"The Aesthetic of Montage in the Films of Kamei Fumio"
This paper approaches the problem of cultural exchange in cinema by considering the work of a prominent Japanese documentary filmmaker Kamei Fumio (1908-1987). Prior to becoming a film director, Kamei spent two and a half years living in the Soviet Union (1929-1931) and later continued to play an important role as a cultural mediator between the two countries. While it is widely acknowledged that Kamei’s interest in editing was prompted by his visit to the USSR, it has never been entirely determined just how his study abroad experience influenced his future filmmaking.This paper aims to identify the points of contiguity between Kamei’s films and his supposed Soviet “inspirers” by conducting a close textual analysis of Kamei’s wartime documentaries: Shanghai (1938), Peking (1938), Fighting Soldiers (1939) and Kobayashi Issa (1941) – and comparing them to influential Soviet films to which Kamei was exposed in 1929-1931.
This paper casts a look on media aspects of the anti-war-on-terror struggle in western countries. A peculiar warfare, the “war on terror” that officially begun in 2001, is a low-density global warfare, fought in different internal and external fronts . Within a liberal, increasingly post-political social terrain, where social affairs are objects of expert management lacking public accountability and legitimacy, the role, status and the identity of the contemporary citizen is in decline. New media “affordances” offer critical possibilities for challenging hegemonic political discourses, and addressing political alternatives for a broad range of social problems; a re-invention of citizenship through the construct of a new (collective) political subject is central in the reinvention of democracy today. Discourse analysis, drawing reflexively on post-structuralist discourse theory and critical discourse analysis, is deployed in the study of counter-war-on-terror discourses in different documentaries critical to the “war on terror”. Analysis looks at different constructions of “us” and “them” in the context of counter-hegemonic discourses today. Identity is central in the engagement, participation and orientation of citizens today. Identity is central in organising a collective centre and in initiating subjectivity to fragmented liberal, postmodern individuals.
A survey of the Soviet and Russian parts of the Archive in Bremen; a catalogue of the Soviet/Russian documents: pp. 97-134.
This book examines shifts in the meaning of montage in different historical situations and in various artistic media, including literature, cinema, theater, and visual arts. Its scope includes literature and art of Soviet Russia (both official and unofficial), Germany, France, and the United States from 1910 to the 2010s. While this book does not provide a cohesive historical sketch, it delivers comparative studies on artists whose works problematize common understandings of the avant-garde in art history.
This study argues that different types of artistic montage correspond to different conceptions of history, dividing the history of montage aesthetics and techniques into three periods: (1) constructing, (2) post-utopian, and (3) historicizing or analytic montage. This book intends to demonstrate how the revolutionary montage aesthetics of the 1920s was reinterpreted and adapted for critical analysis of utopian consciousness in unofficial literature and art of the 1960s and 1970s. This change became possible because unofficial art, unlike Soviet socialist realism, was connected with the experiments of European and American radical modernism and postmodernism.
In this paper, I offer a reading of Shaun Monson’s documentary Earthlings to analyse ideological assumptions and philosophical contradictions the arguments for vegetarianism presented in this film. I approach the documentary using the concept of the social contract between the film and the viewer. The contract includes the following three statements: firstly, the process of film perception leads to a particular emotional reaction; secondly, this reaction implies that the viewer takes on a particular ethical stance; thirdly, this ethical stance becomes a precondition for action. The film’s authors naturalize the connection between these three positions.
In addition, I analyse the philosophical assumptions that form the basis of the argument for vegetarianism. Those assumptions are the following: the differences between animals and humans are not relevant for ethics and appeal to fact can lay the foundation for ethical imperatives. I argue that the first assumption is logically wrong and that the second assumption contains hidden speciesism even though it is supposed to combat it. I also argue that the film’s authors propose the viewer no detailed description of alternative attitudes to animals while those explanations are able to help the viewer to take an ethical stance and act accordingly regarding currently accepted ways of dealing with animals.
The paper is based on the research that was funded by the Faculty of Philosophy of the National Research University Higher School of Economics in 2013.
This paper examines how in the era of transition to sound Japanese filmmakers aspired to export the image of their country abroad.
A survey of the Samizdat Archive of the Institute of Eastern Europe in Bremen. Introductory texts and annotated catalogue.
This important new book offers the first full-length interpretation of the thought of Martin Heidegger with respect to irony. In a radical reading of Heidegger's major works (from Being and Time through the ‘Rector's Address' and the ‘Letter on Humanism' to ‘The Origin of the Work of Art' and the Spiegel interview), Andrew Haas does not claim that Heidegger is simply being ironic. Rather he argues that Heidegger's writings make such an interpretation possible - perhaps even necessary.
Heidegger begins Being and Time with a quote from Plato, a thinker famous for his insistence upon Socratic irony. The Irony of Heidegger takes seriously the apparently curious decision to introduce the threat of irony even as philosophy begins in earnest to raise the question of the meaning of being. Through a detailed and thorough reading of Heidegger's major texts and the fundamental questions they raise, Haas reveals that one of the most important philosophers of the 20th century can be read with as much irony as earnestness. The Irony of Heidegger attempts to show that the essence of this irony lies in uncertainty, and that the entire project of onto-heno-chrono-phenomenology, therefore needs to be called into question.
The article is concerned with the notions of technology in essays of Ernst and Friedrich Georg Jünger. The special problem of the connection between technology and freedom is discussed in the broader context of the criticism of culture and technocracy discussion in the German intellectual history of the first half of the 20th century.