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Fantasies of the Good Life

Responding to Rape Culture in 13 Reasons Why

Cameron Greensmith and Jocelyn Sakal Froese

of violence in the world. The fantasy of the good life in a simplified form persists, and it is to this fantasy that the girls in 13RW cling. Henceforth, we will use the phrase good life to refer to this fantasy, and neoliberal good life to

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Patrick Ffrench

Sartre's recollection, in Les Mots, of his first visit to the cinema is a multi-layered and ambivalent text through which Sartre proposes a number of interlocking arguments: concerning the contrast between the 'sacred' space of the theatre and the non-ceremonial space of the cinema, between the theatre as associated with paternal authority, and the cinema as associated with a clandestine bond with the mother. But the text also sets up a quasi-sociological account of the public Sartre encounters in the cinema itself as revealing to him the truth of the social bond, a truth he expresses with the term 'adherence', and which he says he only rediscovered in his experience of being a prisoner in the Stalag in 1940. Rather than the basis of a sociological account of the social bond, which would seem at odds with Sartre's social philosophy, I read this as the expression of a desire for physical proximity. The space of the cinema thus develops a fantasy, and this is in continuity with the role of the cinema in the evolution traced in Les Mots, in which it is described as instigating a withdrawal into imaginary life and an indulgence in daydreaming. Through reference to Christian Metz and to Roland Barthes, whose essay 'En sortant du cinéma' is proposed as a parallel and a response to Sartre, I suggest that the 'true bond' of adherence which Sartre encounters is an unconscious rather than an epistemological truth.

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Sara Dickey

Much commentary on Indian cinema unreflectively equates film with fantasy. Writing in this vein may depict audiences as emotionally and cognitively undeveloped, while it represents those critics and viewers who prefer realism as sophisticated, rational, and mature. Those scholars of Indian cinema who examine fantasy and realism in depth, however, often draw different conclusions about both cinema and its consumers. Some note the close relationship between fantasy and reality, and thereby represent audiences as more savvy than do those who superficially link film with fantasy. Others analyze the privileging of cinematic realism as an element of socio-political ideology, or examine viewers' own application of realist criteria to films, thus further complicating the image of Indian cinema consumers as irrational and infantile. In continuing to pose these concepts as a dichotomy, however, cinema scholars reproduce some of the assumptions that underlie the standard usage in film criticism.

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Francesco Sticchi

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.

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Fantasy in Practice

Projection and Introjection, or the Witch and the Spirit-Medium

Michael Lambek

What is the relationship of psychoanalysis to questions of dignity, self-respect and respect for others?1 How, ultimately can we link Freud with Aristotelian concerns for eudaimonia – human flourishing – and for phronesis – sustained moral judgement?2 If Freud rightly tempers Aristotle’s optimism, how might Aristotelian questions illuminate and complement Freudian forays into personhood? If repression is defined as a state of disconnection and disavowal, of nonacknowledgement of one’s own thoughts and acts, then it is morally and politically problematic. Repression generates projection, in which accountability is displaced onto others. However, I argue that in some instances, and given the appropriate cultural means, it may provoke a dialectical return. Such introjection provides the opportunity for gradual reconnection, recognition and, ideally, the acknowledgement of responsibility.

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Günther Jarfe

read on and learn: ‘In between records he would often talk about his Paris years’. 8 And now we read about a long stroll through the city during which the protagonist indulged his drowning fantasies: ‘… the water would cover him completely, and he

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Katrin Sieg

, artists have at their disposal a rich cultural archive of fantasies that historically propelled and ideologically sustained economic and political processes of encounter and engagement, from the age of empire and colonialism, to European integration after

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How to Survive the Postfeminist Impasse

Grace Helbig’s Affective Aesthetics

Catherine McDermott

YouTube tutorial, or how-to video, and explore how she affectively deflates the fantasy of fun-loving confident femininity constructed by postfeminist genres. Through an analysis of Helbig’s affective aesthetics, I explore the ways in which how-to videos

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Nonrecording the “European refugee crisis” in Greece

Navigating through irregular bureaucracy

Katerina Rozakou

bureaucracy appears as an aspiration of power and a key element of the fantasy about the state as a regulating entity. As a result, despite the fact that irregular bureaucracy is the norm, all agents involved—state functionaries, border crossers, civil society

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Departheid

The Draconian Governance of Illegalized Migrants in Western States

Barak Kalir

based on racialization, segregation, and deportation of undesired subjects, I argue Departheid, too, is animated by a sense of moral superiority that is rooted in a fantasy of White supremacy ( Hage 2000 ). 2 This sense of moral superiority justifies