186,799 research outputs found
Micropolitics of the Migrant Family in Accented Cinema: Love and Creativity in Empire
No full textIn "Micropolitics of the Migrant Family in Accented Cinema: Love and Creativity in Empire," Patricia Pisters argues against the Utopian investment in the "creativity of the multitude" that Hardt and Negri attribute to migrants, whom they call "new barbarians" because they can escape all normative powers of Empire, including those institutionalized by the family. She looks at three films that deal with migration Boujad, a Nest in the Heat (Bellabes, 1992-1995), Des Vacances Malgre Tout (Malek Bensmail, 2000), and Mille et un Jours (Mieke Bal et al., 2003). These films demonstrate, Pisters argues, that the "new barbarians" of today are not simply escaping every constraint, and certainly not the family's. By filming precisely the family, the "new barbarians" are creating fabulations and performative "speech acts," that "may help, very modestly and almost imperceptibly, to creatively renew both migrants and settlers." Whereas Hardt and Negri seem to proclaim the revolution of the new barbarian, these films seem to call for a revolutionary becoming of all kind of subjects, marked and enriched by intercultural encounters
Lessen van Hitchcock. Een inleiding in de mediatheorie - P. Pisters
No full textBook review of: Patricia Pisters. Lessen van Hitchcock. Een inleiding in de mediatheorie. Amsterdam (Amsterdam University Press) 2002, 328 p., ISBN 90 5356 505
Van Houte, A. Krijgstocht van Pater Bernard
No full textPisters E. Van Houte, A. Krijgstocht van Pater Bernard. In: Journal de la Société des océanistes, tome 7, 1951. p. 322
La neuro-immagine. Schizoanalisi, schermi digitali e nuovi circuiti cerebrali
No full textTraduzione di "Schizoanalysis, digital screens, and new brain circuits" di Patricia Pisters, introduzione del volume "The Neuro-Image. A Deleuzian Film-Philosophy of Digital Screen Culture (Stanford University Press, 2012) della stessa autrice, uno dei testi fondamentali per l'approccio deleuziano all'esperienza filmica
Methodological Positions of Modern Materialistic Criticism: the Brain Problem in the Projects of K. Malabou and P. Pisters
Full text linkThe article proposes the reconstruction of the methodological positions of critical projects by K. Malabou and P. Pisters, describing the ways of modern philosophical understanding of the brain problem. The correlation between the central concept of plasticity for Malabo and the dialectical attitude is problematized. The article discusses the possibility of expanding ideas about the brain problem through an appeal to the schizophrenic functioning of modern screen culture and the concept of “neuro-image” using the example of P. Pisters, whose methodological position is a departure from dialectics.В статье предлагается реконструкция методологических позиций критических проектов К. Малабу и П. Пистерс, описывающих техники современного философского осмысления проблемы мозга. Проблематизируется корреляция между центральным для Малабу концептом пластичности и диалектической установкой. Рассматривается возможность расширения представлений о проблеме мозга через обращение к шизофреническому функционированию современной экранной культуры и понятию «нейрообраз» на примере работы П. Пистерс, методологической позицией которой оказывается отход от диалектики
Micropolitics of the Migrant Family in Accented Cinema: Love and Creativity in Empire
No full textIn "Micropolitics of the Migrant Family in Accented Cinema: Love and Creativity in Empire," Patricia Pisters argues against the Utopian investment in the "creativity of the multitude" that Hardt and Negri attribute to migrants, whom they call "new barbarians" because they can escape all normative powers of Empire, including those institutionalized by the family. She looks at three films that deal with migration Boujad, a Nest in the Heat (Bellabes, 1992-1995), Des Vacances Malgre Tout (Malek Bensmail, 2000), and Mille et un Jours (Mieke Bal et al., 2003). These films demonstrate, Pisters argues, that the "new barbarians" of today are not simply escaping every constraint, and certainly not the family's. By filming precisely the family, the "new barbarians" are creating fabulations and performative "speech acts," that "may help, very modestly and almost imperceptibly, to creatively renew both migrants and settlers." Whereas Hardt and Negri seem to proclaim the revolution of the new barbarian, these films seem to call for a revolutionary becoming of all kind of subjects, marked and enriched by intercultural encounters
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