As a leisure activity with pretense to entertainment and aesthetic stimulation, cinema can be seen as the antithesis of boredom. Few—if any—spectators afford the cinema in order to be bored. On the contrary, cinema suspends the desire to fill time
Slow Cinema and the Virtues of the Long Take in Once Upon a Time in Anatolia
From Ennui to Contemplation
This paper discusses the recent growing presence of the everyday in comics from different traditions, works where ordinary situations and apparently insignificant events take the place of extraordinary worlds and adventure stories. Drawing predominantly from the French perspective of Everyday Studies (Lefebvre, Blanchot, Perec, De Certeau), the ambiguous dynamics of the everyday will be here studied in relation to the contrasting concepts of boredom and strangeness. This paper addresses not only comics that bring these two attitudes as a theme, but also those which manage to awaken emotional responses in the reader, specifically ennui and contemplation. The aim here is to identify different strategies proper to the language of comics capable of arousing everyday moods in the reading experience, particularly in those cases where the temporal dimension is manipulated, reinforcing a sense of slowness.
Robert R. Clewis
How should a film's appearing dated affect critical evaluation of it? This article distinguishes enjoyment of a film from evaluation and describes how films undergo positive, negative, and comic dating. The affective responses of nostalgia, boredom, and humorous amusement, respectively, are associated with each of these kinds of dating. Insofar as these affective responses are unintended and thus beyond the control of the filmmakers, they have little influence on the film's artistic value, which is understood in terms of the filmmakers' achievement. Conversely, these states do affect levels of enjoyment. By recognizing this, evaluators can rationally resolve disagreements that are grounded on these unintended affective responses to dated films. Several films and film reviews are examined, yet no attempt is made to give close readings or analyses of the films discussed.
Olivier Schrauwen’s Arsène Schrauwen beyond Expectations of Autobiography, Colonial History and the Graphic Novel
Benoît Crucifix and Gert Meesters
carelessness of Arsène displays traits of a boredom typical of some graphic novels. 66 Working within that paradigm, Schrauwen nevertheless brings in references to popular comics and displays a rootedness in classic comics culture. 67 For one thing, Schrauwen
Aurélie Godet, Andre Thiemann, Fabiana Dimpflmeier, Anne-Erita Berta, Giuseppe Tateo, Alexandra Schwell, Greca N. Meloni and Lieke Wijnia
Jean-François Bert and Elisabetta Basso (eds) (2015), Foucault à Münsterlingen. À l’origine de l’Histoire de la folie (Paris: Éditions de l’EHESS), 285 pp., €24, ISBN 9782713225086.
Čarna Brković (2017), Managing Ambiguity: How Clientelism, Citizenship, and Power Shape Personhood in Bosnia and Herzegovina (Oxford: Berghahn), 208 pp., $120.00/£85.00, ISBN 9781785334146.
William A. Douglass (2015), Basque Explorers in the Pacific Ocean (Reno: University of Nevada Press), 230 pp., $24.95, ISBN 9781935709602.
Peter Naccarato, Zachary Nowak and Elgin K. Eckert (eds) (2017), Representing Italy through Food (London: Bloomsbury Academic), 269 pp., £85, ISBN 9781474280419.
Bruce O’Neill (2017), The Space of Boredom: Homelessness in the Slowing Global Order (Durham: Duke University Press), 280 pp., $25.95, ISBN 9780822363286.
Tomasz Rakowski (2016), Hunters, Gatherers, and Practitioners of Powerlessness: An Ethnography of the Degraded in Postsocialist Poland (Oxford: Berghahn), 332 pp., $130.00/£92.00, ISBN 9781785332401.
Antonio Sorge (2015), Legacies of Violence: History, Society, and the State in Sardinia (Toronto: University of Toronto Press), 232 pp., $24.61, ISBN 9781442627291.
Helena Wulff (ed.) (2016), The Anthropologist as Writer: Genres and Contexts in the Twenty-First Century (Oxford: Berghahn), 288 pp., $130.00/£92.00, ISBN 9781785330186.
inferences about a character’s interior life. His findings about the location of information relevant for such moments—within or across episodes—is striking and counterintuitive. Emre Çağlayan offers a provocative take on the aesthetic virtues of boredom in
Francis Ford Coppola’s Vision of Boyhood
seems much more applicable to the Rusty-James of the novel rather than the Rusty-James of the film. At the film’s conclusion, Rusty-James is not lost. Indeed, he has transcended beyond the boredom and alienation experienced by his brother; unlike
A Naturalized Aesthetics and the Challenge of Modernism
discomfort, or the bewilderment or the anger or the boredom” that Leo Steinberg (1972: 5) suggests we feel when faced with an unfamiliar artistic style. In what follows, I discuss one section of Chapter 6 of Film, Art, and the Third Culture , which deals
give some idea of its special character, one could do worse than to note that it induces in a viewer, at one and the same time, a state of utter fascination and utter boredom, its stark repetitions and studied leisureliness exercising an effect on the
Johannes Görbert, Russ Pottle, Jeff Morrison, Pramod K. Nayar, Dirk Göttsche, Lacy Marschalk, Dorit Müller, Angela Fowler, Rebecca Mills and Kevin Mitchell Mercer
travel have been eclipsed by boredom and inconvenience, but also because “To put it simply, as more and more humans take journeys (or ‘connect’) via mobile devices and personal computers, these smaller-scale technologies may end up trumping actual flight