Suchergebnisse

In "The Silent Towns," from the 1950 collection The Martian Chronicles, Ray Bradbury tells the story of the last man and woman left on Mars. While Walter has romanticized visions of a perfect match, he is ultimately disappointed by Genevieve's and chooses to live out his life alone. Sixty years later, director Elena Palacios Ramé revived this science fiction classic to ask a simple question with a complex answer: What happens if you move the story to Havana? In the short film Los pueblos silenciosos (2010), Palacios replaces Mars with an abandoned Cuban capital, matching Walter with an extravagant Afro-Cuban model named Lucía. Walter still runs away, but this time it is out of sexual intimidation rather than disgust. Los pueblos silenciosos follows the director's pattern of translating classic stories, as demonstrated by Satisfacción garantizada (2007), based on Isaac Asimov's "Satisfaction Guaranteed"; and El zorro y el bosque (2009), from Bradbury's "The Fox and the Forest." By rewriting these canonical texts, Palacios presents the transgressive political potential of science fiction. In just 30 minutes, Los pueblos silenciosos contests the genre's colonizing tendencies, while also forcing her audience to recognize present misogyny and racism in Cuba. The figure of Lucía challenges past representations of black bodies in science fiction, which often grants Afro-descendent characters magical, superhuman qualities or hyper-masculine, militarized survival skills. Lucía is confident, asserts her sexuality and stands up to Walter's nostalgia for earlier Cuban social networks that excluded or ignored her. Palacios's work demonstrates science fiction's unique ability to challenge international power relationships, comment on domestic inequalities, and speculate on the uncertain future of Cuba.

In "The Silent Towns," from the 1950 collection The Martian Chronicles, Ray Bradbury tells the story of the last man and woman left on Mars. While Walter has romanticized visions of a perfect match, he is ultimately disappointed by Genevieve's and chooses to live out his life alone. Sixty years later, director Elena Palacios Ramé revived this science fiction classic to ask a simple question with a complex answer: What happens if you move the story to Havana? In the short film Los pueblos silenciosos (2010), Palacios replaces Mars with an abandoned Cuban capital, matching Walter with an extravagant Afro-Cuban model named Lucía. Walter still runs away, but this time it is out of sexual intimidation rather than disgust. Los pueblos silenciosos follows the director's pattern of translating classic stories, as demonstrated by Satisfacción garantizada (2007), based on Isaac Asimov's "Satisfaction Guaranteed"; and El zorro y el bosque (2009), from Bradbury's "The Fox and the Forest." By rewriting these canonical texts, Palacios presents the transgressive political potential of science fiction. In just 30 minutes, Los pueblos silenciosos contests the genre's colonizing tendencies, while also forcing her audience to recognize present misogyny and racism in Cuba. The figure of Lucía challenges past representations of black bodies in science fiction, which often grants Afro-descendent characters magical, superhuman qualities or hyper-masculine, militarized survival skills. Lucía is confident, asserts her sexuality and stands up to Walter's nostalgia for earlier Cuban social networks that excluded or ignored her. Palacios's work demonstrates science fiction's unique ability to challenge international power relationships, comment on domestic inequalities, and speculate on the uncertain future of Cuba.

This article surveys the history and practice of providing constitutional advice. It first examines antecedents, then looks at the contemporary political economy of the process, drawing on the transnational legal order (TLO) framework to evaluate whether or not it can be characterized as a TLO. The answer is a partial yes. We focus on one feature of the modern situation, the presence of corporate actors—including the United Nations, NGOs, and international organizations—in an increasingly dense social field. This development has laid bare tensions and competition among actors, moving the field toward a nascent TLO that is nevertheless unlikely to fully consolidate or institutionalize. We conclude that the field evidences aspects of a transnational legal order but also serves as an arena in which other TLOs contest over outcomes.

Abstract This article covers a wide range of projects from the earliest epistemological challenges posed by video experiments in remote Central Australia in the 1980s to the emergence of indigenous filmmaking as an intervention into both the Australian national imaginary and the idea of world cinema. It also addresses the political activism that led to the creation of four national indigenous television stations in the early 21st century: Aboriginal People's Television Network in Canada; National Indigenous Television in Australia; Maori TV in New Zealand; and Taiwan Indigenous Television in Taiwan); and considers what the digital age might mean for indigenous people worldwide employing great technological as well as political creativity.