Documenting the dark side : fictional and documentary treatments of torture and the 'war on terror' -- History lessons : what audiences (could) learn about genocide from historical drama -- The art of disappearance : remembering political violence in Argentina and Chile -- Uninvited visitors : immigration, detention and deportation in science fiction -- Architectures of enmity : the Israeli-Palestinian conflict through a cinematic lens.

Documenting the dark side : fictional and documentary treatments of torture and the 'war on terror' -- History lessons : what audiences (could) learn about genocide from historical drama -- The art of disappearance : remembering political violence in Argentina and Chile -- Uninvited visitors : immigration, detention and deportation in science fiction -- Architectures of enmity : the Israeli-Palestinian conflict through a cinematic lens.

This article advances mutism as a creative mode and conceptual tool to treat silence in cinema. Whereas mutism can be a productive concept for the study of auditory and visual absence in a broader...

The Israel-Palestine conflict stands at the heart of tensions in the Middle East and, more than that, at the heart of tensions between the West and the Islamic world. It is sometimes suggested that the resolution of this conflict will require forgiveness on the part of both Palestine and Israel. However, what such forgiveness would involve has not been adequately explored. Our aim is to remedy this gap in the discussion. Our consideration of Palestinian political forgiveness will address three (...) principal questions. The first is a definitional question: what is political forgiveness? Our answer to this question will involve, among other things, articulating an account of collective emotions. The second question is an agential question: is there a Palestinian agent capable of forgiving Israel? Finally, there is the normative question: should Palestinians forgive Israel? (shrink)

The present article focuses on the case of the 2012 hunger-strike of Palestinian prisoners in Israeli jails. We analyze the ethical dilemma involved in the way the Israeli medical community reacted to these hunger-strikes and the question of force feeding within the context of the fundamental dual-loyalty structure inherent in the Israeli Prison Services—system. We argue that the liberal perspective that focuses the discussion on the dilemma between the principle of individual autonomy and the sanctity of life tends to (...) be oblivious to the asymmetrical relation of power that characterizes the prison system and to the socio-political context in which hunger-strikes take place. Emphasizing hunger-strikes as political acts implies that health practitioners’ conducts cannot be analyzed only through the prism of clinical medical ethics. It requires a public health ethics’ approach, an approach that understands health in the context of the complex relationship between society, state, organizations, communities and individuals. The authors are both academics and volunteers in Physicians for Human Rights—Israel thus our analysis is based both on sociological and public health ethics principles and on the continuous work and advocacy for the right to health of prisoners. (shrink)

This article examines the Palestinian women's autonomous movement that emerged in the early 1990s, emphasizing changes in the sociopolitical context to account for the movement's emergence, dynamics, and challenges. Using interviews obtained during fieldwork in Palestine in 1992, 1993, and 1994, and employing historical and archival records, I argue that Palestinian feminist discourses were shaped and influenced by the sociopolitical context in which Palestinian women acted and with which they interacted. The multiplicity of views voiced by the (...) women I interviewed attests to the impossibility of homogenizing and flattening women's experiences, while the range of actions and strategies employed by different groups and organizations calls attention to contextual limitations on social action. (shrink)

The article discuses the education issue as a central and decisive factor inshaping, reproducing and representing individual and collective identity.I present the Palestinian case study because the Palestinian people are atthe present in a very critical period of constructing their national identityand education is part of the nation-building project. I have chosen to studytwo periods in the life of Palestinians, 1972 during the revolution and thepresent 1999 the start of the establishment of an independent Palestinianentity and to examine (...) how the economic, social, political conditions etc.affect the formation of the educational philosophy of those periods; aneducational philosophy that will affect the formation of education and theformation of private and collective consciousness. (shrink)

