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
This article highlights the striking similarity of underlying social forms on both sides of the 1950s Cold War divide. Urban China in the early People＇s Republic is interpreted as a variant of Fordism, a coherent soc...This article highlights the striking similarity of underlying social forms on both sides of the 1950s Cold War divide. Urban China in the early People＇s Republic is interpreted as a variant of Fordism, a coherent social system that assumed hegemony across the globe in the postwar period. Under Fordism, bureaucratic mediation of a rationalized production process was brought together with a new regime of inclusive and homogeneous work and culture, all of which supported a vision of national unity and industrial development. Such an understanding may prove useful in working through difficulties in theorizing this period and in pursuing new directions for research.展开更多
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.
文摘This article highlights the striking similarity of underlying social forms on both sides of the 1950s Cold War divide. Urban China in the early People＇s Republic is interpreted as a variant of Fordism, a coherent social system that assumed hegemony across the globe in the postwar period. Under Fordism, bureaucratic mediation of a rationalized production process was brought together with a new regime of inclusive and homogeneous work and culture, all of which supported a vision of national unity and industrial development. Such an understanding may prove useful in working through difficulties in theorizing this period and in pursuing new directions for research.
