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
Recurring Fieldwork in the Brazilian Candomblé
Setting out from fieldwork experiences in the ritual of the Brazilian Candomblé, this article aims to understand temporality in different ways. The significance of 'unfocused presence' in the field is discussed by way of the concept of 'deep hanging out'. The boredom experienced by the fieldworker is analyzed in relation to sentiments expressed by the people involved in ritual and the fieldworker's changing emotions over time, as previous experiences influence how time spent waiting is perceived. In ritual as well as in the interaction between fieldworker and the people in the field, temporality is deeply related to sociality and the aesthetics of social rhythm. It is concluded that the fieldworker is drawn into the time-geography of the field in a joint chore ography of social interaction.
Changing conceptions of boredom, progress, and the future among young men in urban Ethiopia, 2003–2015
), caused time to expand rather than contract, producing a sensation similar to Western notions of boredom. In this article I explore the interrelationship between economic shifts, boredom, and conceptions of progress. I argue that boredom emerges
Marginality, disengagement, and the doing of nothing
Martin Demant Frederiksen
“If whatever we do leads to the wasteland, why not just sit tight, do nothing?” —Tom Lutz, Doing Nothing Boredom, in its widest definition, is a condition of not having anything in particular to do and of being disengaged from one’s surroundings
Capturing the impress of boredom and inactivity
“What boredom,” Dani sighed. “And every day is like this.” His friend Razvan nodded slowly in agreement, drawing deeply on his cigarette. “There’s no work. There’s no money. There’s nothing to do but sit here.” We sat atop a shallow flight of stairs
Rethinking the class politics of boredom
Marguerite van den Berg and Bruce O’Neill
Nearly a decade after the global financial crisis of 2008, this thematic section investigates one way in which marginalization and precarization appears: boredom. Until recently, the topic of boredom has been treated more as an object of
Place, Desire, and Country Girlhood
This article explores the figure of the bored country girl that appears widely in popular culture but also in girls studies and rural studies through ethnographic research in Australian country towns. While the presumption that country girls lack resources and opportunities for entertainment and leisure is in many ways empirically valid, this problem's articulation in girls' lives also offers an important perspective from which to ask what boredom and cultural needs mean, relative to each other, for both rural studies and girls studies. This article suggests that girlhood's relation to policy discourse and urbanized modernity can be productively reconsidered through the lived experience of country girls.
Bruce O'Neill, Helene Maria Kyed, Pauline Peters, Ruy Llera Blanes and Hege Toje
Martin Demant Frederiksen, Young Men, Time, and Boredom in the Republic of Georgia (Philadelphia, PA: Temple University Press, 2013), 214 pp. ISBN 9781439909188.
Didier Fassin, Enforcing Order: An Ethnography of Urban Policing (Cambridge: Polity Press, 2013), 320 pp. ISBN 9780745664798.
Ørnulf Gulbrandsen, The State and the Social: State Formation in Botswana and Its Pre-colonial and Colonial Genealogies (New York: Berghahn Books, 2014), 343 pp. ISBN 9781782383253.
Franco La Cecla and Piero Zanini, The Culture of Ethics, trans. Lydia G. Cochrane (Chicago: Prickly Paradigm Press, 2013), 119 pp. ISBN 9780984201044.
Madeleine Reeves, Border Work: Spatial Lives of the State in Rural Central Asia (Ithaca, NY: Cornell University Press, 2014), 292 pp. ISBN 9780801477065.
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.
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.