In recent years, more attention has been paid to the cultural contributions of the Vietnamese diaspora as its representatives become better integrated in French and American society. To continue shedding light on this community, the present article explores the efforts of a French cartoonist of Vietnamese heritage, Clément Baloup, who uses postmemorial narrative in comics to transcribe and transmit the varied experiences of the overseas Vietnamese of the '1.5 generation'. While challenging current understandings of transnationalism, hybridisation and patterns of acculturation, this article demonstrates the value of studying the cultural signifier highlighted in Baloup's creations – ethnic foodways, which are sometimes deemed insignificant on account of their associated biological functions. I argue that foodways are symbolically important because they determine insider/outsider status with respect to the group, they facilitate interpersonal communication and the act of testifying and their significance is constantly evolving to reflect new sociopolitical contexts and environments.
In this article, I analyze Park Chan-wook’s The Handmaiden (Ah-gassi, 2016) by addressing its puzzle narrative and complex interactive dynamics as embodied and affective categories. In particular, I employ Mikhail Bakhtin’s theory of the chronotope together with Giuliana Bruno’s work on media theory and Steffen Hven’s notion of the embodied fabula to show how the film, in all its aesthetic complexity, enacts a creative and transformative experience based on the continuous subversion of the power dynamics I describe. Furthermore, I demonstrate how this semantic and experiential reconstruction couples viewers’ alignment with the two main characters in their rebellion against patriarchal power and obsessive male fantasies. Ultimately, then, in this article I aim to connect the experiential and affective engagement of the film with a critical reading of power dynamics as ecologically situated structures to be challenged and revolutionized through a creative process of becoming.
Joanne Sayner, Isabelle Hertner, and Sarah Colvin
Anniversaries provide moments for taking stock. In the wake of the so-called Supergedenkjahr of 2014—the year of numerous significant commemorative events for Germany, including the fall of the Berlin Wall and of German unification—it seems particularly timely to engage with debates about what it means to be German. Such retrospection is now an established and widespread part of the German habitus, and the number of organized moments of contemplation—moments that say as much about the present as the past—has multiplied since unification. Within Germany and beyond, the question of what it means to be German is frequently being asked by those who want to define local, national and international agendas for the future and to redefine agendas of the past. Representing an individual, a community or a nation involves the construction of narratives and identities, a process now often informed by sophisticated understandings of image and audience, of beliefs and branding. In fact, the numerous facets that make up an image of “Germany” have, for the most part, been perceived affirmatively; in recent international polls Germany has been the country seen as most likely to have an overwhelmingly positive influence on the world.
Hunting is an important basis for conservation, but hunters are surprisingly scarce in global networks of environmental advocacy and governance, and hunting management systems are not given the attention they should receive. This article reveals the messages promoted by hunting advocates through an analysis of museum representations and interviews in order to understand the limitations of and basis upon which further integration of hunters into conservation advocacy circles worldwide could occur. Museums feature representations that reflect the cultural elucidations of their host organization. This article will show how the International Wildlife Museum—maintained by Safari Club International—produces messages of the inseparability of humans from nature, purposive management of nature, dependence upon global capitalism and predation, and the neutrality of scientific knowledge. Through these messages a narrative space for the management of wildlife is produced that attempts to unite the commodification and conservation of nature, namely, “sustainable hunting”. This article concludes by identifying contradictions among the messages of sustainable hunting that may limit hunting advocates' ability to work with other stakeholders to further improve hunting management systems.
This article discusses the ways sound design in film guides the emotional affect of both sound and pictures on the viewer. Following the theory of conceptual metaphors, the article proposes an approach to "audiovisual metaphors," analyzing emotional and embodied aspects of film sound. It states that pictures and sound have to share emotional and physical characteristics that can be merged by sound designers conceptually and metaphorically in order to improve the emotional and physical affects of a fictional character or object in a film. Thus it argues that the synchresis (audiovisual fusing) of pictures and sound is most effective when embodied image schemata are used by sound design that guide, on an unconscious level, our perception of film. In audiovisual metaphors, image schemata as "force" or "balance" are projected on sound and pictures that create an audiovisual and emotional gestalt of the objects. Using examples from Stanley Kubrick's The Shining and Francis Ford Coppola's Rumble Fish, the article shows how the emotional attributes of fictional character, spaces, and objects can be conceptualized metaphorically, via their very materiality, by sound design—attributes that are perceived prominently on a presymbolic and preconscious level by the viewers but that communicate complex cultural and narrative meanings.