This article examines popular cinema’s interactions with digital culture, focusing on cinema and social structure. A product of technological and social developments, digital culture has introduced the creation of cyberspace, the emergence and spread of social media, and the formation of virtual communities. This article focuses on a specific period (1980 – 2010) to examine the evolution in cinema of portrayals of digital culture. The analysis includes four influential films: WarGames (1983, by John Badham), Perfect Blue (1997, (...) by Satoshi Kon), Pulse (2001, by Kiroshi Kurosawa), and Life in a Day (2011, by Kevin Macdonald, Loressa Clisby, and Tegan Bukowski). The article provides a guide to popular cinema's interaction with and use of the possibilities offered by digital culture, revealing how the four selected films reflect digital culture themes. Each film demonstrates different aspects and dynamics of digital culture at a particular time, offering a unique look at that period's social and technological landscape through its portrayal of technological developments, human relations, cultural values, and social norms. Each film evaluates the impact of the digitization process on cinema from different perspectives, depicting how cinema adapts and responds to technological changes. (shrink)

알랭 바디우는 젊은 시절부터 영화에 대해 지속적인 관심을 보여왔고, 많은 글을 통해 예술로서의 영화를 옹호하였다. 바디우는 자신의 예술론을 비미학(inesthetique)이라는 이름으로 정리하였는데, 이것은 예술 밖에서 예술에 대해 사유하는 것이 아니라 예술 작품 안에 뛰어들어서 작품이 만들어내는 진리를 통해 철학을 구성하는 작업이다. 그러나 바디우에게 모든 예술 분야가 같은 지위를 가지는 것은 아니다. 특히 영화는 연극처럼 진정한 운동이나 변화를 일으키는 것이 아니라, 운동의 환영을 만들 뿐인 것이라고 말하여 영화의 부족함을 드러낸다. 그러나 다른 한편으로 바디우는 일곱 번째 예술인 영화가 다른 예술들의 덤(plus-un)이라고 말하며, 영화만이 (...) 20세기의 유일한 대중 예술이라고 평가함으로써 영화를 가장 우월한 예술로 평가한다. 최근의 저작에서 바디우는 헤겔 미학의 연장선상에서 영화를 사유한다. 이런 관점에서 영화는 모든 예술을 종합하는 최후의 예술이다. 영화에 대한 바디우의 사유는 그의 철학에서 가장 독특한 개념인 벗어남(soustraction)을 잘 보여준다. (shrink)

Supporters of a Palestinian right of return assume that Israeli Jews bear responsibility for both the past and present suffering of the Palestinian refugees. Accordingly, the Palestinian claim for return is a demand to realize this responsibility by way of the return of the refugees to their places of origin or to uninhabited regions in the Land of Israel/palestine. The purpose of this article is to examine the responsibility of the Israeli Jews for the Palestinian return (...) of the refugees in light of the question of the justice of Zionism. Part I presents various approaches rejecting or affirming Zionism. The subsequent parts investigate the implications of the disparities between these approaches rejecting/affirming Zionism and Zionism’s actual history as it unfolded in terms of Jewish responsibility for the Palestinian plight and the question of Palestinian return. I argue that some of the approaches to Zionism are irrelevant to the dispute over the Palestinian right of return as it is understood within the framework of Israeli internal discourse and the Israeli-Palestinian dialogue. However, my main point is that those approaches rejecting/ affirming Zionism that are relevant, though they may vary in their implications for the scope of Jewish responsibility for Palestinian suffering, nevertheless lead to very similar conclusions with respect to discharging that responsibility by way of Palestinian repatriation. (shrink)

Fernando Coni Campos é considerado um dos maiores roteiristas da nossa cinematografia, autor de filmes importantes como 'A Viagem Ao Fim do Mundo', 'Ladrões de Cinema' e 'O Mágico e o Delegado'. 'Cinema - Sonho e Lucidez' é uma reunião da reflexão sobre cinema do cineasta, morto em 1988, acrescida de alguns contos que mostram todo o seu domínio em contar histórias.

Boredom, in cinema as well as in our everyday experience, is usually associated with a generalised loss of meaning or interest. Accordingly, boredom is often perceived as that which ought to be avo...

