The films Catch-22 （1970） and The English Patient （1996） are based on literary novels, and set in the specific time and place of World War II Italy. Each work uses the topic of the war to raise the issues of ident...The films Catch-22 （1970） and The English Patient （1996） are based on literary novels, and set in the specific time and place of World War II Italy. Each work uses the topic of the war to raise the issues of identity and loyalty that loom large during wartime, when nations place huge demands on their people. Both works explore these issues as relevant to their own time. In the 1960s, Catch-22 elevates loyalty to self as a value and challenges the dehumanizing conformity demanded by the bureaucratic states of the postwar world. Twenty-six years later, The English Patient honors loyalty to people rather than to nations. Both movies end in hope, with Yossarian＇s escape in Catch-22, and the end to the European war in The English Patient. This paper argues that Michael Ondaatje＇s novel, The English Patient, goes beyond the issues of identity and loyalty and the hopeful Hollywood ending as seen in the movies. By giving Kip＇s and Hana＇s points of view, which were not shown in the film--the view of a brown man in a world controlled by whites and of a woman who understands the horrors of the atomic bomb--Ondaatje offers the possibilities of a new sense of identity and loyalty, one more in tune with issues of a post-colonial 21 st century world展开更多
The Warsaw Uprising is one of the events key to understanding not only the history of Poland but also Central Europe and World War II. The Uprising shows that the war was not a simple fight of good against evil （as i...The Warsaw Uprising is one of the events key to understanding not only the history of Poland but also Central Europe and World War II. The Uprising shows that the war was not a simple fight of good against evil （as it often perceived in Western Europe） but that in fact three sides, each with different goals, were involved--two totalitarian systems and the world of Western democracies. Memory is a phenomenon that is directly related to the present; our perception of the past is always influenced by the present. The aim of the author＇s presentation is to examine how the collective memory of Polish people about the Warsaw Rising was changing. The author would argue that the remembrance of this event is situated between the communicative memory and cultural memory. To prove it, the author will examine two movies： Sewer （1956） by Andrzej Wajda, Eroica （1956） by Andrzej Munk, and the narrative exhibition of the Warsaw Rising Museum.展开更多
This paper will apply a politically oriented description-critique paradigm developed from the works of Whitehall and Grewell that offers a way to examine works of popular culture, particularly Mars-based science ficti...This paper will apply a politically oriented description-critique paradigm developed from the works of Whitehall and Grewell that offers a way to examine works of popular culture, particularly Mars-based science fiction films. Because of the unique nature of these films, primarily which they are set in a future and distant world, they allow us to explore the socio-political landscape in which they were created from a remove that does not exist in ＂real-world＂ based works. Specifically we will be examining the governing power （in any particular Mars-based science fiction film） that might be either wielded by business interests or governmental interests. Although it is possible to have both a strong government and a strong business in a society, in many Mars-based science fiction films, government and business seem to represent two sides of a continuum. The stronger the business power structure in the film, the weaker the governmental power structure, and vice-versa.展开更多
The purpose of this paper is to engage with Gilles Deleuze＇s work on time and space in cinema as a theoretical trajectory for exploring the video art of Lia Lapithi Shukuroglou. In Cinema 2： The Time-Image （1989）,...The purpose of this paper is to engage with Gilles Deleuze＇s work on time and space in cinema as a theoretical trajectory for exploring the video art of Lia Lapithi Shukuroglou. In Cinema 2： The Time-Image （1989）, Deleuze argues that post-Second World War cinema has been shaped by a historical transformation compelling it to create new signs and images. Centering on the post-war landscape of Cyprus in 1974, the moment of ＂historical transformation＂ in Deleuze is transposed to this national context; examining Lapithi＇s response to the crisis of historical time in its relation to physical spaces. It negotiates a contextualized reading of three videos and argues that they manifest Deleuzian ＂time-images＂. These texts react to the territorialization of real spaces by deterritorializing official national history. Using Martin Jones＇ study, Deleuze, cinema and national identity： Narrative time in national contexts （2006） Lapithi＇s time-images are interpreted as ＂unruly＂ as they resist a linear narrative and destabilize public time. Contrary to Martin Jones＇s view that time-images constitute a temporary deviation from flowing national time, the author argues that Lapithi excavates alternative temporalities in perpetuity; whilst proposing that in the context of Cyprus the deterritorialization of space by time postpones the nation＇s identity.展开更多
