Signifyin' Cinema: Rudy Ray Moore and the Quality of Badness

This article engages the limits of both film and race studies in their approach to heterogeneous and “low” forms of African American cultural production through an analysis of the films of Rudy Ray Moore. While Moore’s films have been almost entirely overlooked in both film studies and black studies, they were extremely popular among black youth of the 1970s and have exerted a powerful influence on today’s hardcore hip hop artists (and their understanding of how to turn black market entrepreneurship into global enterprise). The theory of “signifying”, advanced most rigorously by black literary theorist Henry Louis Gates Jr, helps explain how and why Moore has slipped through various critical nets — and grounds a claim for why we should take “bad” black film seriously. Close film and context analysis illustrates how Moore’s low‐budget films “signify” on Hollywood and the system of expectancies that go with putatively “good” filmmaking and reveals the extent to which they constitute a hybrid cultural and multimedia practice. As vehicles designed to elaborate on the badman of black folklore, Moore’s films contribute to the long history and rich language of “toasting” in African American oral culture and music. As such, far from being emblematic of black filmmaking’s impoverished relationship to mainstream cinema (as a cinema manqué), these films constitute vital precursors to the hip hop music video.     

Dovzhenko Studio in the 1960s: Between the Politics of the Auteur and the Politics of Nationality

Abstract

This article examines the aesthetics and politics of filmmaking in Soviet Ukraine in the 1960s as a lens through which to view the mechanisms of defining and representing national difference in Thaw-era Soviet culture. Management at Dovzhenko Studio in Kyiv during this time gave a green light to young filmmakers to explore a modernist and ethnographic poetic by reasoning that such a style was rooted in the traditions of Ukrainian national cinema, the founder of which was the studio’s namesake, Oleksandr Dovzhenko. While always controversial, director-auteurs such as Sergei Paradzhanov, Iurii Illienko, and Leonid Osyka consistently justified their works of “poetic cinema” on the basis of fulfilling the studio’s explicit goal to represent Ukraine through “traditional” means. Kyiv filmmakers, however, found their freedom curtailed not solely by central authorities concerned with ideological problems, but also by a film industry increasingly concerned with its ability to make a profit. Today in Ukraine, the legacy of so-called poetic cinema is fraught with accusations of elitism as the purveyors of cultural memory try to uncover a more popular history of Ukrainian cinema.     

The Pleasures and Problems of Leonid Osyka’s Zakhar Berkut: Poetic Cinema and Its Limits

Abstract

This article discusses the aesthetic and sociopolitical contexts of Zakhar Berkut, a 1972 film by the Ukrainian director Leonid Osyka, one of the leading figures of Ukrainian poetic cinema. An ambitious adaptation of a canonical nineteenth-century historical novel by Ivan Franko, it was conceived as the first big-budget Ukrainian historical film since World War II. An unusual and controversial hybrid of poetic cinema techniques and mainstream filmmaking oriented towards a mass audience, it became the last work of Ukrainian poetic cinema released before a severe state-sponsored crackdown brought the heyday of this film school to an abrupt end.     

“An Instrument for Reaching Into Experience”: Progressive Film at the Rockefeller Boards, 1934–1945

The emergence of progressive filmmaking in the interwar period is often associated with John Grierson, the British documentary movement and the influence it traced abroad. This paper argues, however, that more particular attention needs to attend the specific context for progressive filmmaking in the United States. To make this argument, this paper foregrounds two strands of progressive filmmaking that were pursued alongside, and often in tension with each other at the Rockefeller Boards between 1934 and 1945. The Rockefeller Boards pursued both a version of social‐realist documentary in the Griersonian tradition as well as a project focused on “human relations” films. As this paper suggests, the human relations project contrasted with Grierson's social documentary by linking film to a particular kind of psychological interior; a self not oriented to the social world but to the internal spaces of psychological and personality development. This implies a complex process of cultural diffusion in which Grierson's model was filtered through, and ultimately displaced by, a set of concerns and preoccupations unique to the American context.     

Film Games*

This paper presents data on how film students practice filmmaking skills by devising and playing games. In their games film students suggest images for films and correct one another's notions about the methods for or appropriateness of realizing these images on film. By using increasingly complex games as a series of exercises, students develop greater skill in anticipating programs in making films they imagine. The apparent effectiveness of these games suggests playful behaviors which may seem insignificant because they are not “serious” could be important mechanisms for socializing people's imaginations, tailoring them for a particular kind of problem and problem-solving.     

