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This article examines the digital media revolution as a revolution reliant upon a sustained legacy of colonial violence in regions such as the Congo, the locale of this study. Contemporary production is foreshadowed by the industrial genocide of the late nineteenth and early twentieth centuries visited upon the Congo by Belgium. In an era defined by globally distributed trade networks, colonialism is equally distributed and mercurial – its complex supply chains obfuscating responsibility toward either the environment or its human inhabitants. The paper looks at the minerals required for latter day digital devices which have become the latest iteration of conflict in the region. Minerals are traced through a number of modern technologies including matches, atomic clocks and mobile devices, all of which evoke alchemical transformation and spectacle. We trace the legacy of colonial violence through smartphones, as the contemporary epitome of technical supremacy – highlighting their qualities of immediacy, mobility and making the remote proximate, especially by bringing remotely sourced geological elements into everyday use. Moving away from our own techno-romantic affiliation with such commodities, the article highlights the fact that focus on effect often further obfuscates the causal factors and consequences of resource extraction in commodity production. Even as we summon stories of global trade with our fingertips on mobile, networked devices, we are implicated in these cycles of violence.

Agritourism has often been framed as a means to revitalize a declining rural economy by improving and diversifying household incomes, forestalling rural flight, and preserving agrarian cultures. We argue, however, that it can also have the propensity to create a different kind of rural revitalization, one that accentuates the production of spectacle, at times at the expense of food production. We draw from qualitative field research to examine the growing agritourism movement in the Philippines, a country with a struggling rural sector. We observe that agritourism sites in the Philippines negotiate space and work in multiple ways and highlight the tensions that farmers increasingly perceive on the ground. Some farmers persist in maintaining the production of food, while others shift more towards the staging of experience and spectacle to serve urbanite imaginations of the rural. We present various tendencies in the process of transitioning from farm to agritourism and argue that attention to the production of rural spectacle is important in understanding agrarian transitions at the farm and community level, and ultimately agritourism’s implications on rural revitalization.

Social violence traditionally has been a constituent in the information flow of artistic communication, of the cinematic one especially. With the language specific to cinema it is easier, than with the languages of other arts, to attract and command the attention of a broad public with the spectacle of violence. Also, as a rule, it is more economical because of the relatively low cost of embodying violence on the screen considering the overall expensiveness of film production. In the West, the filming of practices of violence aimed at entertaining the public, as well as the public concern at the possibility of their negative impact on the rising generation, has a long history. Within the concept of “the audience as the victim” there were thousands of studies conducted, especially in USA. In the USSR cinema of the entertainment orientation was under the ideological ban which put the representation of violence within certain boundaries. In the 1990s the situation of cinema changed drastically. Je escalation of entertainment violence on the screen caused a public concern. Sociologists began to study its perception by and impact on spectators. In this regard, the article considers the experience of conceptualizing the reformatting of its representation after, consequent upon the impact of the last century’s revolutionary violence, cinema had obtained the status of “the most important of all the arts” and “the social significance” of the violence became the cultural code of its representation. But with the transition of Russian cinema to the market, foreign entertainment movies were granted open access to the nation’s film screens. Entertainment violence reached the status of a commercially important communicative attraction. Its effectiveness in this function is viewed in the article based on the materials of sociological surveys conducted among filmgoers of the cities of Kirov and Ekaterinburg. Another side of the issue considered as well is the sociocultural effects of violent images on the rising generation in whose midst there is a “risk group” that merits careful research and preventive acknowledgment in the process of social control.

Context: Uncorrected refractive errors (RE) are the most common cause of preventable visual Impairment (VI) in children, which if not treated in time can lead to amblyopia. VI in early childhood interferes with their overall development affecting their future opportunities in life. Spectacles remain the most popular and effective method for correction of RE. Children unlike adults, often don’t understand the need for wearing spectacles, thus prescribing spectacles in children becomes difficult. Aims: Aim of this study was to find out proportion of spectacle wear non-compliance in children aged six years and below and identify factors associated with it. Materials and Methods: The study was conducted among 115 children aged six years and below with refractive errors who were prescribed spectacle correction. Children were selected using simple random sampling. Multivariate logistic regression was used to identify independent factors associated with spectacle wear non-compliance. Results: Proportion of spectacle wear non-compliance was 53.04%. Children with spectacle wear non-compliance were more likely to: belong to age of two to four years (AOR = 4.3; 95%CI: 1.3-14.3); have mother with up-to primary school education (AOR = 3.7; 95%CI: 1.2-11.7); have anisometropia (AOR = 11.1; 95%CI: 3.4-36.7). Statistically significant association was observed between spectacle wear non-compliance and child’s age, mother’s education, anisometropia, astigmatism, manifest squint, intolerance to glasses, glasses lost, glasses broken, concerned teasing and cost issues. Conclusions: Children less than four years of age; with anisometropia and those whose mothers had up-to primary school education were more likely to be non-compliant to spectacle wear. Keywords: Children, Non­compliance, Spectacle.

