"The work is on an important topic that has been oft debated but rarely systematically studied – the political, cultural, and moral effects of distant news coverage of suffering. [The book] is extremely well steeped in the relevant literature, including semiotics, discourse analysis, meda and social theory and makes a fresh methodological contribution by looking at the codes and formats of news about suffering. It has a fresh vision and answer to some of the stickiest moral and media problems of (...) our time … and deserves to find its place among important books about the moral aspects of media and society in our times." —John D. Peters, F. Wendell Miller Distinguished Professor, University of Ohio This book is about the relationship between the spectators in countries of the west, and the distant sufferer on the television screen; the sufferer in Somalia, Nigeria, Bangladesh, India, Indonesia, but also from New York and Washington DC. How do we relate to television images of the distant sufferer? The question touches on the ethical role of the media in public life today. They address the issue of whether the media can cultivate a disposition of care for and engagement with the far away other; whether television can create a global public with a sense of social responsibility towards the distant sufferer. (shrink)

Name der Zeitschrift: Semiotica Jahrgang: 2017 Heft: 215 Seiten: 325-339.

In this essay, I investigate the human act of spectatorship as found in the work of John Dewey and Paulo Freire. I will show that each is thoroughly anti-watching when it comes to educational practices. I then problematize their positions by looking at their spectatorial commitments in the realm of aesthetics. Both Dewey and Freire have a different opinion about spectatorship when it is a matter of watching art. I claim that this different in opinion derives from the (...) practice of ‘educational humanism’. By educational humanism, I mean the tendency to posit stock human traits that derive from pedagogical practices. Ultimately, I will take a stand against educational humanism, against the process of back-forming, from educational circumstances, the desirability, or the undesirability, of human traits. (shrink)

This book interrogates the relation between film spectatorship and film theory in order to criticise some of the disciplinary and authoritarian assumptions of 1970s apparatus theory, without dismissing its core political concerns. Theory, in this perspective, should not be seen as a practice distinct from spectatorship but rather as an integral aspect of the spectator’s gaze. Combining Jacques Rancière’s emancipated spectator with Judith Butler’s queer theory of subjectivity, Spectatorship and Film Theory foregrounds the contingent, embodied and dialogic (...) aspects of our experience of film. Erratic and always a step beyond the grasp of disciplinary discourse, this singular work rejects the notion of the spectator as a fixed position, and instead presents it as a field of tensions—a “wayward” history of encounters. (shrink)

Cinematic fictions often depict characters who face a remarkable variety of natural and otherworldly dangers, such as attacks by aliens, dinosaurs, zombies, killer puppets, and swarms of insects. The risk of physical injury and death is the staple of the horror, crime, war, and action genres, while in art films, the focus tends to be on psychological and moral perils. Risk is such a pervasive subject in fi lm that one is tempted to conjecture that this is the main attraction (...) of that seemingly low-risk activity, fi lm spectatorship. In what follows I investigate several issues related to this conjecture, beginning with the problem of identifying and classifying risk, both in the actual world and as it is represented in cinematic works. In my first section I introduce a distinction between taking and running risks and discuss epistemic problems related to the classification of events as risks or rewards. Next I discuss some of the challenges—and artistic risks—that filmmakers confront as they attempt to represent risks in works of fiction. With regard to artistic tradeoff s related to the representation of risk, in the third section I provide a more detailed discussion of two cases: Pleasantville and La visione del sabba. Finally I ask how we might explain why risk is such a pervasive subject in the cinema. What is at stake in the spectator’s seemingly low-risk engagement in spectacles of extreme risk? (shrink)

Drawing upon the notion of the uncanny, this article examines my documentary photography concerning the ‘everyday’ indeterminate and potentially ominous spaces around the London transport system following the bombing incidents on the 7th July, 2005. The photographs consist of reframing images found which draw attention to the lingering reminders of terrorism within the cityscape. This paper examines also how issues of representation, race, suspects, victims, protest,defiance and accusations can be evoked in the ficto-critical use of urban documentary photography.

One of the predominant iterations of the metaphor of entanglement in the nineteenth century is found in the closing paragraph of Charles Darwin’s On the Origin of Species. Darwin’s image of an “entangled bank, clothed with many plants of many kinds, with birds singing on the bushes, with various insects flitting about,” serves as a synecdoche for the patterns of biological interdependence and variation that animate the evolutionary process of natural selection.1 The “entangled bank” is both the scene and the (...) symbolic illustration of creaturely increase and multiplication. We cannot escape the influence of heredity in Darwin’s schema, just as surely as the imagined bank of vegetation will wreathe and entwine.. (shrink)

Given a variety of cases of failed spectatorship, a set of criteria for properly attending to a sporting event are defined. In light of these criteria, it is shown that Fantasy League participation occasions a peculiar kind of failure of sports spectatorship.

