The spectacle of modernity: blood, microscopes and mirrors in Colonial Tanganyika

The chapter focuses on attempts to change and improve the subjects of the colonial regime in what was the British Protectorate of Tanganyika, contemporary Tanzania. The colonial project in Africa was surrounded by technology, ideology, and representations of modernity based on the application of instrumental rationality. Through the example of colonial practices to control sleeping sickness, it examines how local forms of knowledge and livelihoods were negated and counter-tendencies people generated, offering explanations for the predicament of the human condition consequent upon the colonial experience.

The politics of slowness and the traps of modernity

This chapter re-evaluates the diachronic, evolutionist model that establishes the Second World War as a watershed between classical and modern cinemas, and ‘modernity’ as the political project of ‘slow cinema’. I will start by historicising the connection between cinematic speed and modernity, going on to survey the veritable obsession with the modern that continues to beset film studies despite the vagueness and contradictions inherent in the term. I will then attempt to clarify what is really at stake within the modern-classical debate by analysing two canonical examples of Japanese cinema, drawn from the geidomono genre (films on the lives of theatre actors), Kenji Mizoguchi’s Story of the Late Chrysanthemums (Zangiku monogatari, 1939) and Yasujiro Ozu’s Floating Weeds (Ukigusa, 1954), with a view to investigating the role of the long take or, conversely, classical editing, in the production or otherwise of a supposed ‘slow modernity’. By resorting to Ozu and Mizoguchi, I hope to demonstrate that the best narrative films in the world have always combined a ‘classical’ quest for perfection with the ‘modern’ doubt of its existence, hence the futility of classifying cinema in general according to an evolutionary and Eurocentric model based on the classical-modern binary. Rather than on a confusing politics of the modern, I will draw on Bazin’s prophetic insight of ‘impure cinema’, a concept he forged in defence of literary and theatrical screen adaptations. Anticipating by more than half a century the media convergence on which the near totality of our audiovisual experience is currently based, ‘impure cinema’ will give me the opportunity to focus on the confluence of film and theatre in these Mizoguchi and Ozu films as the site of a productive crisis where established genres dissolve into self-reflexive stasis, ambiguity of expression and the revelation of the reality of the film medium, all of which, I argue, are more reliable indicators of a film’s political programme than historical teleology. At the end of the journey, some answers may emerge to whether the combination of the long take and the long shot are sufficient to account for a film’s ‘slowness’ and whether ‘slow’ is indeed the best concept to signify resistance to the destructive pace of capitalism.

A new roadmap to life: media, culture, and modernity in the United Arab Emirates

Critical to the vision of a new United Arab Emirates is an educated, skilled workforce that fuels the intelligent growth needed in a knowledge-based economy. As the country begins developing its version of that economy, the mediated, transparent environment fundamental to this process will carry with it new visions of (and possibilities for) living life. If peaceful change is to be achieved, a transitional generation faces the conundrum of adapting the best that modernity can offer while retaining the best of tradition. As have others, this study suggests two things: that (1) media literacy, growing in part from education, is correlated with urbanization and a changing infrastructure, and that (2) media in all its forms is inseparable from the outcome of this drive to modernization.

Social inclusion, social movements, and the characteristics of late modernity

In discussing the ideology of social inclusion, this paper demonstrates that the composition of community groups in a period of late modernity is worthy of consideration. Although it would appear, on the surface at least, that previously stable community institutions, such as family, organised religion, trade unions, occupation and residential stability, and so on, are being challenged by a broad rejection of the once powerful tool of tradition, society's attachment to a belief in the symbolic value of community remains strong. In an environment however, in which the interaction and interdependence of human activity is subject to continual re-evaluation as the current processes of industrialisation and globalisation unfold, the template of what constitutes 'community' may need to be re-defined. It is to this end that the present paper is concerned, in that it seeks to identify new community formations. Of particular interest, is the rise and reach of modern day 'social movements', and why, when analysing the subject from a macro-sociological perspective, they have come to assume such a pivotal role in occupying community spaces left vacant by the demise of traditional social institutions. The paper is exploratory in its focus, using relevant literature to posit some broad theoretical themes, with the aim of presenting such themes to encourage a shift in community debates away from traditional concerns about 'who' and 'how many', towards questions of why new community forms are emerging.

Understanding community and its possibilities in late modernity

This thesis argues that community is being reconfigured and practiced in new forms and behaviours. Examples of this can be seen in the way that communities have emerged through the interplay with developing technological mediums and out of the growing social discontent with contemporary forms of political alienation.