Objectives: The study aims to evaluate the barriers and perception towards spectacle wear among student population of University of Buraimi, Oman. Methods: This descriptive, questionnaire based, cross-sectional study was conducted between December 2017 and May 2018. To evaluate participant’s barriers and perception towards spectacle wear, a self-designed, validated questionnaire prepared in English language, obtained responses from 170 a university student population within the Sultanate of Oman. Chi-square test was used to assess the association between the type of perception with the socio-demographic and refractive error related profiles of the participants. Results: All participants with inappropriate spectacle correction (61.82%) responded to the questionnaire. Majority of them (73.5%, n = 125) were having their eyes examined for the first time. Only 28 (16.5%) were wearing spectacles. Nearly half of the participants (54%, n = 91) had positive attitude towards spectacle wear, followed by negative (36%, n = 62) and neutral perception (10%, n = 17). Participants from a health science background had a higher positive perception towards spectacle wear compared to the non-medical study majors (P = 0.012). The difference in the perception scores between myopic and hypermetropic refractive error group was statistically insignificant (P = 0.882). Conclusion: A majority of the participants were having inappropriate spectacle corrections and did not undergo any prior ocular examinations. Very few participants were wearing spectacles, however, it was inappropriate concerning their current refractive status. The other reasons for spectacle non-wear were, ordering of new spectacles, lost them, or were broken. Nearly half of the participants had positive perceptions towards spectacle wear. The positive perception was higher among students with health-related majors. The study stresses to extend the current school eye health initiative within the region to the university level. A holistic eye health promotional approach integrating students, teachers, and parents can help in improving spectacle wear within the population. Keywords: Eyeglasses; Refractive errors; School eye health; Spectacle compliance; Patient compliance.

The representation of reality seems to have gained precedence over reality. In the society of the spectacle, entertainment has become the experience. Accordingly, sport organizations must increasin...

The group known as ‘incels’ (involuntary celibates, usually men) has become a spectacle for feminism as well as for mass media. Both popular and academic feminisms have condemned the incel for his ...

The combination of puppetry and theater creates an alternative offering a new style of treatment in the form of contemporary theater called “Pakeliran Sampakan”. Pakeliran sampakan carries the mission of modernizing traditional art with the hope of being able to answer the public's saturation regarding spectacle that smells Indonesian culture, especially wayang kulit with the target market the young people. “Sang Panggung” is an adaptation of a story from “Nyi Panggung” written by Eko Tunas which tells about the life behind the scenes of the group of tobong Ketoprak Eka Mardhika. The results of the work represent the form of performances by the tobong ketoprak artists, with the story "Sang Panggung". Like the marginalized who are alienated because of their deposed honour by the outside culture, it needs an action by doing 'transmigration'. It doesn’t only mean moving from one island to another but also a change in the human mindset to be renewed towards the sophisticated technology of mass media, in order that traditional arts can always involve in the international competitions.

Geri-action as a term within film studies describes a subgenre of action cinema in which, largely though not exclusively, men in their middle ages partake in narratives of action and spectacle, whi...

