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In: Pacific affairs, Volume 85, Issue 4, p. 821-825
ISSN: 0030-851X
In: Southeast Asian affairs, Volume 2007, Issue 1, p. 59-76
ISSN: 1793-9135
In: Deleuze, Cinema and National IdentityNarrative Time in National Contexts, p. 50-79
In: Deleuze, Cinema and National IdentityNarrative Time in National Contexts, p. 85-118
In: Deleuze, Cinema and National IdentityNarrative Time in National Contexts, p. 222-226
In: Deleuze, Cinema and National IdentityNarrative Time in National Contexts, p. 188-219
In: Deleuze, Cinema and National IdentityNarrative Time in National Contexts, p. 1-14
In: Deleuze, Cinema and National IdentityNarrative Time in National Contexts, p. 121-153
In: Deleuze, Cinema and National IdentityNarrative Time in National Contexts, p. 156-185
In: Deleuze, Cinema and National IdentityNarrative Time in National Contexts, p. 19-46
In: The national interest, Issue 79, p. 93-100
ISSN: 0884-9382
In: The national interest, Issue 71, p. 75-86
ISSN: 0884-9382
Are your students baffled by Baudrillard? Dazed by Deleuze? Confused by Kristeva? Other beginners' guides can feel as impenetrable as the original texts to students who 'think in images'. Contemporary Thinkers Reframed instead uses the language of the arts to explore the usefulness in practice of complex ideas. Short, contemporary and accessible, these lively books utilise actual examples of artworks, films, television shows, works of architecture, fashion and even computer games to explain and explore the work of the most commonly taught thinkers. Conceived specifically for the visually minde
In: Latin American perspectives, Volume 40, Issue 1, p. 73-87
ISSN: 1552-678X
7wo Uruguayan documentaries, Al pie del arbol blanco (2007) and El circulo (2008), engage with the process of uncovering or recovering the recent past under military rule in Uruguay (1973-1985). Rather than following the established documentary convention of deploying archival footage, both films use a variety of cinematographic techniques to depict present-day places in an effort to reconstruct links between the past and the present. Contextualized in relation to the recent construction of museums of memory in the public sphere in countries such as Uruguay and Argentina, these documentaries construct two very personal virtual (in the sense of cinematic rather than physical) "museums of memory." In this way they illustrate how individual attempts to reconstruct the lost past can fill in the gaps in official recollections of history. [Reprinted by permission of Sage Publications Inc., copyright holder.]