
AB94: submit Normal
(March/April 2011)
Featured during this issue:
inventive Director: Pedro Inoue
Micah White on a possible way forward for activism
Mikkel Borch-Jacobsen at the risks of bipolar medications
Manfred Max-Neef on barefoot economics
David Orrell questions the mythology at the back of neoclassical economics
We ask “What is normal?”
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Extra info for Adbusters, Issue 94: Post Normal
Example text
While the turn to industrial history in film studies led to a rigorous body of scholarship on the inseparability of Hollywood’s modes of production and its narrational forms, and to some such work on various national cinemas, art cinema as such has rarely been investigated in this way. Too often, the usage of the term “art cinema” assumes an unchanging and obvious object. ”30 This lack of historical analysis is an issue that this volume aims to address, but there is something more at stake here than simply a gap in the scholarship.
Audiences who might have little specific prior interest in Romanian culture or film history are drawn to the films as the latest must-see festival prizewinners. The experience offered is not located in director, star, or nationality but is constructed as a similar pleasure to that of previous “new” art cinemas. And the thrill of discovery for those audiences eagerly consuming the next big thing repeats a fantasy at the heart of art cinema: that of making the transformative discovery of neorealism.
Indeed, we find the ready acceptance of bourgeois conceptions of autonomous art to be a troubling facet of much discourse on art cinema. In this book, we have tried to remain sensitive to how elitist and ethnocentric impulses may haunt the category of art cinema. 35 Introduction 19 Claims and Conclusions While most previous accounts of art cinema have tended to privilege either extratextual, industrial features or histories of style and form, the approaches in this book represent a move away from purely institutional or formalist definitions.
Adbusters, Issue 94: Post Normal
by Ronald
4.4