Digital imaging in popular cinema

This book investigates the challenges that the presence of digital imaging within the cinematic frame can pose for the task of interpretation. Applying close textual analysis to a series of case studies, the book demystifies the relationship of digital imaging to processes of watching and reading films, and develops a methodology for approaching the digital in popular cinema. In doing so, the study places contemporary digital imaging practice in relation to historical traditions of filmmaking and special effects practice, and proposes a fresh, flexible approach the the close reading of film that can take appropriate account of the presence of the digital.

Terminal: a miracle play with popular music from the end of the world

Terminal: A Miracle Play with Popular Music from the End of the World is a film and live performance project exploring the politics of post-apocalyptic fiction. A theatrical staging of a morality play for end times and future folk music, it recasts eschatology, as a foundational myth for a future society. Post-apocalyptic writing and cinema are grounded in an ethos of survivalism. Invoking Rousseau’s state of nature, or time before government, these fictions propose violent scenarios in which nuclear holocaust, environmental catastrophe and other disasters generate an individualistic politics of pure pragmatism, negating the possibility of democratic deliberation. Terminal narrates this familiar scenario, but at the same time questions its validity. The film, shot on black and white VHS at Kurt Schwitters’ Merzbarn in Cumbria, dramatises a series of conversations between future-historical archetypes about the needs and pressures of the situation in which they find themselves at the end of the world. The performers then gather to play worshipful songs about acid rain, radiation sickness and eating the dog, using a mix of conventional, obscure and makeshift instruments In the tradition of books such as Russell Hoban’s Riddley Walker and Arthur M. Miller Jr.’s A Canticle for Liebowitz, Terminal imagines artistic expression and new folk traditions for a world to come after the apocalypse. If, as Slavoj Žižek would have it, it is easier to imagine the end of the world than to think of the end of capitalism, the project juxtaposes these two endpoints to test out how alternative scenarios might emerge from the collaborative practice of making theatre and music against a setting of social collapse.

Mobilisations contre le travail des enfants au Burkina Faso : quelquees considérations de la dimension genre

La lutte contre le travail des enfants au Burkina Faso a resurgi dans la scène publique ces dix dernières années avec un engouement sans précédent aussi bien de la part des acteurs étatiques, des ONG que des organismes onusiens. Ce chapitre traite, dans une double perspective sociologique et anthropologique, de la dimension « genre » de cette lutte et cherche à voir dans quelle mesure celle-ci est prise en compte (ou non) dans les pratiques concrètes de retrait d’enfants des travaux considérés comme dangereux. Peut-on parler de politiques et de programmes « genrés » dans le champ de la lutte contre le travail des enfants au Burkina Faso ? Le chapitre est structuré en trois parties. Il présente d’abord les éléments caractéristiques de l’approche genre dans la lutte contre le travail des enfants. Ensuite, il aborde les politiques et les acteurs de cette lutte au Burkina Faso, en décrivant les processus de problématisation et publicisation de la question. Enfin, il traite du cas spécifique d’un projet triennal de retrait d’enfants des mines artisanales des régions du Nord et du Sahel burkinabè pour questionner la prise en compte du genre, des obstacles sociaux, culturels et d’autres contraintes possibles à l’égalité fille-garçon dans cette intervention. Il questionne par ailleurs la part des acteurs de terrain dans la (re)production des normes et des rôles sexués. Les données sont issues de quatre années de recherche menée au Burkina Faso entre 2008 et 2011, auprès d’acteurs engagés dans la production des politiques de lutte et/ou engagés dans la lutte concrète, mais également avec des enfants, parents et employeurs.

The Vida of Queen Fredegund in Tote Listoire de France: vernacular translation and genre in thirteenth-century French and Occitan literature

This article examines the role that translation may have played in the development of medieval vernacular literature. It analyses an extract of an early 13th-c. translation into a hybrid French-Occitan vernacular of an 8th-c. historical text, the 'Liber Historiae Francorum'. The translation coincides with the adoption of narrative prose both in Old French and in Occitan literature, which reflects a growing interest in historical writings. The second half of the article compares the anecdote with the narrative structures and content of one of the troubadour 'vidas' and 'razos' - biographical texts in prose that emerged in the same period and regions as this translation. The article concludes by suggesting that the new vernacular genre shares narrative features with the early medieval Latin text that are preserved in its translation.

Parliamentary sovereignty, popular sovereignty, and Henry Parker's adjudicative standpoint

Discussions of popular sovereignty in early modern England have usually been premised upon a sharp distinction between ‘legal/constitutional’ forms of discourse (which merely interpret the law) and ‘political’ ones (which focus upon the right to make it). In such readings of the period, Henry Parker has a pivotal position as a writer who abandoned merely legalistic thinking. This chapter takes a different view. It argues that Parker’s major intellectual achievement was not so much to abandon legal/constitutional discourse as to offer a theorisation of its most distinctive features: he offered an account of a new kind of politics in which concern for ‘interests’ in property and in self-preservation replaced humanist concern with promotion of virtue. Parker drew upon ideas about representation best expressed by Sir Thomas Smith and ideas about law best expressed by Oliver St John. The theory he developed was not intended as a justification of legislative sovereignty, but of adjudicative supremacy. His picture of the two Houses as supreme adjudicators was meant to block the path to direct democracy. But the adjudicative standpoint they came to occupy presupposed that freeborn adults had ‘interests’ in life, liberty, and possessions. This had democratising implications.