Suchergebnisse

Michael M. J. Fischer examines documentary filmmaking, literature, and innovative dance from Southeast Asia and Singapore for their para-ethnographic insights into politics, culture, and aesthetics.

Phetmixay Means Fighter is a short documentary film that seeks to explore Lao American refugee resiliency narratives through the life of my father, Phoutone Phetmixay. As the central character, Phoutone's poetic remembrances of his commitment to the Lao Royal army, displacement from Laos, and resettlement in the United States all serve to consider the complex history of Lao Americans in the geopolitical context of U.S. invention and the socialist Lao government. The film is invested in creating a space to validate a part of my own family's history by way of mourning, healing, and building community amongst other Lao American refugee families.

This collection examines literature and film studies from the late colonial and early postcolonial periods in Taiwan and Korea, and highlights the similarities and differences of Taiwanese and Korean popular culture by focusing on the representation of gender, genre, state regulation, and spectatorship. Calling for the "de-colonializing" and "de-Cold Warring" of the two ex-colonies and anticommunist allies, the book places Taiwan and Korea side by side in a "trans-war" frame. Considering Taiwan-Korea relations along a new trans-war axis, the book focuses on the continuities between the late colonial period's Asia-Pacific War and the consequent Korean War and the ongoing conflict between the two sides of the Taiwan Strait, facilitated by Cold War power struggles. The collection also invites a meaningful transcolonial reconsideration of East Asian cultural and literary flows, beyond the conventional colonizer/colonized dichotomy and ideological antagonism

This article makes use of history documentary films to examine mediated historical culture and memory narrated by media. It particularly focuses on transgenerational dimensions of memory in media representations – the idea of how collective memories are transmitted through media to a second generation of people who did not directly experience the actual events but who nonetheless have often been exposed to the traumatic tensions of the first generation. The article first asks how mediated memory provides different views on war in historical culture. Second, it discusses how the memory of war is negotiated in the contemporary institutional historical culture of a democracy. The article demonstrates that since the role of the state in public remembrance is no longer as clear-cut as before, at least in democratic countries, historical culture is a more appropriate and precise concept than either civil society or even public history for analysing the importance of memory in society. The article also confirms the notion that it is difficult, if not even impossible, to separate media-narrated memory into the collective and private spheres of life. The empirical body of research consists of three Finnish history documentary films on WWII screened or broadcast in 2017, when Finland celebrated its 100-year anniversary. ; Peer reviewed

Contemporary fascination with 'Bollywood' proliferates much of reality TV dance shows, media blurbs and other communicative outlets. These avenues homogenize India as 'Bollywood', while social and political outlets place Indians and people of South Asian descent into fitted stereotypes that are ridiculed and largely distorted. The intent of this thesis was to explore how the growing international intrigues of popular Hindi films exist beyond 'Bollywood'. This study is especially important because current U.S. demographics are undergoing a 'browning' effect yet a comprehensive method for understanding South Asian peoples and their cultures have been isolated to terrorist 'breeders', the model minority or as products primed for consumption. This thesis discusses the history of popular Hindi popular cinema, its changing methods of songs and dance and includes options of pedagogical applications within secondary level classrooms. In short, this thesis is an effort to highlight the similarities present amongst the differences that are consciously and unconsciously created or implicitly believed by the general population when attempting to decipher the many different components that exist across South Asian cultures, ethnicities, traditions, histories and identities. ; 2012-12-01 ; B.S. ; Education, Dept. of Educational and Human Sciences ; Bachelors ; This record was generated from author submitted information.

"Entails a comprehensive account of the history and trajectory of contemporary journalistic, (documentary) film and arts and cultural actors rooted (partially or wholly) in radical, alternative, community, voluntary, participatory and independent movements primarily in Britain and Germany. It focuses particularly on the examination of production and organizational contexts of selected case studies, some of which date from the countercultural era. The book takes a transnational and interdisciplinary approach encompassing a range of theoretical perspectives--drawn from the political economy of communication tradition; alternative media scholarship; journalism studies; critical sociological and cultural studies of media industries; cultural industries research; and critical and social theory--in conjunction with extensive ethnographic fieldwork. It does so to reveal the obscure nature of media and cultural production and organization at seventeen media and cultural actors based in Britain and Germany, including South Africa and Nigeria. A particular focus is placed on how such actors balance competing imperatives of a civic/socio-political, professional, artistic and commercial nature as well as various systemic pressures, and on how they navigate the resultant ambivalences paradoxes and tensions in their day-to-day work. In essence, the book highlights key insights into a changing nature and quality of engagement with social and political realities in protest cultures"--