It is often suggested that the resolution of the Israel-Palestine conflict will require forgiveness on the part of both Palestinians and Israelis. This paper looks at what such forgiveness might involve for one party to the conflict. It begins by offering an account of political forgiveness in which both collective actions and collective emotions play a significant role. It then explores whether there is a collective Palestinian agent capable of forgiving as well as whether it would be permissible for (...) such an agent to forgive. It concludes with a discussion of key conditions that, if met, could facilitate Palestinian forgiveness. (shrink)

In the course of 20th-century European history Jews and Arabs, as well as Jews and Muslims, were put in the position of a ‘civilizational’ conflict that is not only political but also quasi-metaphysical. This article examines an impact of the conflict on the attitudes towards anti-Semitism and Islamophobia and considers Islamophobic implications of the ‘new anti-Semitism’ discourse. A thesis of the text is that both the struggle against anti-Semitism and Islamophobia and the one against the mechanism creating, in certain circumstances, (...) a kind of negative feedback loop between them requires not only opposing the anti-Jewish and anti-Muslim prejudices, but also a deep, critical reconsideration of the concepts of Europeanness that lie at their foundation. The author suggests that a good starting point for this reconsideration might be the postcolonial reading of the Jewish intellectual tradition, especially the one focusing on the figure of the Mizrahi Jew. (shrink)

In this paper, I develop a unified account of cinematic representation as primary depiction. On this account, cinematic representation is a distinctive form of depiction, unique in its capacity to depict temporal properties. I then explore the consequences of this account for the much-contested question of whether cinema is an independent representational art form. I show that it is, and that Scruton’s argument to the contrary relies on an erroneous conception of cinematic representation. CiteULike Connotea Del.icio.us What's this?

This article examines the breathing and breathless body in Camille-Vidal Naquet’s Sauvage. Respiration has been characterised by Peter Sloterdijk, in the first volume of his Sphären trilogy, as the first extension of the womb. The air we breathe is a “nobject” that escapes the subject-object relation, like the placenta before it. Sauvage engages the respiratory, alongside the placental and the acoustic, as three pre-oral “nobjects” for exploring what Leo Bersani has termed the body’s “somatic receptivity”. Duration, framing, lighting, and camera (...) movements cultivate a spectator’s receptivity to these “nobjects” and participate in acts of sphere formation. This provides a framework for thinking about how cinema itself might function as a “nobject”: a connective medium or sphere that supports and augments a subject, providing a field of protection and attention. However, the film’s presentation of breathlessness also signals a blocked receptivity, an inability to take in, introducing friction and resistance to the discourse of immediacy and exchange that characterises philosophical reflections on breath. Breathlessness has implications for thinking about bodily autonomy and forms of freedom that speak to the queer politics of Sauvage, as well as questions about movement and stillness, animation and lifelessness, that reflect back on the medium of film itself. (shrink)

This chapter examines the rabbinic Judaism from the Palestinian context. It suggests that it is not possible to provide any unambiguous framework which will offer clues to the context, or contexts, in which the extraordinary corpus of rabbinic works was composed. It concludes that the composition of the rabbinic literature could only take place in a society marked by a complex interplay of beliefs, ethnic identities and languages and identifies the most common points of reference in Jewish religious writing.

Film theory and its emphasis on political and ideological readings of films dominated much of cinema studies in the '70s and '80s. Since then, in response to what some view as the shortcomings of theoretical approaches, a variety of other methods have emerged or reemerged. In many ways, as Nico Baumbach argues, "Anti-Grand Theory" has won the day but its victory is, in part, based on misreadings or simplifications of '70s film theory. In particular, Baumbach views contemporary critical approaches (...) to film as abandoning the crucial and productive ways in which theory understands the relationship between cinema, politics, and art. Baumbach does not advocate a return to the orthodoxies of the seventies but rather reads the work of Ranciere, Badiou, and Agamben as providing new ways of thinking about the history of film theory and how film creates its own way of thinking about politics. Moreover, at a time when digital technologies are asking us to think of film and the film image in new ways, the work of these thinkers once again asks, "What is Cinema?" but in a more expansive sense that can help us account for transformations in how moving images are produced, distributed, and exhibited in the twenty-first century. (shrink)