This article seeks to develop an under-appreciated aspect of spectator activity: the way in which viewers make use of film to enter or sustain a project of bad faith. Based on Jean-Paul Sartre's account of bad faith in Being and Nothingness (1943), the article explains the aspects of bad faith that are pertinent to viewer activity, then explores the way viewers can make use of filmic depictions to facilitate self-denial. For example, spectators may emphasize the fact that persons are depicted (...) in narrow terms as corroboration for their belief that human nature is just as its depicted, thereby denying that we have the freedom to be otherwise. Or spectators may deny the relevance of problematic aspects of themselves when they find it depicted in characters who are admirable in other ways. I then consider whether films themselves can be described as being in bad faith. While technically they cannot, I identify ways that a film may encourage or discourage bad faith in viewers. I also examine how the immersive aspect of film enables viewers to turn attention away from themselves while they engage in self-denial. The case for this approach to viewer activity and film analysis is supplemented by a distinction between traits that do apply to film, e.g., being racist, sexist, or homophobic, and the resources it gives persons to be in bad faith about these social attitudes. I argue that a film can have traits like these while not encouraging bad faith and vice versa, demonstrating the unique perspective offered by approaching film and spectator activity in terms of bad faith. (shrink)

Projecting Illusion offers a systematic analysis of the impression of reality in the cinema and the pleasure it gives to the film spectator. Film provides a compelling experience that can be considered as a form of illusion akin to the experience of day-dream and dream. Examining the concept of illusion and its relationship to fantasy in the experience of visual representation, Richard Allen situates his explanation within the context of an analytical criticism of contemporary film and critical theory. He argues (...) that many contemporary film theorists correctly identify the significance of the impression of reality, although their explanation of it is incorrect because of an invalid philosophical understanding of the relationship between the mind, representation and reality. Offering a clear presentation and critique of the central arguments of contemporary film and critical theory, Allen also touches on fundamental issues in current discourses of philosophy, art history and feminist theory. (shrink)

Video games, YouTube channels, Blu-ray discs, and other forms of "new" media have made theatrical cinema seem "old." A sense of "cinema lost" has accompanied the ascent of digital media, and many worry film's capacity to record the real is fundamentally changing. Yet the Surrealist movement never treated cinema as a realist medium and understood our perceptions of the real itself to be a mirage. Returning to their interpretation of film's aesthetics and function, this book reads the writing, films, and (...) art of Luis Buñuel, Salvador Dalí, Man Ray, André Breton, André Bazin, Roland Barthes, Georges Bataille, Roger Caillois, and Joseph Cornell and recognizes their significance for the films of David Cronenberg, Nakata Hideo, and Atom Egoyan; the American remake of the Japanese _Ring_ ; and a YouTube channel devoted to Rock Hudson. Offering a positive alternative to cinema's perceived crisis of realism, this innovative study enriches the meaning of cinematic spectatorship in the twenty-first century. (shrink)

For centuries it has been assumed that democracy must refer to the empowerment of the People's voice. In this pioneering book, Jeffrey Edward Green makes the case for considering the People as an ocular entity rather than a vocal one. Green argues that it is both possible and desirable to understand democracy in terms of what the People gets to see instead of the traditional focus on what it gets to say. The Eyes of the People examines democracy from the (...) perspective of everyday citizens in their everyday lives. While it is customary to understand the citizen as a decision-maker, in fact most citizens rarely engage in decision-making and do not even have clear views on most political issues. The ordinary citizen is not a decision-maker but a spectator who watches and listens to the select few empowered to decide. Grounded on this everyday phenomenon of spectatorship, The Eyes of the People constructs a democratic theory applicable to the way democracy is actually experienced by most people most of the time. In approaching democracy from the perspective of the People's eyes, Green rediscovers and rehabilitates a forgotten "plebiscitarian" alternative within the history of democratic thought. Building off the contributions of a wide range of thinkers--including Aristotle, Shakespeare, Benjamin Constant, Max Weber, Joseph Schumpeter, and many others--Green outlines a novel democratic paradigm centered on empowering the People's gaze through forcing politicians to appear in public under conditions they do not fully control. The Eyes of the People is at once a sweeping overview of the state of democratic theory and a call to rethink the meaning of democracy within the sociological and technological conditions of the twenty-first century. In addition to political scientists and students of democracy, the book likely will be of interest to political journalists, theorists of visual culture, and anyone in search of political principles that acknowledge, rather than repress, the pathologies of political life in contemporary mass society. (shrink)

This book takes performance studies in exciting new directions, exploring the ways in which ethics can be used to understand the complex questions facing contemporary spectators. Engaging with five key performances, the book reflects on the emotional and intellectual impacts of politically inflected performance on spectators, critics and theorists.