A Cesspool of Intrigue: Les' Kurbas,Oleksandr Dovzhenko,and the Film Industry in 1920s Soviet Ukraine

Abstract

In the 1920s, theatre innovator Oleksandr “Les'” Kurbas (1887–1937) made three short films for the Vseukrains'ke Foto-Kino Upravlinnia [All-Ukrainian Photo-Cinema Administration] or VUFKU. His film career was short-lived, however. Lambasting the VUFKU as a “cesspool of intrigue,” Kurbas left film for good to focus exclusively on theatre. His films never gained wide release, and have since been lost. Kurbas’s brief foray into cinema could therefore be considered a non-moment, yet because Kurbas objected not to the medium itself, but to the institutions creating film, his encounter with the VUFKU illuminates the larger process of the formation of the Soviet film industry. Kurbas’s departure from film occurred simultaneously with the arrival of Oleksandr Dovzhenko (1894–1956), and their crossed paths show how the structure of the Soviet film industry shaped artistic possibilities. The institutional transformation of VUFKU into Ukrainfilm, the regional affiliate of the all-Union film monopoly Soiuzkino, signalled a cultural shift: from a film industry in Soviet Ukraine, to a Soviet Ukrainian film industry, one both part of wider Soviet cinema production and slotted specifically into a Ukrainian niche. Ultimately, this article argues that this process of consolidation and centralization in the film industry complicated the development of culture in the Soviet regions.     

On the Ukrainian Cinematic Tradition,the Dovzhenko Film Studio,and Ivan Mykolaichuk

Abstract

This article discusses the Ukrainian cinematic tradition as established by Oleksandr Dovzhenko in the 1920s and 1930s and revived at the Kyiv Film Studio during the short-lived renaissance of Ukrainian cinema between 1964 and 1972. The author focuses on the three figures that led national cinema out of its provincial dead end: the film directors Volodymyr Denysenko and Sergei Paradzhanov, and the actor Ivan Mykolaichuk. The author discusses their films Son [The Dream, 1964] and Tini zabutykh predkiv [Shadows of Forgotten Ancestors, 1964] as best representing the turn from theatrical adaptations of literary classics to their creative cinematic rethinking. Mykolaichuk’s acting style matched this new trend perfectly because he was a carrier of the folk tradition that the two directors were seeking to harness for new ways of artistic expression.     

Film in the social sciences of Tromso,northern Norway

The following article is a presentation of how a milieu of filmmaking has become a growing part of one of the Norwegian universities. The presentation was made at the IVth International Conference on Visual Sociology in Bielefeld, estern Germany in June.     

The crystallization of a paranoid symptom: Three theories

The dynamics of paranoia are complex. The cognitive and behavioral patterns of paranoia are well documented in the clinical literature. However, writings on the etiology of paranoia are sparse. Sigmund Freud, Melanie Klein, and William W. Meissner are the three most comprehensive and recognized theorists on the etiology and psychodynamic functions of paranoia. Their theories are delineated and applied to a clinical vignette of a woman with a recently developed paranoid symptom.     

Domestic violence in african-american and african-caribbean families

This article explores domestic violence, specifically spouse abuse, in African-American and African-Caribbean families in the United States. Its purpose is to review the existing literature on Black couples and violence, examine the applicability of current theories of violence to Blacks, and outline the barriers to the treatment of domestic violence in this population. The variables of institutionalized racism and internalized racism, as factors in lowering self-esteem, are examined as contributors to Black women's acceptance of mistreatment. Suggestions are made for empirical research to close the gaps in the literature.     

Filming a Stalinist War Epic in Ukraine: Ihor Savchenko’s The Third Strike

Abstract

The article examines the production history of Ihor Savchenko’s film Tretii udar [The Third Strike, 1948], a World War II epic and the most significant project of the Kyiv Film Studio in the first post-war years. Using the example of The Third Strike, the author demonstrates how Stalinist cinema as an institution influenced Soviet film directors’ thematic and ideological choices as well as their style. Specifically, the supervision of such projects by the USSR’s political centre served to integrate Ukrainian film makers into Soviet cinema by fostering Soviet versions of the country’s political and social history and by preventing Ukrainian film makers from pursuing stylistic practices that might have become foundational to Ukrainian cinema. Filming a Stalinist war epic in postwar Ukraine was especially difficult in view of the Soviet struggle against Ukrainian nationalism. By featuring soldiers of different nationalities, The Third Strike underscored the idea of the “fraternal friendship of the Soviet peoples” during the war, which became a canonical element in Soviet depictions of the war. In this way, Ukrainian artists ingratiated themselves with the Soviet authorities and proved their loyalty to Russia.     