In Selfless Cinema?, Sarah Cooper maps out the power relations of making, and viewing, documentaries in ethical terms. The ethics of filmmaking are often examined in largely legalistic terms, dominated by issues of consent, responsibility, and participantse(tm) or film-makerse(tm) rights, but Cooper approaches four representative French film-makers e" Jean Rouch, Chris Marker, Raymond Depardon, and Agns Varda e" in a far less juridical way, drawing on the ethical philosophy of Emmanuel Levinas. She argues that, in spite of Levinase(tm)s iconoclastic, (...) anti-ocular thinking, his concept of visage is richly applicable to film, and especially to documentary. (shrink)

In a conference from 1987 on ‘What is the Creative Act?’, Deleuze argues that a fundamental and mysterious affinity subsists between the work of art and the act of resistance. Starting from this statement, Agamben in his echoing text ‘What is the Act of Creation?’ presents an idea of resistance co-essential to power itself. Each power, in other words each possibility for human beings of doing something, is connected to their impotence, not necessarily understood as total absence of power, but (...) as potential to not-do. Therefore, in the very creative act one detects something that resists and opposes the critical possibility of a retreat, of an emptiness that is itself a form of potentiality. The essay picks things up from here. The act of resistance, described in terms of dynamis, as power which is always in contact with its power-not-to, is identified as the core element of modern cinema images, notably in Italian neorealism. (shrink)

The research aims to identify the trends of Palestinian higher educational institutions in Gaza Strip as learning organizations from the perspective of senior management in the Palestinian universities in Gaza Strip. The researchers used descriptive analytical approach and used the questionnaire as a tool for information gathering. The questionnaires were distributed to senior management in the Palestinian universities. The study population reached (344) employees in senior management is dispersed over (3) Palestinian universities. A stratified random sample (...) of (182) employees from the Palestinian universities was selected and the recovery rate was (69.2%). Statistical analysis (SPSS) program was used for analysis and processing the data. The study found the following results: There is an agreement about: the importance of the focus of "organizational structure" with an average approval, the importance of "technological infrastructure" axis with high approval, and the importance of "strategic" with an average approval. The results concluded that the study sample agree on the importance of "organizational dimension" highly. The results showed that the sample believe that the "strategic leadership" level in the universities got medium-approval. There is a fair level agreement about the axis of interest "teams / committees". There is an agreement about the importance of the "human dimension" moderately. The results showed that the sample is highly agreed about the importance of focus of the "knowledge management", and the focus of the "continuing education". They agreed weakly to somewhat about the importance of the focus of "scientific research", moderately agree about the importance of the center of "institutional culture", agree moderately on the importance of "cognitive dimension". The results showed that the sample largely agree on the importance of the focus of "strategic partnerships and alliances". They agree highly on the axis "keep up with the labor market" and on the focus of the importance of "technology incubators". The results showed that the sample moderately agree about the importance of the theme on "consulting and training", the importance of the focus of "social responsibility", and the focus of the "Community dimension". The study found a group of recommendations including: there is a need to provide suitable environment that achieve learning organizations. There is a need to develop the technological infrastructure (hardware, software, networks, databases, and human skills) because of the great advantages that they offer. The universities need to adopt knowledge management in the academic and administrative departments because knowledge is the core of the work of these departments. The establishment of technology incubators in universities to adopt outstanding university research projects, to protect, to supports, and to market them; furthermore, to develop the capabilities and skills of employees in the field of information technology. (shrink)

In this article we explore the educational potential of cinema. To do this we first analyse how the American critical thinker Henry Giroux tries to give body to an educational theory in relation to cinema. His ‘film pedagogy’ is described as developing a critical response of the learner in relation to the public sphere of film. Giroux’s approach, however, seems to forget rather than explore the potential that is specific to the medium. Secondly, the article analyses Walter Benjamin’s (...) (1936, Illuminations, London, Pimlico) essay ‘The work of art in the age of mechanical reproduction’, because here we find not a different educational response to cinema, but one of the first studies on cinema that describes its ontological nature and the potential of moving images for thought. Finally, the article discusses the cinema philosophy of Gilles Deleuze, who, in contrast to Giroux, does not construct a Cartesian framework around cinema. Rather, he recognizes and explores cinema’s potential for thoughts like Benjamin did. In this way, Deleuze reverses Giroux’s question of how education should respond to cinema. A pedagogical discussion hereby comes to the fore that does not ask the question of what methodology should be used in education to think critically about cinema, but what the implications are of the nature of cinema for thought and for education. (shrink)