Evolution (Lucile Hadžihalilović, 2016) offers a vision of Donna J. Haraway's feminist intervention where Haraway posits her neologistic chthulucene to signify the interpenetration of species in response to anthropocene discourse which recuperates the patriarchal narrative of homo faber – the human as maker. The risks and tribulations of cross-species “becoming-with”, as Haraway puts it, are dramatized in Evolution. The ambiguously defined, subaqueous species of the film nurture and care for human boys then impregnate them with squid-like creatures that are incubated (...) in the child's mid-section. The film is marked by images that are difficult to anthropomorphise, eliciting corporeal engagements with tentacular sea creatures that are alienating and confronting. Evolution presents images that are in sympathy with Haraway's chthulucene, in which the subject dissolves into the matter of “humus” or “compost” that ontologically bind the human and nonhuman alike. The film signals a reverse evolution in which humans return to the sea, a temporal backwards turn that Haraway similarly advocates in her book. While Evolution plays out Haraway's chthonic vision in which it shows a subject, Nicolas, embedded in a compost community, the film nonetheless situates this subject as bounded and coherent. Evolution does not, ultimately, forego the human but offers a chance to comprehend the human's transformation in the historical moment of the anthropocene. (shrink)

Masterpieces by Sarah Daniels has been described as a voice in the debate on pornography, expressing the anti-pornography position as opposed to the liberal feminist stance in this debate. Despite its ideological clarity reported by many reviewers and critics, the play has been commented upon as deficient or inadequate because of evoking conflicting interpretations and ambiguity. The paper argues that these deficiencies stem from the play’s concern with the distribution of agency and passivity along gender lines as well as the (...) influence of generic and essentialist notions of genders on the perception of social and individual power relations particularly in the domain of eroticism and sexuality. One of the key issues of the play is the question to what extent and in what ways human perception is conditioned by the place of the subject in relation to the agency/passivity dichotomy and his or her viewing/reading position in relation to erotic and pornographic material. (shrink)

This paper explores conflations of martyrdom, spectatorship, and image theory in Caravaggio’s Crucifixion of St. Peter (1601). It argues that Caravaggio employs an “iconic” visual formula as a response to the pressures of a post-Tridentine poetics. Through these strategies, an iconography of immediacy and presence is paired with a sacrificial subject-matter. This merging united witness and visual experience in the shape of the sacred image. Martyrdom, as both a historical and representational phenomenon of early modern sociality and culture, invoked (...) the act of spectatorship. In connecting the Crucifixion of St. Peter with the cultural and aesthetic paradigms of post-Tridentine Italy, the article argues that Caravaggio’s image re-imagines the codes of iconic repre­sentation. While not a novel academic context for Caravaggio scholarship, I will read this image less as the expression of stylistic tensions in the Roman artworld than as the result of overlapping frameworks—martyrdom, Petrine iconography, and a Counter-Reformation aesthetic. Reenergized as part of the visual rhetoric of Tridentine politics, the icon reflected a new propensity for paleochristian cultural revival. Discussing both the contextual pressures of this new aesthetic regime as well as intertwining it with the increasing presence of Catholic image treatises, the article suggests an “iconic” space for reading Caravaggio’s Crucifixion. This “iconic” framework is built into the charged discourse surrounding the image itself. (shrink)

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...

This Sixth volume in the series The Key Debates. Mutations and Appropriations in European Film Studies investigates the question of screens in the context both of the dematerialization due to digitalization and the multiplication of media screens. Scholars offer various infomations and theories of topics such as the archeology of screen, film and media theories, contemporary art, pragmatics of new ways of screening (from home video to street screening).

