What we witness is that Oshii＇s narrative and patriarchal technology creates the female cyborgs, who simply mirror male heterosexual desire and who are denied agency in their role. Oshii does not imagine any possibil...What we witness is that Oshii＇s narrative and patriarchal technology creates the female cyborgs, who simply mirror male heterosexual desire and who are denied agency in their role. Oshii does not imagine any possibility that might destabilize his newly-imagined order, such as a cyborg that might upset heterosexuality. The absence of any female agency or desire in his cyber fantasy questions its subversive potential. Oshii seems to be immune to feminist theories on posthuman existence that conceptualizes subjectivity outside the gender polarities. Oshii describes a society where high technology only reinforces gender polarities. The representations of women＇s relationship to technology in Oshii＇s film, therefore, are quite problematic; the transgression of boundaries does not work out to reduce or annihilate domination by patriarchal needs and desires. Despite the fact that Oshii denies his female cyborgs a subject position other than that based exclusively in patriarchal fear and desire, his representations mark an ambivalence inherent in cyborg resistance, and feminist politics need to pay attention to such ambivalence.展开更多
One of the most important tools in film analysis is ＂segmentation＂, as defined by the major film theorist Christian Metz, with the help of the ＂great syntagmatic＂ （Grande Syntagmatique）; an array, which will gua...One of the most important tools in film analysis is ＂segmentation＂, as defined by the major film theorist Christian Metz, with the help of the ＂great syntagmatic＂ （Grande Syntagmatique）; an array, which will guarantee the classification of any kind of shot in any kind of film and its consequent decoding. The division into sections allowed a clinical approach of high validity, highlighting the hidden rhymes, the power of repetition, the underlying pulses of the film, ＂decoding＂, in a way, their soul; in essence their meaning. However, by the mid-1970s, the semiotics of cinema was considered outdated and unrealistic, mainly because it failed to solve a problem to which it was believed that it held the key to guarantee the ＂translation＂ of any abstract cinematic form. In this text, we attempt to explore what semiotics can do today and how far ＂segmentation＂ can take us in the face of a particularly ＂opaque＂ film, which is made of fragments of impressions, disparate elements and contrasts, such as The Tree of Life （2011） by Terrence Malick.展开更多
Movies have great power to shape the system of values in contemporary culture. In this paper, we deal with theological reflection of suicide and euthanasia and their presentation as free decisions of individuals shown...Movies have great power to shape the system of values in contemporary culture. In this paper, we deal with theological reflection of suicide and euthanasia and their presentation as free decisions of individuals shown in the movies Seven Pounds and The Sea Inside. Also, we shall present theological reflection on culture of life and culture of death aimed to find common ground for dialogue between two opposed points of view. In the first, introductory part, we will present two views of human freedom, and we will point out that just a theological speech about freedom includes the category of responsibility. On the other hand, what happens often is neglecting categories of resposibility and absolutisation or marginalization of free will. Then we will, as an introduction to the interpretation of films, present global statistics that justify global concerns when it comes to suicide and euthanasia. Next, we will show in central part the concept of quality of life, and we will interpret it through the two mentioned films. In the last section, We conclude, despite opposition between culture of life and death, to offer category of altruism as a starting point for dialogue between the two cultures.展开更多
基金北京市属高等学校高层次人才引进与培养计划项目(The Importation and Development of High-Caliber Talents Project of Beijing Municipal Institutions)<顾客参与企业价值共创的绩效评价与管理研究>(CIT&TCD201304034)的阶段性成果
文摘What we witness is that Oshii＇s narrative and patriarchal technology creates the female cyborgs, who simply mirror male heterosexual desire and who are denied agency in their role. Oshii does not imagine any possibility that might destabilize his newly-imagined order, such as a cyborg that might upset heterosexuality. The absence of any female agency or desire in his cyber fantasy questions its subversive potential. Oshii seems to be immune to feminist theories on posthuman existence that conceptualizes subjectivity outside the gender polarities. Oshii describes a society where high technology only reinforces gender polarities. The representations of women＇s relationship to technology in Oshii＇s film, therefore, are quite problematic; the transgression of boundaries does not work out to reduce or annihilate domination by patriarchal needs and desires. Despite the fact that Oshii denies his female cyborgs a subject position other than that based exclusively in patriarchal fear and desire, his representations mark an ambivalence inherent in cyborg resistance, and feminist politics need to pay attention to such ambivalence.
文摘One of the most important tools in film analysis is ＂segmentation＂, as defined by the major film theorist Christian Metz, with the help of the ＂great syntagmatic＂ （Grande Syntagmatique）; an array, which will guarantee the classification of any kind of shot in any kind of film and its consequent decoding. The division into sections allowed a clinical approach of high validity, highlighting the hidden rhymes, the power of repetition, the underlying pulses of the film, ＂decoding＂, in a way, their soul; in essence their meaning. However, by the mid-1970s, the semiotics of cinema was considered outdated and unrealistic, mainly because it failed to solve a problem to which it was believed that it held the key to guarantee the ＂translation＂ of any abstract cinematic form. In this text, we attempt to explore what semiotics can do today and how far ＂segmentation＂ can take us in the face of a particularly ＂opaque＂ film, which is made of fragments of impressions, disparate elements and contrasts, such as The Tree of Life （2011） by Terrence Malick.
文摘Movies have great power to shape the system of values in contemporary culture. In this paper, we deal with theological reflection of suicide and euthanasia and their presentation as free decisions of individuals shown in the movies Seven Pounds and The Sea Inside. Also, we shall present theological reflection on culture of life and culture of death aimed to find common ground for dialogue between two opposed points of view. In the first, introductory part, we will present two views of human freedom, and we will point out that just a theological speech about freedom includes the category of responsibility. On the other hand, what happens often is neglecting categories of resposibility and absolutisation or marginalization of free will. Then we will, as an introduction to the interpretation of films, present global statistics that justify global concerns when it comes to suicide and euthanasia. Next, we will show in central part the concept of quality of life, and we will interpret it through the two mentioned films. In the last section, We conclude, despite opposition between culture of life and death, to offer category of altruism as a starting point for dialogue between the two cultures.