Cinema has a long history of engaging with the theme of sacrifice. Given its capacity to stimulate the imagination and resonate across a wide spectrum of human experiences, sacrifice has always attracted filmmakers. It is on screen that the new grand narratives are sketched, the new myths rehearsed, and the old ones recycled. Sacrifice can provide stories of loss and mourning, betrayal and redemption, death and renewal, destruction and re-creation, apocalypses and the birth of new worlds. The contributors to (...) this volume are not just scholars of film but also students of religion and literature, philosophers, ethicists, and political scientists, thus offering a comprehensive and interdisciplinary approach to the relationship between cinema and sacrifice. They explore how cinema engages with sacrifice in its many forms and under different guises, and examine how the filmic constructions, reconstructions and misconstructions of sacrifice affect society, including its sacrificial practices. This book was originally published as a special issue of Angelaki: journal of the theoretical humanities. (shrink)

The study aimed to identify the strategic sensitivity and its impact on enhancing the creative behavior of Palestinian NGOs in Gaza Strip, and the study used the descriptive analytical approach and the questionnaire as a main tool for collecting data from employees of associations working in Gaza Strip governorates, and the cluster sample method was used and the sample size reached (343) individuals (298) questionnaires were retrieved, and the following results were reached: The relative weight of strategic sensitivity was (...) 79.22 (%), and the relative weight of creative behavior was 78.99 (%), a statistically significant relationship between all strategic sensitivity and creative behavior, and the presence of a sensitivity effect The strategy’s strategy on creative behavior, there are statistically significant differences in the scale dimensions attributable to the gender variable and the differences were in favor of females, there are no statistically significant differences between the averages of strategic sensitivity due to the age variable, and the educational qualification, and there were no statistically significant differences in creative behavior according to The gender variable, age, educational qualification, specialization, and the study presented a set of recommendations, the most important of which are: the need for civil organizations in Gaza Strip to seek funding from external countries in order to provide self-income for associations to face crises and give them independence Mechanism in order to keep them to carry out their role in society, the need to follow up the strategic plan of civil organizations using e-mails as they pave the way to reach excellence and creativity in the field of work. (shrink)

The increasingly popular idea that cinematic fictions can "do" philosophy raises some difficult questions. Who is actually doing the philosophizing? Is it the philosophical commentator who reads general arguments or theories into the stories conveyed by a film? Could it be the film-maker, or a group of collaborating film-makers, who raise and try to answer philosophical questions with a film? Is there something about the experience of films that is especially suited to the stimulation of worthwhile philosophical reflections? In the (...) first part of this book, Paisley Livingston surveys positions and arguments surrounding the cinema's philosophical value. He raises criticisms of bold theses in this area and defends a moderate view of film's possible contributions to philosophy. In the second part of the book he defends an intentionalist approach that focuses on the film-makers' philosophical background assumptions, sources, and aims. Livingston outlines intentionalist interpretative principles as well as an account of authorship in cinema. The third part of the book exemplifies this intentionalist approach with reference to the work of Ingmar Bergman. Livingston explores the connection between Bergman's work and the Swedish director's primary philosophical source-a treatise in philosophical psychology authored by the Finnish philosopher, Eino Kaila. Bergman proclaimed that reading this book was a tremendous philosophical experience for him and that he "built on this ground." With reference to materials in the newly created Ingmar Bergman archive, Livingston shows how Bergman took up Kaila's topics in his cinematic explorations of motivated irrationality, inauthenticity, and the problem of self-knowledge. (shrink)

