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Contemporary Cinema and Neoliberal Ideology
- 2018
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Samlingsverk (redaktörskap) (refereegranskat)abstract
- In this edited collection, an international ensemble of scholars examine what contemporary cinema tells us about neoliberal capitalism and cinema, exploring whether filmmakers are able to imagine progressive alternatives under capitalist conditions. Individual contributions discuss filmmaking practices, film distribution, textual characteristics and the reception of films made in different parts of the world. They engage with topics such as class struggle, debt, multiculturalism and the effect of neoliberalism on love and sexual behaviour. Written in accessible, jargon-free language, Contemporary Cinema and Neoliberal Ideology is an essential text for those interested in political filmmaking and the political meanings of films.
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- Kristensen, Lars
(författare)
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Bicycle cinema : Machine identity and the moving image
- 2017
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Ingår i: Thesis Eleven. - : Sage Publications. - 0725-5136 .- 1461-7455. ; 138:1, s. 65-80
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Tidskriftsartikel (refereegranskat)abstract
- This paper examines the relationship between identities and the bicycle as portrayed in films. The analysis finds that taking the viewpoint of the bicycle emancipates the bicycle from being subjected to closure, as the constructionists would have it, and thus articulates the differences with which the bicycle can communicate to its rider. The paper examines the bicycle as depicted in three films: Premium Rush (Davis Koepp, 2012), A Sunday in Hell (Jørgen Leth, 1977) and Life on Earth (Abderrahmane Sissako, 1998). It engages with the concept of ‘interpretative flexibility’ and the development of the bicycle, as examined by Wiebe Bijker and others, and argues that the interpretative flexibility of bicycles does not cease just because the high-wheeler was abandoned and the ‘safety’ bicycle was universally accepted. The fight for the role of the bicycle continues and the bicycle is subject to constant transformations in order to reconstruct it according to human needs. Andrew Feenberg’s modified constructivism is applied to re-examine the technical development of the bicycle, claiming that technology is dependent on specific social structures as well as human agency. The paper argues that just as social structures are negotiable and unfixed at any point in time, the bicycle too is never neutral but remains negotiable and unfixed. Consequently, since the bicycle constantly ‘speaks’ back to the user, there is never closure in the technical development of the bicycle. Drawing on the writings of Bruno Latour and the Deleuzian idea of assemblages, the bicycle and its rider are considered as an organic entity that is constantly forged and un-forged. Understanding the rhetoric of the bicycle machine helps the convergence of a bicycle becoming with becoming a rider, marking the bicycle as equal to its rider. Viewed in this way, the hierarchy of agency collapses and a crystallization emerges out of the rider and bicycle entwinement.
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- Kristensen, Lars
(författare)
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Early Non-Fiction Filmmaking in the Baltic Region : Identity, Ethnography and Spectacle
- 2014
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Konferensbidrag (övrigt vetenskapligt/konstnärligt)abstract
- Ethnographic photography and painting precede cinema (Griffith, 2002), but moving images substantially increases the intersection of knowledge regimes and entertainment. The ethnographic film extends the Eurocentric mastery of the gaze and enlarges the colonial enterprise with camera technology. It is not until recently that vision and mastery, with regard to race, representation and visual cultural production, have been analysed within a cross-cultural framework (Pratt, 1992; Stam and Shohat, 1994). This approach has proven successful when dealing with the ethnographic image’s enmeshment of scientific data and popular amusement (Rony, 1996), because it focuses on form and authority, unravelling cinema’s most intricate relationships, namely the interplay between filmmaker, cinematic style and audience. One of the key questions in this research is precisely the issue of authority, as raised in connection with the construction of primitivism, e.g. Robert Flatherty’s Nanook of the North (1922), or questioning power in documentary narratives, e.g. Luis Buñuel's Las Hurdes (1933). To what degree is the ethnographic film of the Baltic region invoking the ‘unequal looking’ regime (Ginsburg, 2002), which has been paradigmatic for filmmakers to follow or break with (as with Las Hurdes)? The paper will focus on Soviet and Estonian anthropological films. For example, in Journey through Setoland (1913), Estonia’s first filmmaker, Johannes Pääsuke, depicted the cultural peculiarities and traditions of the Setos, a small ethnic group populating the borderlands between Estonia and Russia, or Soviet documentarist Vladimir Erofeyev, who in turn was very much influenced by the pre-revolution ethnographic filmmaker Fyodor Bremer (Izvolov, 1996). Filmmakers, like Konstantin Märska, continued this tradition where cinematography was sensitive to ‘different human types’ (Kärk, 2010). The paper will argue that these early non-fiction filmmakers shaped the future tradition of documentary filmmaking in not only Estonia and Russia but throughout the Baltic region.
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- Kristensen, Lars
(författare)
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Eastern Europe proves to be a Nordic mirage
- 2019
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Ingår i: Studies in Eastern European Cinema. - : Routledge. - 2040-350X .- 2040-3518. ; 10:1, s. 84-86
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Recension (övrigt vetenskapligt/konstnärligt)abstract
- Eastern Europe proves to be a Nordic mirageBook Review of Beyond Eastern Noir: reimaging Russia and Eastern Europe in Nordic cinemas, authored by Anna Estera Mrozewicz, Edinburgh University Press, 2018, 256p., ISBN-978-1474418102
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