Dialect and Dialectic in a British War Film

British popular cinema in the 1940s was a key site of struggle over images of national identity and national unity. This paper discusses the representation of sociolectal variation in one British film, the 1942 In Which We Serve , and argues that the distribution of sociolinguistic variants in the film makes a significant contribution to the film's construction of a hierarchical model of social organisation. The simultaneous privileging of a standard variety and emphasis on sociolectal diversity is discussed in terms of an underlying Churchillian paternalistic rhetoric, and it is argued that there is a correlation between particular representations of sociolectal variation in films of this period and particular kinds of hegemonic effect.     

Embodiment, experience and theory: in defence of the sociological tradition

This paper examines whether the theoretical analyses and ambitions of sociologists of the body are increasingly making obstructive and irrelevant the subject boundaries and methodological conventions associated with their parent discipline. Concerns about the utility of the discipline have been expressed by a number of body studies emanating from within and outside of sociology. These imply that it is necessary to reject the dominant problematic of sociology and utilise non disciplinary resources if we are to understand issues surrounding the ‘lived experience’ of embodiment. In opposing this rejection of sociology, if not the use of other intellectual resources, I argue that the discipline contains much valuable theorising about experience which has yet to be developed by body theorists. Many of sociology's central concepts, indeed, evoke dimensions of human experience that remain highly pertinent to an understanding of the individual and societal significance of the body in the contemporary era. In order to illustrate this argument, I focus on the writings of Durkheim and Simmel. Their work is rarely central to writings on the body, but provides good examples of the diversity of theoretical approaches within sociology that remain relevant to body theorists. Specifically, I want to use it to develop the outlines of a theory of embodiment as a medium for the constitution of society which has at its centre a concern with human experience. I conclude by reassessing the strategic options sociologists of the body confront in developing their analyses.     

Estimating Self‐Selection of Immigrants: Comparing Earnings Differentials Between Natives and Immigrants in the US and Israel

Immigrants’ economic assimilation in host countries is determined by patterns of self‐selection on both – observed attributes (mainly human capital) and unobserved attributes of the immigrants from their source countries. In the present study immigrants’ economic assimilation in the United States and Israel are compared. More specifically, the study compares the impact of immigrants’ unobserved characteristics on their earnings in both countries by applying a model for decomposing difference in differentials. It makes use of United States and Israeli decennial census data for comparing self‐selection patterns on unobserved attributes of Jewish immigrants from the former Soviet Union (FSU) who arrived in the United States and Israel during the 1970s. The results indicate that FSU immigrants who chose the United States have significantly higher levels of unobserved earnings determinants than those who chose Israel. These results are discussed in light of migration theories.     

Visualising political thinking on the screen: a dialogue between von Trotta’s Hannah Arendt and its protagonist

This article analyses Margarethe von Trotta’s film Hannah Arendt: The Woman Who Saw Banality in Evil through its protagonist’s own writings on visual culture, visibility and invisibility in the context of political thinking. We start by clarifying Arendt’s understanding of political theory as an activity aiming to provoke thinking. We then discuss systematically the visual language of the film and offer a typology of its representations of political thinking, subdivided into a part on internalisation and one on externalisation (dialogue). We emphasise von Trotta’s reliance on a negative approach, i.e. the representation of thinking through the absence of any other activity while thinking, capitalising on the power of the invisible. However, the film and its director do not entirely succeed in engaging viewers politically. This is so because, first, the film’s lack of conceptual innovation renders difficult the emergence of subject positions on the part of viewers other than consumers of established opinion. Secondly, the film insufficiently audio-visualises the external-communicative dimension of Arendt’s political thinking: a dialogue in which viewers can participate and in the course of which what seemed to be established through political thinking gets deconstructed and subsequently re-ordered. Finally, we emphasise the importance of a cinema of thinking in our current political environment that seems to be increasingly characterised precisely by the absence of political thinking.     

