Review of: In Between Communication Theories through One Hundred Questions, Tomas Kačerauskas and Algis Mickūnas (2020) Cham: Springer, 278 pp., ISBN 978-3-03041-105-3, h/bk, EUR 98.09 ISBN 978-3-03041-108-4, p/bk, EUR 98.09 ISBN 978-3-03041-106-0, e-book, EUR 74.89.

The current debates around censorship are about more than whether or not censorship is desirable. These debates are also about what counts as censorship. The question of what counts as censorship is a relatively new one since the Liberal conception of censorship was taken as given until the 1980s. Since then, a new approach to understanding censorship has gained momentum. What Matthew Bunn calls ‘New Censorship Theory’ argues that the Liberal conception is far too narrow to properly encompass the vast (...) complexities of censorship. New Censorship Theory does not deny the insights offered by the Liberal conception, but expands upon them. This expansion pushes the notion of censorship out of the censor’s office and into the marketplace, politics and social life. New Censorship Theory also recognizes the way that censorship is both prohibitive and productive. In light of this, some authors have argued that New Censorship Theory overstretches the concept of censorship to such a degree that it risks becoming useless and it risks equating all forms of censorship. Beate Müller borrows the notion of family resemblances from the philosophy of the later Wittgenstein to try to avoid getting stuck in the debates around terminology. She does this by trying to identify the essential elements of censorship, distinguishing between its core and periphery characteristics and by mapping censorial actions and reactions systematically. I argue that Müller uses the philosophy of Wittgenstein to make an anti-Wittgensteinian argument. In order to show why I think that this is the case, I will review the censorship debate before providing my own Wittgensteinian contribution. (shrink)

Augustine’s Confessions has been traditionally considered one of the founding texts in the genre of autobiographical writings. It belongs, in particular, to those specific autobiographical writings that their authors feel the need to write so as to defend their reputation, in the face of their critics. As part of their defence, what becomes important for these texts is that they communicate the truths of their authors. The problem in the case of the Confessions is that a number of scholars challenge (...) Augustine’s truth claims by portraying him in a less sympathetic light. Given these challenges, an alternative way of reading the text is to displace the focus of the reading from that of its author to the effects the text is intended to have upon its readers. In this way, the Confessions is read as a narrative that aims to convert its readers towards the Christian vision of salvation which Augustine, as a rhetorician, crafts using a number of episodes that his readers can identify with. These episodes drawn from everyday life are deployed so as to depict universal existential situations with the ultimate purpose of enabling his readers to realize that Christian salvation is attainable for all, irrespective of their failings. (shrink)

In this article I discuss T. Wartenberg’s claim that the film The Act of Killing, which has as protagonists and quasi co-authors perpetrators of the 1965–66 Indonesian massacre, ‘confirms’ and ‘supplements’ Arendt’s ‘banality of evil’ thesis. I argue for a more moderate version of the first part of this claim and expand upon the second. Thus, I suggest that the film gives us clues to articulate Arendt’s thesis with theories of alienation, hence also with Marxist theorizing. Central here is the (...) idea that deficient sensibility, which, according to Wartenberg’s claim, supplements Arendt’s idea of ‘thoughtlessness’, is related to an alienating process within which cinema plays a prominent role. Thus, my argument revolves around the premise that in the film the question of mass evil-doing is intertwined with positing its own medium as an object of reflection, revealing cinema as carrying a contradictory potential. The critical upholding of Arendt’s thesis that the film enables also concerns the relationship of ‘banality’ to ideological motivation, a rather problematic issue in Arendt’s thesis. The film, I argue, suggests that ‘banality’ does not necessarily exclude ideological zealotry. (shrink)

This article analyses the Swedish TV series Hållbart näringsliv (HN) to study hegemonic discursive formations over the meaning of the climate crisis. Combining new materialist approaches in discourse studies with a political ecology understanding of the socio-ecological entanglement, we propose the concept of technocratic solutionism to understand how the neo-liberal green economy secures instrumentalist discourses on nature in the Swedish context. The discourse-theoretical analysis of nine HN episodes identifies four nodal points which articulate the technocratic solutionist discourse: capital’s leading role, (...) Nordic exceptionalism, substitutionalism and long-termism. We argue that the climate crisis can be understood as a materiality that dislocates capitalist assemblages, which then, in response, deploy a techno-solutionism discourse to protect the core principles of economic growth and profitability while marginalizing potential radical alternatives. (shrink)

This editorial provides an overview of topics covered in Empedocles: European Journal for the Philosophy of Communication 13:2. Adopting ‘criticality’ as an interpretative framework, four research articles are introduced which discuss relevant matters in ethics, rhetoric, political philosophy and cultural critique from a communicational standpoint.

