Pregled bibliografske jedinice broj: 963264
Globalization and Difference in Extreme Cinema
Globalization and Difference in Extreme Cinema // RHSS 2013 - On Violence / Lukić, M. ; Vrbančić, M. (ur.).
Zadar: Odjel za anglistiku, Sveučilište u Zadru, 2013. str. 70-70 (predavanje, međunarodna recenzija, sažetak, znanstveni)
CROSBI ID: 963264 Za ispravke kontaktirajte CROSBI podršku putem web obrasca
Naslov
Globalization and Difference in Extreme Cinema
Autori
Vrbančić, Mario
Vrsta, podvrsta i kategorija rada
Sažeci sa skupova, sažetak, znanstveni
Izvornik
RHSS 2013 - On Violence
/ Lukić, M. ; Vrbančić, M. - Zadar : Odjel za anglistiku, Sveučilište u Zadru, 2013, 70-70
Skup
RHSS 2013 - On Violence
Mjesto i datum
Zadar, Hrvatska, 05.09.2013. - 07.09.2013
Vrsta sudjelovanja
Predavanje
Vrsta recenzije
Međunarodna recenzija
Ključne riječi
extreme cinema, creative europe
Sažetak
Globalization embodies the ultimate horizon of capitalism: the establishment of a world market, a constant flow of finance, goods, and constant expansion. It is a simultaneous increase in the standardization of American of culture and the production of new differences. Hence, the Hollywood system is not just important for global entertainment, finance and business, but also for the production of mass, global consciousness, that is, a new way of life is available for everyone on the globe. In contrast to Hollywood, Europe promotes cultural policies of differences, often celebrating film as art, even global art. An example, among many, may be the new French extremism, cinema du corpse. The academic machine has produced an avalanche of texts about this cinema, defining it as cinema of sensation, emphasizing its corporal, material, transgressive dimension. These hybrid films have no particular genre frame but through conjunctions of sex, blood, flesh and violence they promise us art! Can this promise efficiently be realized in an era of financial capitalism in which the entire mode of cinematic production as well as entire societies have collapsed into a sphere of never ending debt and European film policies (Creative Europe) have reduced film to just another commodity? Or, in other words, how does this promise (central to the functioning of financial capitalism in a creditor/debtor relationship) relate to bodies of postmodern spectatorship?
Izvorni jezik
Engleski
Znanstvena područja
Filologija, Interdisciplinarne humanističke znanosti, Filmska umjetnost (filmske, elektroničke i medijske umjetnosti pokretnih slika)