Robert Monroe Harrison,British Abolition,Southern Anglophobia and Texas Annexation

This article contributes to the larger project of situating the United States' struggle over slavery within the Atlantic World. Based on the public and private writings of Southern political leaders and the diplomatic correspondence of Robert Monroe Harrison, consul to Kingston, Jamaica, from 1831 until 1855, the article argues that Southern Anglophobia was a dominant factor in the movement to annex Texas to the United States. Britain's abolition of colonial slavery in her West Indian colonies was a seminal event for the American South. This was especially true for Harrison, a ‘native born Virginian’, who had a fearful personal experience with the abolition of slavery in Jamaica. Harrison came to believe that British abolitionism would be turned against American slavery and he shared his views with the State Department. He even feared that the British would use the West Indies as a staging ground for an attack on America with an emancipated black army that would sow insurrection in the South. Moreover, when several American ships involved in the coastal slave trade wrecked in the Bahamas, British colonial authorities freed the slaves, validating Harrison's central accusation. In 1842, on the slave ship Creole, a group of young men to be sold in New Orleans rebelled, seized control of the ship and made their way to the Bahamas. They had heard through the grapevine of the freedom to be gained there. The white South was outraged. From their perspective, Britain had not only expropriated American property, but now had also instigated violent rebellion. Southern political leaders within the Tyler Administration, especially the Secretaries of State Abel Upshur and then John Calhoun, were deeply concerned with British intentions. They believed that the Republic of Texas was the next target of British abolitionism, and in order to defend civilisation as they knew it, they launched the movement to annex Texas to the United States to protect and expand American slavery. They succeeded in 1845.     

The next trans-atlantic frontier: examining the Impact of Language Choice on Support for Transgender Policies in the United Kingdom and the United States

As American and British gay, lesbian, and bisexual individuals have made major wins for “pinnacle rights,” such as same-sex marriage, attention has increasingly moved to a previously overshadowed part of the lesbian, gay, bisexual, and transgender community: transgender (trans) people. Alongside more visibility in popular culture, trans people have been the subject of policy debates and proposals in both countries, seeking to both restrict and expand their rights. In this article we examine the extent to which language choice affects public support for policies pertaining to trans people in the United States and United Kingdom. We draw upon two survey experiments conducted in the United States and United Kingdom in July 2016 and find that, in general, different ways of referring to the trans population do not affect policy opinions. This study has implications for both understandings of the effectiveness of framing in increasingly media savvy environments and for the future of trans-related policies in the United States and United Kingdom.     

'Traveling Barbies' and rolling blackouts Images of mobility in Mira Nair's Monsoon Wedding

Abstract

This article proposes to read Mira Nair's film Monsoon Wedding through a critical framework provided by transnational anthropology. Such a framework suggests that approaches celebrating transnational mobility must be balanced against nationally specific forms of constraint. It is argued that Monsoon Wedding bears out precisely such a balance. Nair's film suggests that the mobility of human lives may not be quite as unfettered as that of cultural commodities. Moreover, the filmic narrative insists on a differentiation within the Indian diasporic community. Similarly, some theorists of transnationalism have cautioned that the concept of a 'diasporic community' may serve to obfuscate class distinctions. At the same time, Nair's film is read in conjunction with theories of commodity circulation. Through the image of the 'traveling Barbie', this article explores the ways in which US cultural commodities may be indigenized, while also suggesting that Indians at 'home' may hardly benefit from such indigenization. Rather, Non-Resident Indians may travel from the US to India to buy a token of their own 'Americanness' in Delhi.     

Discursive opportunities and the transnational diffusion of ideas: ‘brainwashing’ and ‘mind control’ in Japan after the Aum Affair

A case study in the sociology of ideas, this article refines the theory of ‘discursive opportunities’ to examine how intellectual claims cross national and linguistic boundaries to achieve public prominence despite lacking academic credibility. Theories of ‘brainwashing’ and ‘mind control’ originally began in the United States in the 1960s as a response to the growth of new religious movements. Decades later in Japan, claims that so‐called ‘cults’ ‘brainwashed’ or ‘mind controlled’ their followers became prominent after March 1995, when new religion Aum Shinrikyō gassed the Tokyo subway using sarin, killing thirteen. Since then, brainwashing/mind control have both remained central in public discourse surrounding the ‘Aum Affair’ despite their disputed status within academic discourse. This article advances two arguments. Firstly, the transnational diffusion of brainwashing/mind control from the US to Japan occurred as a direct result of the 1995 Tokyo sarin attack, which acted as a ‘discursive opportunity’ for activists to successfully disseminate the theories in public debate. Secondly, brainwashing/mind control became successful in Japanese public discourse primarily for their normative content, as the theories identified ‘brainwashing/mind controlling cults’ as evil, violent and profane threats to civil society.