The meeting of film and history sits at a position where it becomes hard to distinguish their interdependent dynamics. Accordingly, how do film and history connect, work with or work against each other? What is the significance of film for constructing histories of the people whose past, identity and culture were denied for long years? Where does this bring or drive film towards becoming a medium through which precarious politics on diverse people are revealed, documented and archived? Leaning on these, (...) in this article, I will interrogate the position of transnational Kurdish cinema produced in Turkey for transforming the precarious political realms into a creative force that exposes different Kurdish histories, memories and temporalities. To do this I will make use of the interviews I conducted with Kurdish filmmakers in Turkey between 2010 and 2016, including Hüseyin Karabey, Mizgin Müjde Arslan, and Zeynel Doğan, and their films which reveal the tensions they inherit from their ancestors. (shrink)

Director Kivu Ruhorahoza’s film Europa: ‘Based on a True Story’ is a blend of fiction, quasi-ethnography and autobiography. In this article, built in part on the foundations of Judith Butler’s conceptualizations of precariousness, precarity and assembly, Europa is read as a refusal to be relegated to the marginal spectrality of bare life. Simultaneously, this article considers the draft-like provisionality of the film as a hallmark of its precarity. Framed as an essay film about the fate of an African director who (...) attempts to make a film ‘out of Africa’, Europa provides a meditation on belonging and the precarious conditions of filming in Europe with an African passport. As Nandini Sikand writes, ‘the assumption of ethnographic fieldwork and participant observation is that by living and learning for an extended period alongside our informants, we are able to document and analyze their experience more accurately’ (2015: 45). Ruhorahoza’s film compels us to think about the position of the participant observer when the ‘extended period’ involves an agonizingly long asylum case, and when that observer is relegated to a space of unbelonging. (shrink)

The aim of this article is to interrogate the use of US rural landscape in the 2020 film Nomadland and its account of contemporary precarity and poverty in the United States. I argue that while the film is ostensibly invested in locating alternative modes of living in the face of neo-liberal marginalization, it ultimately reaffirms neo-liberalism’s core tenet, individualism, through its fascination with what Kenneth Olwig calls the ‘scenic’ landscape. This approach to landscape understands nature as an unchanging ‘stage’ on (...) which a nation’s history is played out and thus ultimately naturalizes nationalism. Thereby, the film reaffirms the myth of the ‘wide open spaces’ of American landscape which has historically been instrumental in the displacement of people excluded from US national identity on the basis of class and race. This can be contrasted with a more interactive, more inclusive approach to landscape which understands landscape as the result of interaction between a community and its environment. Recent US films such as Leave No Trace (2018) identify precisely such an interactive understanding as a basis for potential resistance against the forces of neo-liberalism which perpetuate precarity. (shrink)

In this article, precariousness is understood as an intrinsic characteristic of a vast set of images ‐ being them pictorial, sculptural, photographic, cinematographic, digital or other. These images acquire their specific value, most of the time, precisely as a function of this attribute. Precariousness is, in this case, not an insufficiency or a weakness, but a power, understood in different areas, from aesthetics to ontology. This article is divided into two parts: the first one explores, in various ways, the ephemerality‐eternity (...) polarity based on precariousness; the second one allows us to know the plural manifestations of the precariousness of the image in multiple forms of expression by identifying a range of arts and media nuclei. Invoking the contribution of different authors, from ancient to contemporary times, the article ends as it begins: it highlights the intrinsic precariousness of both forms of artistic creation and the modes of academic thinking. (shrink)

The COVID-19 pandemic disturbed the local film industry heavily since most of the film projects were delayed or cancelled. Despite the fragile situation, local filmmakers adopted flexible and adaptive strategies to survive. The flexible strategies related to fighting (the alternative jobs, project switch) and freezing (work from home). After three months, all film practitioners decided to fight for the new normal as they found job opportunities in social media content, corporate and government service, streaming platforms and film production. The screen (...) industries supported the local filmmakers to survive. During the emergency period, the closed network was beneficial; nonetheless, they should expand their open network to adapt to a new normality. Apart from the resistance, filmmakers are continuously under precariousness, particularly about health threats and underpaid work. (shrink)