Cinema no abrigo: encontros, gestos e acontecimento Resumo: Este texto é fruto de reflexões sobre nossa vivência com o Projeto de Extensão “Educação, Cinema, Outros Territórios” no Lar de Idosos ‘Abrigo Tiradentes’, em Minas Gerais. Um objetivo específico do Projeto é realizar sessões de cinema junto aos idosos em diferentes territórios. A metodologia e a avaliação das ações são compreendidas como um gesto de acompanhamento do Programa de Extensão, amparado na investigação cartográfica, prática metodológica pertinente para o (...) acompanhamento de processos em curso e a produção de subjetividades. As questões que nos colocamos para esta reflexão são: o que pode o cinema num Abrigo de Idosos? Quais conexões poderíamos arquitetar entre cinema, linguagem e acontecimento? O que essas pessoas experimentam com os filmes? O que poderíamos exercitar, a partir do conceito de acontecimento, no pensamento? Buscamos, por meio deste ensaio, um exercício de pensar “acontecimentos” no nosso encontro com os moradores e com os filmes durante as sessões de cinema no Lar de Idosos – Abrigo Tiradentes. Palavras-chave: Acontecimento; Cinema; Idoso. Cinema in the shelter: meetings, gestures and events Abstract: This text is the result of reflections on our experience with the “Education, Cinema, Other Territories” Extension Project at the Lar de Idosos Abrigo Tiradentes, in Minas Gerais. A specific objective of the Project is to hold cinema sessions with the elderly in different territories. The methodology and the evaluation of the actions are understood as a gesture of monitoring the Extension Program, supported by cartographic research, methodological practice relevant to the monitoring of ongoing processes and the production of subjectivities. The questions we ask ourselves for this reflection are: what can cinema do in a Shelter for the Elderly? What connections could we make between cinema, language and event? What do these people experience with films? What could we exercise, based on the concept of event, in thought? Through this essay, we seek an exercise in thinking about “events” in our meeting with the residents and with the films during the cinema sessions at Lar de Idosos – Abrigo Tiradentes. Key-words: Event; Cinema; Elderly. Cine en el retiro: encuentros, gestos y acontecimientos Resumen: Este texto es el resultado de reflexiones sobre nuestra experiencia con el Proyecto de Extensión “Educación, Cine, Otros Territorios” en el Lar de Idosos Abrigo Tiradentes, en Minas Gerais. Un objetivo específico del Proyecto es realizar sesiones de cine con personas mayores en diferentes territorios. La metodología y la evaluación de las acciones se entienden como un gesto de seguimiento del Programa de Extensión, con el apoyo de la investigación cartográfica, la práctica metodológica relevante para el seguimiento de los procesos en curso y la producción de subjetividades. Las preguntas que nos hacemos para esta reflexión son: ¿qué puede hacer el cine en un refugio para ancianos? ¿Qué conexiones podríamos hacer entre cine, idioma y evento? ¿Qué experimentan estas personas con las películas? ¿Qué podríamos ejercer, basado en el concepto de evento, en el pensamiento? A través de este ensayo, buscamos un ejercicio para pensar acerca de los "eventos" en nuestra reunión con los residentes y con las películas durante las sesiones de cine en Lar de Idosos – Abrigo Tiradentes. Palabras-claves: Acontecimentos; Cine; Ancianos. Data de registro: 19/03/2020 Data de aceite: 28/08/2020. (shrink)

Resumo Na entrevista ficcional que se segue, as ideias de Abbé Jean-Baptiste Du Bos sobre as artes de representação serão aplicadas a aspectos relevantes do cinema. Du Bos argumenta que, normalmente, as obras de ficção cinematográfica são projectadas para dar origem a “paixões artificiais”, que têm a função de fornecer alívio ao tédio, sem as consequências negativas que muitas actividades alternativas têm. Também será considerada a questão, se os filmes têm um significado filosófico. O resultado é uma perspectiva desconhecida, (...) do princípio do século XVIII, em algumas temáticas contemporâneas. Palavras-chave : catarse, cinema apocalíptico, Du Bos, emoção, paixões artificiais, paradoxo do afecto negativoIn the following fictional interview, the Abbé Jean-Baptiste Du Bos’ ideas about the representational arts are applied to relevant aspects of the cinema. Du Bos argues that normally works of cinematic fiction are designed to give rise to ‘artificial passions’ that have the function of providing relief from boredom without the negative consequences that many alternative pursuits would have. Du Bos’ solution to the paradox of negative affect and his position on Aristotle’s doctrine of catharsis are also set forth in the interview. The question of whether films have philosophical significance is also taken up. The upshot is a somewhat unfamiliar early 18th-century perspective on some contemporary issues. Keywords: apocalyptic cinema, artificial passions, catharsis, Du Bos, emotion, paradox of negative affect. (shrink)

