal -- why the evolution of AI appears to be on track toward the manufacturing of high-definition, “better developed” human doppelgangers. The drivers: 1) Form follows function; 2) We are the anthropomorphizing species; 3) Synthetic companionship; 4) Current computer chat is only 7% of the way there; 5) The Turing Test; 6) The Bioengineering factor; 7) The Subliminal Grand Commandment enforced by media culture: in mechanically enabled replications, we seek exalted versions of ourselves. Four prospective downsides of building all-too-human humanoids are discussed, as are preventive and resistance measures. The issue of robot doppelgangers may prove more problematic for humans than AI superintelligence. Indeed, the day may come when the acronym “AI” comes to signify “Abundantly Identical.”
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697.More information
This paper explores how young Syrian refugees in Jordan who have grown up using information and new communication technologies are using the internet as a private space where emotions and practices regarding intimate and marital life are expressed. We explore how new technologies and social media are influencing refugees’ perceptions and experiences of marriage and divorce during displacement. Based on in-depth interviews with rural Syrian women from Deraa province living in northern Jordan, our research sheds light on the multi-faceted ways these women embrace emerging technologies. Furthermore, we demonstrate how technology influences gender-specific narratives and practices around marriage and divorce.
Keywords: refugees, marriage, divorce, digital technologies, mobile phones, forced migration
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699.More information
Freely adapted from the novel Perfect Blue: Complete Metamorphosis (Takeuchi, 1991), Perfect Blue (Kon, 1997) is an animated film that tells the story of Mima, a young singer and J-pop idol, who leaves her group to pursue an acting career. When the novelist's decision to adapt his book into a live-action film failed, the director and screenwriter decided to modify the original story to create an animated film exploring the confusion between reality, fiction and hallucination. Far from the novel , the film is full of reflexivity. It depicts the creation of a fictional series within the first diegesis, and is distinguished by its aesthetic, where animation recreates the visual codes of live-action cinema. Visually made up of animated drawings for the spectator of Perfect Blue, the series within the film is live action for the characters and diegetic spectators. By the depiction, in this series, of an unbearable rape scene, that should be inconsequential because its fictional nature seems intensified by its drawn nature, Perfect Blue questions the porosity of boundaries between fiction and reality within cinematic images. Far from causing some detachment of the spectator of Perfect Blue, this questioning of cinema's relationship to fiction, dreams and reality strengthens its realism and the empathy it can arouse. This paper aims to examine what mechanisms are used in the adaptation process of Perfect Blue during the translation from the written words to the screen, to accentuate its realism thanks to its animated nature.
Keywords: Perfect Blue, Perfect Blue, animated adaptation, adaptation animée, film aesthetics, esthétique cinématographique, reflexivity, réflexivité
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700.More information
This article considers the ways in which the political pressures that have structured Canada’s involvement in the fight against human trafficking and the on-the-ground enforcement of laws adopted through Canada’s positioning as an anti-trafficking nation have created a problem that necessitates regulation. Although the problem could be interpreted as a legal fiction, its effects are real and include greater restrictions on migrants, a lack of attention to wide-ranging labour abuses, and the tightening of the net around sex work.
Keywords: Human Trafficking, Anti-Trafficking Discourse, Subject Position, Sex Work