ArgumentThis essay considers the metaphors of projection in Hugo Münsterberg's theory of cinema spectatorship. Münsterberg (1863–1916), a German born and educated professor of psychology at Harvard University, turned his attention to cinema only a few years before his untimely death at the age of fifty-three. But he brought to the new medium certain lasting preoccupations. This account begins with the contention that Münsterberg's intervention in the cinema discussion pursued his well-established strategy of pitting a laboratory model against a clinical (...) one, in this case the “master-trope” of early cinema a spectatorship drawn from hysteria, hypnosis, and related phenomena like double-consciousness. Münsterberg's laboratory-oriented account also flowed from his account of cinema technology as an outgrowth of the apparatus of his own discipline of experimental psycho-physiology, which entailed a model of cinema spectatorship continuous with the epistemological setting of laboratory relations. I argue that inThe Photoplayand related writings projection functioned in three registers: material, psychological, and philosophical. Münsterberg's primary concern was with psychological projection, where he drew upon his own work in experimental aesthetics to articulate an account of how the basic automatisms of cinema produce a state of oscillation between immersion and distraction. I show how Münsterberg's experimental aesthetics drew upon German doctrines of aesthetic empathy, orEinfühlung, which Münsterberg sought to modify in accordance with the dynamic and temporal characteristics of psycho-physiological experiment. Finally, I argue that Münsterberg's cinema theory was enfolded in his action or double-standpoint theory, in which the transcendental self posits the material, objective conditions of laboratory experience as a means to know itself. This philosophical projection explained cinema's uncanny ability to suspend ordinary perceptions of space, time, and causality. It also made cinema uniquely suited for the philosophical emancipation of a popular mass audience. (shrink)

During his period of exile in Scandinavia, Bertolt Brecht wrote “I don’t think the traditional form of theatre means anything any longer. Its significance is purely historic; it can illuminate the way in which earlier ages regarded human relationships […] [but] a modern spectator can’t learn anything from them”. To create a modern theatre fit for a modern audience, Brecht holds that not only would the content of plays have to change, but the experience of theatrical spectatorship itself. To (...) fully capture how Brecht’s work differs from that of previous playwrights, a close analysis of spectatorial experience and perception is required. In this paper, I compare the aesthetic techniques used in Brecht’s epic theatre to the genetic phenomenology of Edmund Husserl. Reading Brecht’s Verfremdungseffekt through a Husserlian lens, I argue that Brecht mobilizes phenomenological methodology in order to suspend the audience’s preconceived notions of theatre and to cultivate self-conscious, critically aware, and socially motivated spectatorship. Just as Husserl describes phenomenology as a presuppositionless science, so too does Brecht offer epic theatre as a way to free “[…] socially-conditioned phenomena from the stamp of familiarity”. (shrink)

How can we conceive of the relation between technologies of image-making and the formations of political power, without reducing the former to merely superstructural effects of a pre-existing ideology or deducing the latter from the functional determination inherent in technical apparatuses? In this article, I revisit the notion of the state as a visual form I proposed in an earlier work, arguing that in order to understand the articulation between politics and visuality in modernity we need to pay attention to (...) the performance of showing and seeing that mediates between the spectacle and spectatorship. To grasp the way in which historical change impacts on this constellation, in particular in the transition from photographic to cinematic regimes of visuality between the late 19th and early 20th century, I take these questions through two rather different ‘case studies’: photographer Juan Gutiérrez’s images of Brazilian state rituals in the mid-1890s and Jorge Luis Borges’s short story ‘The Aleph’ of 1949. Whereas Gutiérrez’s photographic series, I argue, announces the cinema and its ways of mobilizing actors and spectators alike, as the limit of a 19th-century visuality primed on the stability and self-enclosedness of viewers and objects, Borges’s story retrospectively enacts the transition from photographic to cinematic seeing in an intratextual battle of acts of transcription from the impossible object at the centre of the plot, which grants infinite, universal visibility to the one who beholds it. Reading the two together, or against one another, then, allows us to see the dimension of transience undercutting the apparent solidity and timelessness with which scopic regimes promise us access to the real. (shrink)

The popularity of films like Titanic betokens a massive shift in the nature of aesthetic spectatorship in our time. The contemplative, distanced viewer who is able to judge from afar the spectacle before him or her, has been replaced by a more proximate, involved "kinaesthetic" subject whose body is stimulated as much as his or her eye. This is evident not only in mass culture with amusement thrill rides and the return of what has been called the "cinema of (...) attractions"; this new spectator can also be discerned in avant-garde culture, as shown by the Sensation exhibition of Young British Artists which caused such a stir in London and New York. This spectator is especially attracted to simulacral scenes of destruction and catastrophe, in which he or she is virtually immersed. If aesthetic judgement is to be a model for its political counterpart, as has been argued by theorists like Lyotard and Arendt, it cannot do so on the basis of this aesthetics of violent immersion. (shrink)

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.