"Using cultural theory, author R. Bruce Brasell investigates issues surrounding the discursive presentation of the American South as biracial and explores its manifestation in documentary films, including such works as Tell about the South, bro-ken/ground, and Family Name. After considering the emergence of the region's biraciality through a consideration of the concepts of racial citizenry and racial performativity, Brasell examines two problems associated with this framework. First, the framework assumes racial purity, and, second, it assumes that two races exist. In other words, biraciality enacts two denials, first, the existence of miscegenation in the region and, second, the existence of other races and ethnicities. Brasell considers bodily miscegenation, discussing the racial closet and the Southeastern expatriate road film. Then he examines cultural miscegenation through the lens of racial poaching and 1970s southeastern documentaries that use redemptive ethnography. In the subsequent chapters, using specific documentary films, he considers the racial in-betweenness of Spanish-speaking ethnicities (Mosquitoes and High Water, Living in America, Nuestra Communidad), probes issues related to the process of racial negotiation experienced by Asian Americans as they seek a racial position beyond the black and white binary (Mississippi Triangle), and engages the problem of racial legitimacy confronted by federally non-recognized Native groups as they attempt the same feat (Real Indian)"--

Cinema staging English people of Indian or Pakistani origins, taking place in Britain, is called "British-Asian cinema". What is the modern image of Britishness that British-Asian films convey? In this respect, English identity is not linked to the color of the skin or to ethnic origins but to a common culture. Various representations appear in media and in a clear ans approachable manner in films. The cinema acts as a means to spread an image of Britishness worldwide. It is in this context of British self-defining or redefing that the government of Tony Blair gave support to the British cinema and its development in all its diversity. Analysing British representation through the lens of cinema seems quite interesting. Whether it is represented as successful integration or forced mariages, religious fanaticism, the Asian cultural stereotypes are obstacles to overcome to assert a British identity. Moreover, some English people do not know who they are, indeed they ended up making DNA tests to assess their level of Englishness and any legitimacy to be English, as it is explained in the TV documentary "100% English". It is striking to notice that on the opposite, these new British people of Indian or Pakistani parents, often show a clear British and English identity, which can sometimes be exacerbated and very accurately defined. ; Le cinéma mettant en scène des anglais d'origines indienne ou pakistanaise, se déroulant sur le territoire britannique et traitant de relations avec les habitants qu'ils soient anglais dits de souche, anglais issus de l'immigration ou de familles métissées est appelé British-Asian cinema. Quelle image moderne de la britannicité les films British-Asians propagent-ils? L'identité anglaise n'est pas liée à la couleur de la peau ou aux origines ethniques mais au sentiment d'être anglais et de partager une culture commune. Beaucoup de personnes issues de l'immigration se disent aujourd'hui anglaises comme cela a pu être expliqué dans le très surprenant documentaire "100% English". Ces ...

Cinema staging English people of Indian or Pakistani origins, taking place in Britain, is called "British-Asian cinema". What is the modern image of Britishness that British-Asian films convey? In this respect, English identity is not linked to the color of the skin or to ethnic origins but to a common culture. Various representations appear in media and in a clear ans approachable manner in films. The cinema acts as a means to spread an image of Britishness worldwide. It is in this context of British self-defining or redefing that the government of Tony Blair gave support to the British cinema and its development in all its diversity. Analysing British representation through the lens of cinema seems quite interesting. Whether it is represented as successful integration or forced mariages, religious fanaticism, the Asian cultural stereotypes are obstacles to overcome to assert a British identity. Moreover, some English people do not know who they are, indeed they ended up making DNA tests to assess their level of Englishness and any legitimacy to be English, as it is explained in the TV documentary "100% English". It is striking to notice that on the opposite, these new British people of Indian or Pakistani parents, often show a clear British and English identity, which can sometimes be exacerbated and very accurately defined. ; Le cinéma mettant en scène des anglais d'origines indienne ou pakistanaise, se déroulant sur le territoire britannique et traitant de relations avec les habitants qu'ils soient anglais dits de souche, anglais issus de l'immigration ou de familles métissées est appelé British-Asian cinema. Quelle image moderne de la britannicité les films British-Asians propagent-ils? L'identité anglaise n'est pas liée à la couleur de la peau ou aux origines ethniques mais au sentiment d'être anglais et de partager une culture commune. Beaucoup de personnes issues de l'immigration se disent aujourd'hui anglaises comme cela a pu être expliqué dans le très surprenant documentaire "100% English". Ces ...

