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Cinematic political thought: narrating race, nation, and gender

New York: New York University Press (1999)

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  1. Performing Identity: The Public Presentation of Culture and Ethnicity among Filipinos in Hawai'i.Roderick N. Labrador - 2002 - Cultural Values 6 (3):287-307.
    This paper interrogates the relationship between place and identity among Filipinos in Hawai'i. In the paper, I analyze Pag-ibig sa Tinubuang Lupa, one of numerous events and productions in Hawai'i and elsewhere in the United States that celebrated the centennial anniversary of Philippine independence from Spain in 1998. I argue that Pag-ibig sa Tinubuang Lupa illustrates one of the ways in which recent immigrants, particularly young Filipinos perform narratives which produce and distribute ideas and ideologies about community, culture and identity. (...)
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  • The hegemony of hegemony.Valentine Jeremy - 2001 - History of the Human Sciences 14 (1):88-104.
    A distinctive characteristic of Laclau and Mouffe’s theory of hegemony is its insistence on the denial of an essence or ground of the subject. This element of their theory is derived from their notion of antagonism, in which a relation with a ground is brought into question by revealing its contingency. This article argues that the political dimension of this argument makes sense only in the context of Laclau and Mouffe’s notion of modernity. However, the universalizing of modernity as the (...)
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  • Local Motions: Surfing and the Politics of Wave Sliding.Eric Ishiwata - 2002 - Cultural Values 6 (3):257-272.
    Tapping into the politics and rhythms of surfing, this paper embodies a “set” of waves that seeks to erode the sedimentation of Hawaii's modern political orders. By foregrounding a more fluvial and dynamic sense of the political, this paper treats surfing not only as a heterotopic site of agency, but also as an opening for an “other” kind of politics.
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  • Dramatization as method in political theory.Robert Porter Iain Mackenzie - 2011 - Contemporary Political Theory 10 (4):482.
    The aim of this article is to give an account of a methodological link between drama and political theory. This account is drawn primarily from the early philosophical work of Deleuze. Following Deleuze, we will refer to it as ‘the method of dramatization’. We will argue that dramatization is a method aimed at determining the quality of political concepts by ‘bringing them to life’, in the way that dramatic performances bring to life the characters and themes of a play-script. We (...)
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  • Political theory and film: From Adorno to Žižek.Matthew Flisfeder - 2019 - Contemporary Political Theory 18 (4):255-258.
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  • Sex, gender and heteronormativity: Seeing |[lsquo]|Some Like It Hot|[rsquo]| as a heterosexual dystopia.Terrell Carver - 2009 - Contemporary Political Theory 8 (2):125.
    Billy Wilder's classic film ‘Some Like It Hot’ prefigures Judith Butler's concept of performativity in relation to sex, gender and sexuality. Butler introduced this in Gender Trouble , demonstrating that sex, gender and sexuality are naturalized effects of citation and repetition. In that text she explains that denaturalization is visibly demonstrated by drag. Later in Bodies that Matter she argues that drag in ‘Some Like It Hot’ does not denaturalize heterosexuality, but rather fortifies it. What then for Butler divides denaturalizing (...)
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  • The Bureau and the Realism of Spy Fiction.Pauline Blistène - 2022 - Open Philosophy 5 (1):231-249.
    This article addresses the issue of realism in relationship to contemporary serial fiction. Drawing on The Bureau, it argues that spy TV series are “realistic” not because they correspond to reality but because of their impact on reality. It begins by giving an overview of the many ways in which “realism,” in the ordinary sense of a resemblance with reality, served as the working framework for The Bureau’s team. It then identifies three distinct types of realisms in the series. The (...)
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  • A stirring of cultures: The contest for place, belonging and identity in Australia.Garry Stewart Henderson - unknown
    The creative work, The Wounded Sinner, and the accompanying exegesis, form a volume of writing that considers aspects of place and belonging in a contemporary Australian context through the agencies of Aboriginality, migration and homelessness. While these issues are present and, at times, contentious in the structure of modern Australian society they have roots in past eras of empire building, racism and the movement from agrarianism to industrialisation. The characters are drawn from my own experiences and, as such, validate both (...)
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