The paper argues that individual Palestinians have a right of return to historic Palestine in virtue of being members of the Palestinian people that continues to have occupancy rights in historic Palestine. More specifically, the paper argues that the Palestinians were, when Israel was founded, a people with occupancy rights to their lands, that they continue to be a people to this day, and that their occupancy right has not been alienated, forfeited, or prescripted. The paper then argues that (...) individual Palestinians have the right of occupancy in virtue of being members of the Palestinian people. Because the right has been blocked by Israel since 1948, the right of return is the right of individual Palestinians to be allowed to return to their homeland and exercise their occupancy rights there. (shrink)

The paper argues that individual Palestinians have a right of return to historic Palestine in virtue of being members of the Palestinian people that continues to have occupancy rights in historic Palestine. More specifically, the paper argues that the Palestinians were, when Israel was founded, a people with occupancy rights to their lands, that they continue to be a people to this day, and that their occupancy right has not been alienated, forfeited, or prescripted. The paper then argues that (...) individual Palestinians have the right of occupancy in virtue of being members of the Palestinian people. Because the right has been blocked by Israel since 1948, the right of return is the right of individual Palestinians to be allowed to return to their homeland and exercise their occupancy rights there. (shrink)

There are two different modes of ideological mystification which should in no way be confused: the liberal-democratic one and the Fascist one. The first one concerns false universality: the subject advocates freedom/equality, not being aware of implicit qualifications which, in their very form, constrain its scope. The second one concerns the false identification of the antagonism and the enemy: class struggle is displaced onto the struggle against the Jews, so that the popular rage at being exploited is redirected from capitalist (...) relations as such to the ‘Jewish plot.’ …. (shrink)

For Alain Badiou, films think, and it is the task of the philosopher to transcribe that thinking. What is the subject to which the film gives expressive form? This is the question that lies at the heart of Badiouʹs account of cinema. He contends that cinema is an art form that bears witness to the Other and renders human presence visible, thus testifying to the universal value of human existence and human freedom. Through the experience of viewing, the (...) movement of thought that constitutes the film is passed on to the viewer, who thereby encounters an aspect of the world and its exaltation and vitality as well as its difficulty and complexity. Cinema is an impure art cannibalizing its times, the other arts, and people -- a major art precisely because it is the locus of the indiscernibility between art and non-art. It is this, argues Badiou, that makes cinema the social and political art par excellence, the best indicator of our civilization, in the way that Greek tragedy, the coming-of-age novel and the operetta were in their respective eras. -- Publisher description. (shrink)

Queer cinema takes shape between experimental film, the intimate diary form, art video, documentary, dream fiction, recording and militant video-tracts. In the introductory article, we address several dimensions of this creation : one reflects a practice in queer art according to localized experience, as in the films of Hervé Guibert, David Wojnarowicz, and Raphaël Vincent or the photographic work of Del LaGrace Volcano, based on the experience of AIDS or trans-identities. Another dimension is the attempt to constitute a sexual (...) cinema, with Hans Scheirl or Maria Beatty : these are explorations of an exploded, « de-gendered » body, which directly connects moving images to chemical and bodily transformations, inner mental sensations, jouissance and deterritorialized sexual practices. Lastly, we discuss in more general terms the emergence of a queer cinema which serves as a site for the elaboration of a counter-cinema, a withdrawal from cinema which casts a hegemonic gaze on subaltern political subjects. The documentary genre is then hollowed out from within by this decolonizing gesture. (shrink)

