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Sökning: hsv:(HUMANIORA) hsv:(Annan humaniora) hsv:(Kulturstudier)

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2311.
  • Heide, Markus, Dr. docent, 1966- (författare)
  • Rainer Werner Fassbinder, Ali: Fear Eats the Soul (1974)
  • 2019
  • Annan publikation (övrigt vetenskapligt/konstnärligt)abstract
    • The director Rainer Werner Fassbinder (1945-82) shaped 1970s German cinema like very few others. Ali: Fear Eats the Soul (Ali: Angst essen Seele auf) stands out as a particularly significant contribution to New German Cinema because of its minimalistic cinematography, the acting that references the Brechtian alienation effect, and the focus on highly relevant social controversies in post-war West German society. However, unlike most auteur cinema of the time, Fassbinder employs a melodramatic emotional guidance of the audience through shifts in camera perspective and dialogue. The romance between a Moroccan “guest worker” and an elderly German cleaner was inspired by Douglas Sirk’s melodramas of the 1950s that Fassbinder became interested in in his later period of filmmaking (Reimer 1996). Fear Eats the Soul, in certain ways, is a remake of Sirk´s All That Heaven Allows (1955) that tells the love story of a wealthy widow and her significantly younger gardener in a New England small town. The social environment of the well-respected family strongly objects to the marriage across class boundaries. However, Fassbinder’s melodrama reshapes the plot by adding racialized and national difference as central issues that make the relationship controversial. Moreover, he uses German society as a setting, a society that is shown to be still struggling with the history of its Nazi-past while at the same time having to come to terms with the presence of migrant workers and racist anti-Arab sentiment, which intensified after the PLO-linked attack on the Israeli team at the Munich summer Olympics in 1972 (which the film refers to a few times). Even decades later the complex filmic treatment of anti-migration sentiments, anti-Arab prejudices, and racism still seems to be highly relevant as a critical analysis of not only German but European societies that currently face new populist nationalism and anti-refugee politics. Fear Eats the Soul can be read as a symbolic treatise on mechanisms of social control and exclusion and on the destructive power of ideologies defending community cohesion and notions of purity in modern societies. The metaphorics of the guest and the host mold this disillusioning and painful love story.
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2312.
  • Heide, Markus (författare)
  • Repossessing Border Space : Security Practice in North American Border Art
  • 2016
  • Ingår i: Comparative American Studies. - : Informa UK Limited. - 1477-5700 .- 1741-2676. ; 14:3-4, s. 191-203
  • Tidskriftsartikel (refereegranskat)abstract
    • This paper discusses how the visual arts engage in representing border crossing experiences and, more speci cally, how art interrupts border security practices and their rituals. After introducing the history of North American border art and di erent approaches to issues of border crossing, the paper will concentrate on speci c works. It argues that the selected works of art perform interventions that confront the public with the borderlands as a place of violence and death. At the same time, artists are shown to employ di erent artistic strategies of symbolically re-possessing the borderlands for undocumented migrants who – when crossing it – experienced it as an existential obstacle. 
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2313.
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2314.
  • Heide, Markus, Dr. docent, 1966- (författare)
  • The Idea of the Western Hemisphere : Imperial Knowledge Production on the Americas in Travel Writing of the Early Nineteenth Century
  • 2019
  • Ingår i: Cultural Mobility and Knowledge Formation in the Americas. - Heidelberg : Universitätsverlag Winter. - 9783825369484 - 9783825378448 ; , s. 31-50
  • Bokkapitel (refereegranskat)abstract
    • The chapter explores the emergence and construction of the Americas as a space of historical, social and cultural unity as well as a locale of specifically New World, enlightened knowledge production. Heide discusses how this political and symbolic space shapes travel reports of the early 19th century and how they comment on, and imagine, national differences and notions of US nationalism. The analysis of three reports, authored by Zebulon Pike, Henry Ker, and Henry Marie Brackenridge shows that what the historian Gretchen Murphy (2005) termed the “hemispheric frame” functions as a multifaceted concept that serves such different purposes, such as (1) marking the difference between Europe and the Americas, (2) claiming anti-colonial and creole commonalities, (3) endorsing US superiority and (4) legitimating early endeavors of US empire building.
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2315.
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2316.
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2317.
  • Heide, Markus (författare)
  • Writing/Eating Culture
  • 2003
  • Ingår i: <em>Eating Culture</em>. - Heidelberg : Universitätsverlag Winter. - 3825315193 ; , s. 1-16
  • Bokkapitel (refereegranskat)
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2318.
  • Heith, Anne (författare)
  • Enacting Colonised Space : Katarina Pirak Sikku and Anders Sunna
  • 2015
  • Ingår i: Nordisk Museologi. - 1103-8152. ; :2, s. 69-83
  • Tidskriftsartikel (refereegranskat)abstract
    • During 2014 the Swedish city of Umeå was a European Capital of Culture, with the signature Umeå2014. In Umeå’s application there was a strong focus upon the Sámi and the fact that Umeå is situated in Sápmi. Elements from Sámi culture were used in the programme and in the marketing of Umeå as a cultural capital. Bildmuseet, a museum for contemporary visual art and a part of Umeå University, was one of the institutions that contributed to the programme by commissioning works for solo exhibitions from eight artists from Sweden, Norway and Finland. The exhibitions were shown in a series called Eight Sami Artists. !e article explores the function and implication of Sámi elements in Umeå2014 with a specific focus on two of the exhibitions shown at Bildmuseet: Katarina Pirak Sikku’s Nammaláhpán and Anders Sunna’s Area Infected. The role of the museum for problematising colonising narratives, as well as the artists’ use of emotions in the production of Sámi counter narratives are themes explored.
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2319.
  • Heith, Anne (författare)
  • Fluid Identities and the Use of History: The Northern Lights Route and the Writings of Bengt Pohjanen
  • 2007
  • Ingår i: Inter: A European Cultural Studies Conference in Sweden 11-13 June 2007. ; , s. 227-242
  • Konferensbidrag (övrigt vetenskapligt/konstnärligt)abstract
    • The article highlights the impact of agency and context in analyses of the theme of identification in texts produced on the levels of aesthetics, ethnic mobilisation, region-building and the European project. The connection between cultural heritage and identity is discussed with examples which elucidate the role of literature in nation-building in the period of modernity and industrialisation. Texts by the Tornedalian author Bengt Pohjanen are foregrounded as part of the ethnic revival emerging in the nineteen-eighties. Swedish examples of the use of history are contrasted against the discourse of the Council of Europe’s Cultural Routes which is part of a supranational project aiming at the construction of a European identity in the political project of preparing the ground for European citizenship. The conclusion presented is that it is not viable to produce a “European identity cultural package” which runs the risk of conflating differences related to aspects such as language, ethnicity, gender, worldview and religion. Identities are fluid, they exist on various levels and shift in response to changing contexts. Sometimes they develop in overlapping discourses. One way of dealing with this is to think of identification as a constant negotiation of symbolic and concrete borders.
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2320.
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