'The Pianist' and the ruins of Berlin

In this paper I will discuss some of the ways Berlin and the city's main studio complex, Studio Babelsberg, have been promoted and used as sites for international feature film production in recent years. I will use Roman Polanski's film The Pianist, which was shot in part at Studio Babelsberg and in the vicinity of Berlin, to exemplify some of the transformations and discuss some of the repercussions of international production for thinking about cinematic rivalry between places.

Money ruins everything

In the economy of the 21st century, economic and technical innovation is increasingly based on developments that don't rely on economic incentive or public provision. Unlike 20th century innovation, the most important developments in innovation have been driven not by research funded by governments or developed by corporations but by the collaborative interactions of individuals. In most cases, this modality of innovation has not been motivated by economic concerns or the prospect of profit. This raises the possibility of a world in which some of the sectors of the economy particularly the ones dealing with innovation and creativity are driven by social interactions of various kinds, rather than by profit-oriented investment. This Article examines the development of this amateur modality of creative production, and explains how it came to exist. It then deals with why this modality is different from and potentially inconsistent with the typical modalities of production that are at the heart of modern views of innovation policy. It provides a number of policy prescriptions that should be used by governments to recognize the significance of amateur innovation, and to further the development of amateur productivity.

Reproduction of photograph of Kurt Fritz Rosenberg walking among ruins with his camera; Greece.

Digital Image

Reproduction of photograph of Kurt Fritz Rosenberg walking among ruins with his camera; Greece.

Digital Image

Max Rieser standing on the ruins at Delphi, Greece Portraits Men

Rieser was in Greece for the IVth International Congress of Aesthetics, held in Athens in 1960

Megalithic Cultures in Britain and their relationship to Western Europe.:Meeting on Megalithic Culture. Comparing Prehistoric ruins of the East and Europe,

H. Kanaseki, Editor. 2003, UNESCO-Cultural Heritage Protection Office: Horen-Cho, Nara.

Making Queer Anti-capitalist Resistance Intelligible: Reading Queer Childhood in the Ruins of Neoliberalism

In challenging normative social relations, queer cultural studies has shied away from deploying historical materialist theoretical tools. My research addresses this gap by drawing these two literatures into conversation. I do so by investigating how global economic relations provide an allegorical and material context for the regulation, representation and re-imagining of working-class queer childhood through anti- capitalist queer readings of three films: Kes, Billy Elliot, and Boys Village. I deploy this reading practice to investigate how these films represent heteronormative capitalism’s systematic extermination of the life possibilities of working class children, how children resist forces of normalisation by creating queer times and spaces, and how nostalgia engenders a spatio-temporal understanding of queerness through a radical utopianism. My analysis foregrounds visual cultural productions as sites for understanding how contemporary social worlds exclude queer working class children, who struggle to insert themselves into and thereby shift the grounds of normative social relations.

The social life of ruins: sites of memory and the politics of a Zimbabwean periphery

This article explores conflicts over a series of ruins located within Zimbabwe's flagship National Park. The relics have long been regarded as sacred places by local African communities evicted from their vicinity, and have come to be seen as their ethnic heritage. Local intellectuals' promotion of this heritage was an important aspect of a defensive mobilization of cultural difference on the part of a marginalized minority group. I explore both indigenous and colonial ideas about the ruins, the different social movements with which they have been associated and the changing social life they have given the stone relics. Although African and European ideas sometimes came into violent confrontation - as in the context of colonial era evictions - there were also mutual influences in emergent ideas about tribe, heritage and history. The article engages with Pierre Nora's notion of 'sites of memory', which has usefully drawn attention to the way in which ideas of the past are rooted and reproduced in representations of particular places. But it criticizes Nora's tendency to romanticize pre-modern 'memory', suppress narrative and depoliticize traditional connections with the past. Thus, the article highlights the historicity of traditional means of relating to the past, highlighting the often bitter and divisive politics of traditional ritual, myth, kinship, descent and 'being first'. It also emphasizes the entanglement of modern and traditional ideas, inadequately captured by Nora's implied opposition between history and memory. (c) 2005 Elsevier Ltd. All rights reserved.

'A theatre of ruins'. Edward Bond & Samuel Beckett: theatrical antagonists

The playwright Edward Bond has long made known his antagonism to dramatists allied to Martin Esslin’s Theatre of the Absurd. The work of Samuel Beckett has come in for particular criticism by Bond. Using published writings (and unpublished correspondence between myself and Bond), I hope to trace the development of this antagonism between ‘Bondian’ and ‘Beckettian’ views of theatre. However, this article will also set out to argue that both early work such as The Pope’s Wedding (1962), and more recent work such as Coffee (1995), make use of motifs, characters and ideas from Beckett’s theatre. The article will set out provisional reasons why Bond, despite his misgivings, is not averse to incorporating elements from Beckett’s ‘theatre of ruins’, as he terms it, into his own work.