Levinas is often credited with introducing a strong notion of ethics into postmodern thought. But his commitment to Zionism, his views on the Palestinian people, and his underformulated theory of justice raise questions about the desirability of his thinking for politics. In this study, the well-known encounter between Levinas and the Palestinians is addressed in order to determine how his philosophy of ethics can be deployed for political ends. As the philosopher famously concerned with the connection between self and (...) the Other, the relation between Levinas, Israel and the Palestinians stands as the natural political test of his ethics. Based on this encounter, it is demonstrated that Levinasian justice is too unsafe as a prescription for a political order. Only when Levinas' ethics as first philosophy is supported by love as first politics is his Messianic polity acceptable. (shrink)

Neste artigo pretendemos compreender se, e de que forma, o cinema pode servir a uma cosmopoética do pensamento decolonial. Para tanto, nos apoiaremos em alguns conceitos dos estudos decoloniais, que buscam atualizar a tradição crítica do pensamento latino-americano a partir da problematização do pensamento hegemônico, oferecendo novas releituras histórias e novas possibilidades de produção dos saberes. A perspectiva decolonial opera fornecendo novos horizontes para o pensamento, promovendo uma ecologia dos modos de saber e conhecimento não reconhecidos pelas epistemologias dominantes. (...) Assim, buscamos entender a potência cosmopoética do cinema e como ele pode contribuir, dentro dos espaços de educação, como alternativa epistemológica para o pensamento decolonial. (shrink)

ABSTRACT I here read the Iranian film Hit the Road through the eyes of the French philosopher Alain Badiou. In doing so, I hope to illuminate the triadic link between cinema, philosophy and paideia (ethical-political education). To explore, I adopt a philosophical methodology with the double ambition to reveal the latent pedagogies of the film and to acquire insights on the distinctiveness of a Badiouan conception of cinema. My questions are to what degree and in what ways cinematic (...) experience can be said to promote ethical-political formation. I start by portraying Badiou’s cinematic philosophy. Next, I expose how Hit the Road confronts us with a hidden real. Third, I close the paper by considering Badiou’s idea of cinema as an influential form of ethical-political education. (shrink)

The research aims to identify the organizational excellence in Palestinian universities of Gaza Strip, from the perspective of senior management. The questionnaires were distributed the top senior management in the Palestinian universities, and the study population was (344) employees in senior management in Palestinian universities. A stratified random sample were selected from of employees in the Palestinian universities consist of (182) employees at return rate of (69.2%). SPSS program for analyzing and processing the data was used. (...) The study reached the following results: the senior management agrees largely on the importance of the axis of "Leadership Excellence" and "Excellence service sectors". The senior management agrees moderately about the importance of the axis of the “Knowledge excellence". The study showed that there is a weakness in the employment of scientific research to serve the community, there is weakness in the follow-up of the universities management for the performance of their graduates in the institutions in which they work. Senior management agrees on the importance of the "Organizational Excellence" moderately. The recommendations of study includes: the need to develop principles and fair criteria for the selection of the best candidates for the university and university leaders based on specialization, competence, experience, skills, integrity and not on the basis of favoritism. (shrink)

Michael Haneke is one of the most important directors working in Europe today, with films such as Funny Games (1997), Code Unknown (2000), and Hidden (2005) interrogating modern ethical dilemmas with forensic clarity and merciless insight. Haneke's films frequently implicate both the protagonists and the audience in the making of their misfortunes, yet even in the barren nihilism of The Seventh Continent (1989) and Time of the Wolf (2003) a dark strain of optimism emerges, releasing each from its terrible and (...) inescapable guilt. It is this contingent and unlikely possibility that we find in Haneke's cinema: a utopian Europe. This collection celebrates, explicates, and sometimes challenges the worldview of Haneke's films. It examines the director's central themes and preoccupations--bourgeois alienation, modes and critiques of spectatorship, the role of the media--and analyzes otherwise marginalized aspects of his work, such as the function of performance and stardom, early Austrian television productions, the romanticism of The Piano Teacher (2001), and the 2007 shot-for-shot remake of Funny Games. (shrink)