文摘The films Catch-22 （1970） and The English Patient （1996） are based on literary novels, and set in the specific time and place of World War II Italy. Each work uses the topic of the war to raise the issues of identity and loyalty that loom large during wartime, when nations place huge demands on their people. Both works explore these issues as relevant to their own time. In the 1960s, Catch-22 elevates loyalty to self as a value and challenges the dehumanizing conformity demanded by the bureaucratic states of the postwar world. Twenty-six years later, The English Patient honors loyalty to people rather than to nations. Both movies end in hope, with Yossarian＇s escape in Catch-22, and the end to the European war in The English Patient. This paper argues that Michael Ondaatje＇s novel, The English Patient, goes beyond the issues of identity and loyalty and the hopeful Hollywood ending as seen in the movies. By giving Kip＇s and Hana＇s points of view, which were not shown in the film--the view of a brown man in a world controlled by whites and of a woman who understands the horrors of the atomic bomb--Ondaatje offers the possibilities of a new sense of identity and loyalty, one more in tune with issues of a post-colonial 21 st century world
文摘The Warsaw Uprising is one of the events key to understanding not only the history of Poland but also Central Europe and World War II. The Uprising shows that the war was not a simple fight of good against evil （as it often perceived in Western Europe） but that in fact three sides, each with different goals, were involved--two totalitarian systems and the world of Western democracies. Memory is a phenomenon that is directly related to the present; our perception of the past is always influenced by the present. The aim of the author＇s presentation is to examine how the collective memory of Polish people about the Warsaw Rising was changing. The author would argue that the remembrance of this event is situated between the communicative memory and cultural memory. To prove it, the author will examine two movies： Sewer （1956） by Andrzej Wajda, Eroica （1956） by Andrzej Munk, and the narrative exhibition of the Warsaw Rising Museum.
文摘This paper will apply a politically oriented description-critique paradigm developed from the works of Whitehall and Grewell that offers a way to examine works of popular culture, particularly Mars-based science fiction films. Because of the unique nature of these films, primarily which they are set in a future and distant world, they allow us to explore the socio-political landscape in which they were created from a remove that does not exist in ＂real-world＂ based works. Specifically we will be examining the governing power （in any particular Mars-based science fiction film） that might be either wielded by business interests or governmental interests. Although it is possible to have both a strong government and a strong business in a society, in many Mars-based science fiction films, government and business seem to represent two sides of a continuum. The stronger the business power structure in the film, the weaker the governmental power structure, and vice-versa.
文摘The purpose of this paper is to engage with Gilles Deleuze＇s work on time and space in cinema as a theoretical trajectory for exploring the video art of Lia Lapithi Shukuroglou. In Cinema 2： The Time-Image （1989）, Deleuze argues that post-Second World War cinema has been shaped by a historical transformation compelling it to create new signs and images. Centering on the post-war landscape of Cyprus in 1974, the moment of ＂historical transformation＂ in Deleuze is transposed to this national context; examining Lapithi＇s response to the crisis of historical time in its relation to physical spaces. It negotiates a contextualized reading of three videos and argues that they manifest Deleuzian ＂time-images＂. These texts react to the territorialization of real spaces by deterritorializing official national history. Using Martin Jones＇ study, Deleuze, cinema and national identity： Narrative time in national contexts （2006） Lapithi＇s time-images are interpreted as ＂unruly＂ as they resist a linear narrative and destabilize public time. Contrary to Martin Jones＇s view that time-images constitute a temporary deviation from flowing national time, the author argues that Lapithi excavates alternative temporalities in perpetuity; whilst proposing that in the context of Cyprus the deterritorialization of space by time postpones the nation＇s identity.
