This article explores the representation of sexuality and vision in Elfriede Jelinek's Die Klavierspielerin [The Piano Teacher] (1983) and Michael Haneke's La Pianiste (2001). In its focus on the relation between Mother and Erika, Die Klavierspielerin brings right to the fore the grounding of both sexuality and visuality in the ongoing ties between mother and child. Displacing that novel onto the screen, Haneke redoubles its focus on vision. It is in the convergence between the two that we can begin to explore what may be described as the maternal dimension of the various technologies of vision that have come to pervade the everyday experience of looking—their effect on our ways of understanding the relations between visuality and selfhood, visuality and mind.
Lissa Weinstein and Banu Seckin
When Craig, an oft-humiliated and unsuccessful street puppeteer, discovers a portal into the body of John Malkovich, he finds that fusion with a live “celebrity puppet” offers a solution to the dilemmas of being human— imperfection, vulnerability, and death. In this fantastical context, the filmmakers raise questions about intention, identity, authorship, and the wisdom of elevating narcissism over Eros. Although a desire to transcend the limitations of the mortal body may be ubiquitous, the unique solution offered in Being John Malkovich is the apparent triumph of this narcissistic fantasy, rather than an acceptance of reality. This article first explores the film's use of the universal imagery of narcissism and then examines how technology, which allows widespread access to a visually oriented media culture, and changes in the meaning of fame have altered the expression of narcissistic fantasies, as well as the anxieties that accompany their fulfillment.
Girls and Technologies of Nonviolence
, the application of these technologies to addressing pressing global concerns such as violence toward girls and women (in universities, on the streets, in schools, and so on) is vastly under realized. Indeed, much of the work to date on mobile and
Claudia Mitchell and Jacqueline Reid-Walsh
The fifty-fifth session of the Commission on the Status of Women took place at the United Nations Headquarters in New York from 22 February to 04 March 2011. Representatives from Member States, UN entities and Economic and Social Council (ECOSOC)-accredited NGOS from all regions of the world attended the session. Amongst the many themes and issues discussed, several were critical: as a priority area, the access of girls and women to education, training and science; as a review theme, the elimination of all forms of discrimination and violence against girls; and as an emerging theme, sustainable development and gender equality. These themes and issues highlight the significance of literacies, literatures and technologies (old and new) in the lives of girls, but they also signal the presence (and absence) of other texts such as policies and policy documents in relation to such areas as, for example, Teachers’ Codes of Conduct, and Water and Sanitation that affect the lives of girls around the world.
Film theory has been much involved with psychology, especially with the viewer's perceptual and emotional response to the images on the screen. Psychoanalytic and cognitive film theories, though not exactly kindred spirits, have so far dominated psychological film studies. At the present time, technology offers neuroscience methods to explore the brain that open up the discourse on the mind. This article explains ways in which neuroscience, and its study of the brain, can extend our understanding and theory of film by exploring three areas of our response to cinema. Although the perception of motion is a complicated business, the phenomenon of implied motion suggests the brain's readiness to find movement even when there is none and links together many of the same perceptual mechanisms we use when viewing film and also the world outside the theater. Attention, focus, and binding are essential for us to make sense of the vast amount of stimuli that bombard our eyes. They explain what we see and do not see when viewing film and also the way film technique controls our understanding of the action on the screen. Finally, the argument about what we feel and do not feel when watching the characters on the screen may receive some clarification by neuroscience's investigation of "mirror neurons" in our brain.
Thoughts on Textbook Analysis, Teaching, and Learning
History textbooks are sources of collective memory and can thus be read as "autobiographies" of nation-states. History textbooks used to be anchored in national traditions, ultimately legitimizing the rationale of nation-states. In questioning the sole validity of national history, social movements since the 1960s and the process of globalization became the seedbeds for the deconstruction of master narratives. Because of their instrumental character as teaching tools, textbooks in general allow researchers to decipher the normative structures of societies. The information revolution since the 1970s has dethroned textbooks as the sole means of instruction in classrooms, and led to the development of different approaches for the analysis of textbooks. Today's globalizing world demands new reference frames for teaching and learning. In the second part of this article, eight clusters that are pertinent for orientation in the perplexing realities of the present are drafted: challenges resulting from the revolution in information technologies; the changing world of work; contradictory tendencies in globalizing processes; the impact of a new turbo-capitalism with its de-legitimizing impact on political systems; unequal developments leading to an ever increasing inequality on a global as well as on local levels; the increase of worldwide migration and its impact on classrooms; contested memories in societies that reposition themselves in a world that has grown together and re-fragmented at new seams; and finally, the crisis in orientation and values and the personal costs resulting from the perplexities and insecurities of the world.
Between Movies and Mind, Affective Neuroscience, and the Philosophy of Film
technologies such as virtual reality I believe his assessment of the role of simulation in moral imagination is the next problem that cognitive media studies and those of us working at the intersection of film and philosophy need to tackle. Alongside Smith
Dustin William Louie
conducted in Western Canada ( Louie 2016 ) points to social media being responsible for this large-scale recruitment into the exploitative sex trade. Using technologies of nonviolence offers a promising framework for conceptualizing educational approaches to
101 Technology Fun. While the findings are not intended to be representative of everyone who identifies as a girl, they do reveal some of the ways in which contemporary media texts are appropriated, negotiated, rejected, and remade by female youth
On Value Judgments
Laura T. Di Summa-Knoop
to technological innovations and increasingly refined and powerful equipment (think of the products of companies such as Red and Arri, and affordable camera stabilization technologies such as MōVI). Such innovations are, in turn, the product of