David Coleman, Tico Romao, Cedric Villamin, Scott Sinnett, Tanya Jakobsen, and Alan Kingstone
This article summarizes an evidence-based study that adapts a breakpoint approach to investigate how elements of television narratives (two half-hour episodes of Alfred Hitchcock Presents: “Lamb to the Slaughter” and “The Case of Mr. Pelham”) were considered meaningful to viewers. Actions considered meaningful were found to be high in informational and emotional content, and primarily consisted of plot points where changes in narrative direction and protagonist's goals were perceived as interpretively salient. Viewers also registered as meaningful those scenes that were character centered and provided subjective access to the main characters. The article reviews segmentation behavior in the relevant film theory literature to contextualize study, and concludes by summarizing other potential applications of an adapted breakpoint approach beyond the investigation of dramatic structure.
Talking to Patricia J. Williams Following the Reith Lectures.
Richard H. King, Sharon Monteith, and Patricia J. Williams
This year’s Reith Lecturer was Patricia J. Williams, a lawyer and Professor of Law at Columbia and author of the award-winning The Alchemy of Race and Rights (1993) and The Rooster’s Egg: The Persistence of Prejudice (1995) as well as numerous essays and articles in law journals and in The Village Voice, The Nation and Ms. Magazine. Professor Williams was invited to speak in this the European Year Against Racism but she found herself and the topic of her lectures the subject of heated media debate in Britain. Tabloids and broadsheets alike reviled her as ‘a militant black feminist who thinks all whites are racist and the family is wrong’ (Daily Mail) and her lectures were even described as ‘mumbo-jumbo’ in the Daily Telegraph. Britain’s newspapers and Melvyn Bragg on Radio 4’s ‘Start the Week’ combined to demonise the first black woman speaker in the 49-year history of the Reith Lectures.
Race, Masculinity and Closure in Ernest Gaines's Fiction
Suzanne W. Jones
In A Rage For Order: Black/White Relations in the American South Since Emancipation, Joel Williamson explores the conjuncture of race, manhood, and violence peculiar to the American South. He argues that for southern white men the traditional Victorian masculine role of provider and protector was directly linked with violence because of plantation society’s ‘necessity of controlling a potentially explosive black population.’ As early as the seventeenth century, a patrol system, made up of masters and overseers enforced the laws of slavery. By the nineteenth century, the duty of patrolling was extended to all white men, who had authority over all blacks (even free blacks) and over whites who conspired with blacks. Thus a system for controlling slaves became a practice ‘of all whites controlling all blacks … a matter of race.’ The martial role white men created for themselves became entrenched, particularly in the last decades before the Civil War as slavery came under attack by northerners from without and by rebellious slaves from within. Whites created a complementary stereotype of black people as ‘simple, docile, and manageable’ who if properly handled were like children, but if improperly cared for became animals. Williamson argues that this ‘Sambo’ figure was a figment of white wishful thinking, which functioned ‘to build white egos’ while masking their fears of black rebellion.
Mary Ellen Lamb
Included in a work revealingly titled Terrors of the Night, Nashe’s reminiscence from childhood reveals the extent to which he had become a full communicant in the superstitious mysteries shared by the old women of his childhood. As Adam Fox has noted for this and other passages, ‘At the juvenile level… the repertoire of unlearned village women coincided for a brief but significant period with that of the educated male elite’. As Nashe’s evocative title suggests, however, these repertoires did more than coincide. The ‘witchcrafts’ that Nashe valued enough as a boy to learn by rote not only lost their usefulness: they became objects of contempt. The more common use of the phrase ‘old wives’ tales’ to refer to the lore of unlearned women conveys a similar sense of stigma. In this essay, I discuss various texts, finally focussing on Peele’s Old Wives Tale, to explore the implications of this shared repertoire within the wider context of a culture whose antagonism to illiterate old women participated in ideologies deeply formative to early moderns and their literatures.
Unanimously celebrated as an authentic representation of French railroad workers' resistance against the Germans during the Occupation, René Clément's La Bataille du rail (The Battle of the Rails, 1945) was a valuable piece of ideological capital in the wake of France's liberation. Through a close reading of the film's production and reception, this article shows that the film's heroic blueprinting of the Resistance was the result of mediation between two opposing points of view: that of the Marxist Left, which sought to portray the Resistance as belonging to the working class, and that of the Gaullists, who were intent on promoting the myth of an idealized "True France" without class or ideological divisions and united in its opposition to the Germans.