This review article provides an overview of important, recent approaches to conceptual history from scholarship on South Asia. While conceptual history is not a consolidated field in South Asia, the colonial encounter has greatly stimulated interest in conceptual inquiries. Recent scholarship questions the uniformity even of well-researched concepts such as liberalism. It is methodologically innovative in thinking about the influence of economic structures for the development of concepts. Rethinking religious and secular languages, scholars have furthermore stressed the importance of smaller communicative units such as genre or hermeneutical practices to shape ideas e.g. of the political. As part of global and imperial formations, scholars are well aware of the link between power and colonial temporalities. Lastly, they have suggested new sources for conceptual history, such as literature, film, and sound.

1. Acknowledging Stanley Cavell : paradox, poiesis, and philosophy in America / Olaf Hansen -- 2. Reading Cavell reading / David Larocca -- 3. Stanley Cavell, "aversive thinking," and Emerson's "party of the future" / David M. Robinson -- 4. Self-relayance : Emerson to Poe / Garrett Stewart -- 5. The haunting of history : Emerson, James, and the ghosts of human suffering / Kristin Boudreau -- 6. Philosophy out of earshot of the school : Tocqueville and the "American philosophical method" / Oisin Keohane -- 7. Attachment and detachment in Cavell and Santayana / Paul Jenner -- 8. Agee after Cavell, Cavell after Agee / Paul Anderson -- 9. "A dance of frenzy, a dance of praise" : Fred Astaire acknowledges America / Aine Kelly -- 10. Cavell, Thoreau, and the movies / Robert B. Ray -- 11. Embodying an American union : Cavell's conjugal and conversational ties / Andrew Taylor -- 12. The experience of the movies : Cavell's Hollywood and Robert Warshow / Rachel Malkin -- 13. Emersonian affinities : reading Richard Ford through Stanley Cavell / Lawrence Rhu.

Documentary and Disability -- Foreword -- Contents -- List of Figures -- 1 Introduction: The Bricolage of Documentary and Disability -- Bibliography -- Part I Film Practice -- 2 Not Without Us: Collaborating across Difference in Documentary Filmmaking -- Creating Meaningful Spaces for Collaboration: Squeaky Wheel and the Channels Grant -- Pre-production: Embracing My 'Outsiderness' and Building Trust -- Production I: Working on Site -- Production II: National Experts, Community Voices and Finding Balance -- Post-production and Exhibition -- Notes -- Bibliography -- 3 Visual Psychological Anthropology and the Lived Experience of Disability -- The Integration of Ethnographic Film with the Psychological Anthropology of Disability -- Gusti Ayu and The Bird Dancer -- Gusti's Story as Represented in the Film -- Filming and Editing the Dynamics of Disablement -- Complementary Practices in Transcultural Disability Studies -- Product as Method: Making Research Accessible to Subjects Through Film -- Conclusion -- Notes -- Bibliography -- Filmography -- 4 Valorising Disability on Screen: When Did 'Inspirational' Become a Dirty Word? -- Introduction -- Background and Context -- Providing a Personal and Emotional Portrayal -- Inspiring through Portraying Ordinariness -- Providing a Repository of Information -- Conclusion -- Note -- Bibliography -- Filmography -- 5 Spectatorship and Alternative Portrayals of Blindness -- Representations of Blindness -- The Home -- Objectification -- Still Life -- Conclusion: Ambiguity -- Note -- Bibliography -- Filmography -- 6 Aberrancy and Autobiographical Documentary -- Introduction -- Emancipatory Impulses -- Aberrancy and Stigma -- Seeing and Healing -- Conclusion -- Bibliography -- Part II Representation -- 7 Thomas Quasthoff and the Performativity of Disability in Michael Harder's The Dreamer -- Introduction

"The Tao of S is an engaging study of American racialization of Chinese and Asians, Asian American writing, and contemporary Chinese cultural production, stretching from the nineteenth century to the present. Sheng-mei Ma examines the work of nineteenth-century "Sinophobic" American writers, such as Bret Harte, Jack London, and Frank Norris, and twentieth-century "Sinophiliac" authors, such as John Steinbeck and Philip K. Dick, as well as the movies Crazy Rich Asians and Disney's Mulan and a host of contemporary Chinese authors, to illuminate how cultural stereotypes have swung from fearmongering to an overcompensating exultation of everything Asian. Within this framework Ma employs the Taoist principle of yin and yang to illuminate how roles of the once-dominant American hegemony-the yang-and the once-declining Asian civilization-the yin-are now, in the twenty-first century, turned upside down as China rises to write its side of the story, particularly through the soft power of television and media streamed worldwide"--