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"This book explores societal vulnerabilities highlighted within cinema and develops an interpretive framework for understanding the depiction of societal responses to epidemic disease outbreaks across cinematic history. Drawing on a large database of twentieth- and twenty-first-century films depicting epidemics, the study looks into issues including trust, distrust, and mistrust; different epidemic experiences down the lines of expertise, gender, and wealth; and the difficulties in visualizing the invisible pathogen on screen. The authors argue that epidemics have long been presented in cinema as forming a point of cohesion for the communities portrayed, as individuals and groups "from below" represented as characters in these films find solidarity in a common enemy comprising of elite institutions and authority figures. Throughout the book, a central question is also posed: "cohesion for whom?", which sheds light on the inequality and contingency of the depicted subjects and embodiment of the characters. This book is a valuable reference for scholars and students of film studies and visual studies as well as academic and general readers interested in topics of films and history, and disease and society"-- Provided by publisher.

Epidemics in motion pictures. --- Motion pictures --- Cinema --- Epidemics --- Film Studies --- Social Vulnerability

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Der Werbefilm befindet sich in einem ästhetischen Transformationsprozess, der die Grenzen zwischen Werbung und Kunst stärker als je zuvor in Frage stellt. Angetrieben durch die Digitalisierung, spitzt sich dabei auch der Kampf um die Aufmerksamkeit der Rezipienten zu. Mit den produktunabhängigen Werbekurzfilmen reagiert die Werbung hierauf mit einer neuen Art narrativer Spots, die sich den Grundsätzen der Werbung widersetzt und sich in ihrer Ästhetik verstärkt dem Kurzfilm zuwendet. Dabei ist die Erzählung, ebenso wie die emotionalen Stimuli, die sie vermittelt, losgelöst vom Werbeobjekt und zeigt unverfälscht auf, welche Werte, Normen, Wünsche und Probleme in der rezipierenden Gesellschaft vorherrschen. Die Untersuchung verdeutlicht, dass der produktunabhängige Werbekurzfilm folglich nicht allein auf der Ebene der Werbung interpretiert werden darf, sondern auch als Filmgattung verstanden werden muss.

Advertising industry --- Advertising strategy --- Aestheticization --- Attention economy --- Cultural studies --- Film studies --- Media studies --- Promotional film --- Short film

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The November 1970 coup that brought Hafiz al-Asad to power fundamentally transformed cultural production in Syria. A comprehensive intellectual, ideological, and political project—a Ba'thist cultural revolution—sought to align artistic endeavors with the ideological interests of the regime. The ensuing agonistic struggle pitted official aesthetics of power against alternative modes of creative expression that could evade or ignore the effects of the state. With this book, Max Weiss offers the first cultural and intellectual history of Ba'thist Syria, from the coming to power of Hafiz al-Asad, through the transitional period under Bashar al-Asad, and continuing up through the Syria War. Revolutions Aesthetic reconceptualizes contemporary Syrian politics, authoritarianism, and cultural life. Engaging rich original sources—novels, films, and cultural periodicals—Weiss highlights themes crucial to the making of contemporary Syria: heroism and leadership, gender and power, comedy and ideology, surveillance and the senses, witnessing and temporality, and death and the imagination. Revolutions Aesthetic places front and center the struggle around aesthetic ideology that has been key to the constitution of state, society, and culture in Syria over the course of the past fifty years.

Politics and culture --- History --- Syria --- Cultural policy. --- Intellectual life --- History. --- Baʿthism. --- Middle East studies. --- Syria. --- aesthetics. --- cultural history. --- film studies. --- intellectual history. --- literary criticism. --- political science.

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Was there experimental cinema behind the Iron Curtain? What forms did experiments with film take in state socialist Eastern Europe? Who conducted them, where, how, and why? These are the questions answered in this volume, the first of its kind in any language. Bringing together scholars from different disciplines, the book offers case studies from Bulgaria, Czech Republic, former East Germany, Hungary, Poland, Romania, and former Yugoslavia. Together, these contributions demonstrate the variety of makers, production contexts, and aesthetic approaches that shaped a surprisingly robust and diverse experimental film output in the region. The book maps out the terrain of our present-day knowledge of cinematic experimentalism in Eastern Europe, suggests directions for further research, and will be of interest to scholars of film and media, art historians, cultural historians of Eastern Europe, and anyone concerned with questions of how alternative cultures emerge and function under repressive political conditions.

Experimental films --- History and criticism. --- Avant-garde films --- Experimental videos --- Personal films --- Underground films --- Motion pictures --- Video art --- Film studies, Experimental/avant-garde film, Eastern European cinema, Postwar film history, Cold War.

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“Mooney’s gendered approach to twentieth- and twenty-first-century male narratives demonstrates, through an impressively varied global range of authors, that the presumed monolith of Western culture—the Patriarchal Order—is fully porous. Just as something meaningful persists outside the significance of language, something uncanny, mythic, matrixial, operates with an affective power all around the presumably foreclosed fortress of the masculine subject. With admirable dexterity, Mooney blends affect studies, psychoanalysis and feminist narratology (to name only a few) into an astonishing anatomization of the anguished yearning between, among and beyond all the fathers and sons stuck in the amber of our totalized and totalizing understanding of ‘masculinity’.” --Garry Leonard, Professor of English, University of Toronto “The Making and Mirroring of Masculine Subjectivities is a broad-ranging taxonomy of masculinity as a relational and ethical phenomenon, exploring virtually every social and literary role a male character could be expected to assume in the modern and postmodern eras. So what, exactly, is Mooney doing here? Nothing less than reevaluating masculinity in global film and literature. She starts with the most obvious manifestation of patriarchal masculinity (paternity), but quickly juxtaposes it with that other classic masculine narrative pattern (the hero story) that appears to require its protagonist to be self-contained, independent, and all but unencumbered by filial ties. This is a book of remarkable ambition; even more remarkable is how well Mooney achieves what she sets out to do.” --Eliot Borenstein, Professor of Russian and Slavic Studies, New York University This book shows how diverse, critical modern world narratives in prose fiction and film emphasize masculine subjectivities through affects and ethics. Highlighting diverse affects and mental states in subjective voices and modes, modern narratives reveal men as feeling, intersubjective beings, and not as detached masters of master narratives. Modern novels and films suggest that masculine subjectivities originate paradoxically from a combination of copying and negation, surplus and lack, sameness and alterity: among fathers and sons, siblings and others. In this comparative study of more than 30 diverse world narratives, Mooney deftly uses psychoanalytic thought, narrative theories of first- and third-person narrators, and Levinasian and feminist ethics of care, creativity, honor, and proximity. We gain a nuanced picture of diverse postpaternal postgentlemen emerging out of older character structures of the knight and gentleman. Susan Mooney, professor of Comparative Literature at the University of South Florida, USA, is author of The Artistic Censoring of Sexuality: Fantasy and Judgment in the Twentieth-Century Novel (2008).

Film --- Comparative literature --- Literature --- literatuur --- anno 1900-1999 --- anno 2000-2099 --- Comparative literature. --- Literature, Modern --- Motion pictures. --- Literature. --- Comparative Literature. --- Twentieth-Century Literature. --- Contemporary Literature. --- Film Studies. --- World Literature. --- 20th century. --- 21st century.