tailieunhanh - THE GEOPOLITICAL AESTHETIC CINEMA AND SPACE IN THE WORLD SYSTEM

In the present study, we examined the influence of descriptive and elaborative titles on paintings. Additionally, we varied the presentation time between Experiments 1 and 2. The first experiment was designed similar toMillis (2001) to replicate his elaboration effect with images of artworks. Two levels of representativeness in artworks were investigated (abstract versus representational). Ratings were collected before and after presenting a title, thus within-subjects comparisons could be made. We chose two paintings similar in an artistic style and contents from 24 artists each, and presented each painting only once to avoid an increase of appreciation due to mere exposure | THE GEOPOLITICAL AESTHETIC Cinema and space in the World System FREDRIC JAMESON INDIANA UNIVERSITY PRESS Bloomington and Indianapolis BF1 PUBLISHING London Introduction Beyond Landscape The films discussed here have been selected with a view towards an unsystematic mapping or scanning of the world system itself from what used to be called the superpowers across that most industrialized zone of a former Third World now called the Pacific Rim only to conclude with a confrontation between First World or European technology at its most self-conscious in Godard and a Third World meditation on that technology at its most self-consciously and reflexively Mdi fin the work of the Philippine film-maker Kidlat Tahimik .1 But technology is little more than the outer emblem or symptom by which a systemic variety of concrete situations expresses itself in a specific variety of forms and form-problems. It is not a random variety and sometimes seems best described in developmental - or better still in uneven-developmental - language as when for example Edward Yang s film Terrorizer seems to raise the question of the belated emergence of a kind of modernism in the modernizing Third World at a moment when the so-called advanced countries are themselves sinking into full postmodernity. The residues of the modern will then offer one clue or thread for these explorations. Yet other kinds of relationships also propose convenient figures the us and Soviet narratives discussed here as different from each other as the série noire from Grimms fairy tales both seem to raise the problem of the view from above and of the invention of new forms of representation for what it is properly impossible to think or represent and both finally coincide in the logic of conspiracy. But in the North American movies it is a conspiracy of the espionagethriller or even paranoid type while in Alexander Sokurov s stunning Days of Eclipse based on a novel and script by the Strugatsky Brothers such inverted .