Catalogue Search | MBRL
Are you sure you want to remove the book from the shelf?
{{itemTitle}}
21
result(s) for
"Galt, Rosalind"
Sort by:
The Animal Logic of Contemporary Greek Cinema
The Lobster in no way resists or refuses \"objectification or anthropomorphisation of the animal\"-we are explicitly told that Bob the dog is our protagonist David's brother and should be read as such.2 Animals consistently signify insofar as they are former humans.[...]just as the incestuous and violent family in Dogtooth is legible to many critics as a metaphor for Greece's oppressive polis, reading The Lobster allegorically subordinates its onscreen animals to a human narrative in which they can only signify their own cultural exploitation.3 It is not a film like Le Quattro Volte/ Four Times (Michelangelo Frammartino, IT/DE/CH, 2010), which attempts to animate non-human points of view and subjective experiences, nor is it even like social media cat videos that bring feline life worlds into our quotidian screen experience.There is no equitable relation in this world, either between species or among humans, and both animals and humans embody the violent stakes of this social horizon.[...]although the films depict non-human animals participating in human-centered narratives, they also pose questions about the status of the animal in cinema.'\"24 For Lippit, the animal is not just any metaphor but an originary one.[...]he writes, \"The animal brings to language something that is not part of language and remains within language as a foreign presence.[...]these human-nonhuman hybrids resonate with Baker's work on \"botched taxidermy\" in the sculptures of Angela Singer, or even with Wolfe's analysis of genetically manipulated animals and their transformation into transgenic art.32 In each of these cases, form enables a displacement of humanist ways ofthinking and seeing.
Journal Article
The spirits of African cinema: redemptive aesthetics in Mati Diop's Atlantics
In Mati Diop's Atlantics (2019), the ghosts of young Senegalese men who have drowned trying to sail to Europe return to haunt their girlfriends in Dakar. The film's mise-en-scène is suffused with images and sounds of the ocean. The Atlantic forms the horizon of narrative possibility for the film's desperate young men, but it also forms the cinematic material of a stranger and more joyful accounting of precarity, loss, and redemption. Here, Galt argues that style in Atlantics is legible as an articulation of Black histories, anticolonial aesthetics, diasporic identities, and queer feminism. Its antirealist aesthetic of ghostly haunting encodes both an atmosphere of loss and a reparative politics of Black life.
Journal Article
David Bowie's Perverse Cinematic Body
First there is the explicit content of pornography, then cinema itself as perversion: the apparatus gives us access to acts and bodies distant from us in space and time.[...]his physical disruption is in excess of this role, as is demonstrated by fan response to the film, which is closely focused on the erotic effect of his costume and sexually provocative presence.4 In the behind-the-scenes documentary Inside the Labyrinth (Des Saunders, 1986), Bowie admits that he sees Jareth as a reluctant Goblin King, adding, \"One gets the feeling he'd rather be down in Soho or somewhere like that.\"[...]that's as stiff upper lip as it gets, revealing bravery as a facade precisely by doubling down on its gestural mechanisms, but it's also a betrayal of his inability to sustain that mode of masculinity.In Merry Christmas, Labyrinth, and beyond, we see in Bowie's stardom the construction of a cinematic switch, whose fluidity enables the spectator to enjoy multiple positions in relation to identification, desire, gender, and sexual power. · 1Julie Lobalzo-Wright, \"David Bowie, the Extraordinary Rock Star as Film Star,\" in David Bowie: Critical Perspectives, ed.
Journal Article
Claire Denis and the World Cinema of Refusal
[...]she argues, “[t]he overarching Liberal distinction between the economy, the state, civil society, and the family consistently shaped, and ultimately disabled progressive-left politics by separating class politics––the critique of economic inequality––from identity politics––protest against exclusions from national citizenship or civic participation, and against the hierarchies of family life” (7). [...]Denis first studied economics before she went to film school, and her pithy take on that time was that “[i]t was completely suicidal. For Williams, the film is about love for the father, embodied in Lionel, as the textual father, in Ozu, as the cinematic father, and indeed in cinema itself as a paternal authority shaping Denis the auteur. [...]he observes, “[b]y deregulating and romancing the Father… [...]in Tahiti, Louis is attended by a Tahitian nurse who is framed to look like a Gauguin painting.
Journal Article
The Suffering Spectator?: Perversion and Complicity in Antichrist and Nymphomaniac
[...]especially significant in this context, she argues that in their sadomasochistic pleasures something potentially destabilizing can happen.6 I find Hansen's reading so productive here because of her broader insistence on cinema as an apparatus and an experience. Crosscutting is deployed in both films to pose a central provocation: women who enjoy sex are a betrayal of motherhood. [...]Antichrist begins with the scenario that prompts the narrative of grief, where She is too busy enjoying sex with her husband to notice their infant son fall out of the window. [...]it also begins the construction of the provocative composition in this scene, repeatedly combining these affective registers in a single image. [...]the scene includes shots of first the baby monitor then the actual baby, large and in focus in the foreground with the adults seen out of focus in the background of the frame, immersed in sex. Nymphomaniac repeatedly doubles the image's affect through juxtaposition of foreground and background, forcing the spectator to see one thing through the perspective of another. [...]when Joe's much-loved father dies, we see his dead body in the background of the image framed by Joe's legs.
Journal Article
Impossible Narratives: The Barcelona School and the European Avant-Gardes
This article investigates the Barcelona School related to European leftist cultures of the 1960s, and in particular the intersection of critical theory with the political avant-gardes. Although the School's films seldom left Spain, the movement offers a crucial exemplar of the European avant-gardes' aesthetic and political impurity. The Barcelona School certainly lacks stylistic cohesion, but it has also been criticized as apolitical. This article argues that the School demonstrates an essential aspect of the European avant-gardes: by promiscuously combining forms, it speaks to (and from) the contested territories of European film culture. Theoretical debates on Marxism and culture linked the project of engaged cinema to the contested direction of the European left. And avant-gardist forms mixed uneasily with art cinema, exploitation genres and the global claims of Third Cinema. It is this rich mulch that accounts for the incoherence but also the complexity of the European avant-gardes. With its many international and multicultural links, the Barcelona School demonstrates the importance of the transnational to any understanding of European avant-garde film cultures.
Journal Article