Context: Unaddressed refractive errors account for a large proportion of ocular morbidities among adolescents and can hamper their overall development. Hence, compliance with the use of visual aids should be ensured. Aim: To evaluate the degree of spectacle compliance and to assess the principle determinants for non-compliance among adolescents in a tertiary care hospital. Settings and Design: Hospital based, prospective observational study. Methods and Material: A prospective observational study was conducted over 2 years. 365 adolescents (10-19 years) attending ophthalmology OPD were observed and interviewed using questionnaire and possible causes associated with non-compliance identified. Results: Out of 365 adolescents, 190 (52.05 %) were females and 175 (47.95 %) males. Overall compliance rate was 47.12 %. Compliance was more with urban residence (p value 0.014), father’s education (p value 0.022), myopia (p value 0.001) and poor uncorrected visual acuity in better eye (p value 0.0015). The common causes for not wearing spectacles were peer pressure (17.62 %), parental disapproval (15.03 %), broken spectacles (13.47 %), dislike spectacles (11.92%), social stigma/misconceptions (10.87%), occasional use (8.81 %), forgetfulness (7.25 %), lost spectacles (6.22%), headache due to spectacles (5.18 %) and discomfort due to spectacles (3.63 %). Conclusion: Proper counselling of adolescents and their parents regarding importance of using spectacles is essential at the time of prescribing spectacles and it can improve spectacle compliance and visual outcome.

Clinical relevance Effective spectacle coverage is a useful indicator to assess the coverage of refraction services in a given region. We found a low coverage in the Akividu region suggesting a need to develop effective refraction services. Background To assess the prevalence of spectacle use and effective spectacle coverage for distance vision among people aged 40 years and older in the Indian state of Andhra Pradesh. Methods A population-based cross-sectional survey was carried out in the Akividu region in West Godavari and Krishna districts. The study teams visited selected households and conducted eye examinations in the selected clusters. A structured questionnaire was used to collect information on spectacle use. 'Met Need' was defined as unaided VA worse than 6/12 but improved to 6/12 or better with their current spectacles. 'Unmet Need' was defined as unaided VA worse than 6/12 but improved to 6/12 with pinhole, among those not using spectacles. The 'Under-met Need' was defined as aided VA worse than 6/12 but improving with pinhole to 6/12 or better. Based on these definitions, Effective Refractive Error Coverage (e-REC) is calculated as: e-REC (%) s = ((met need)/(met need + under-met need + unmet need)) X100. Results Of 3,000 enumerated from 60 clusters, 2,587 (86.2%) participants were examined. The prevalence of current spectacle use was 43.1% (95% CI:41.2-45.0). The e-REC was 37.4%. It was also lower in men compared to women and among those without any education. Participants who had cataract surgery in either eye had similar e-REC compared to those who were not operated. Conclusion Though spectacle use was found to be high, there is a still large unmet need for refractive correction for distance. Effective service delivery models to provide refraction and spectacle dispensing services are needed to achieve universal eye health coverage in the region.

The article explores the functions of film costumes in the works of Cecil B. DeMille, the American film director, whose pictures of the late 1910s and early 1920s are notable for their artistic achievements in the field of set and costume design. On the material of certain films from his “matrimonial cycle”, the author analyses the narrative and spectacular functions of costumes, while making an emphasis on the director’s role in the development of the artistic uniqueness and visual extravagance of Hollywood films of this period. The films of this cycle display some key strategies in film costume function- ing and design methods that would be adopted by the Hollywood film industry to become the new production standard in this field.

Kobe Bryant is now in the Naismith Basketball Hall of Fame. He entered in what is perhaps the most decorated Hall of Fame class in the history of the institution. Among the events that inform how athletes and other public figures are perceived are off-court activities and events. On the last day of June 2003, Kobe Bryant had a sexual encounter with a young woman in his suite in a Colorado resort. What resulted from that encounter was part sports spectacle, part legal proceedings, and all public privacy. Legal decisions and actions of an NBA African American icon-under-construction became a part of news coverage for nearly 2 years. This coverage was the onset of Kobe’s “carceral shadow.” W.E.B. Du Bois (1899:254, 249) suggested that, “Crime comes either in spite of intelligence or as a result of misdirected intelligence under severe economic and moral strain… We must add to this the influences of social position and connections in procuring whites pardons or lighter sentences.” That young Colorado woman accused Kobe of sexual assault. Graphic accounts and other evidence presented in the court of public opinion led to a large payment to the alleged victim which ended the civil suit and the legal process. Despite the absence of a trial and conviction, one can understand Kobe through the lens of a carceral citizenship. Similar circumstances—on mere allegation alone—often led to the lynching death of many Black men throughout the nineteenth and twentieth centuries. Kobe’s carceral shadow followed him from that day forward through an arc of post-non-trial redemption. In this work, I consider these themes in relation to Kobe’s iconic “life incomplete.”

The Eighth Maqāma by Yaʿacov ben Elʿazar (Toledo, ca. 1200) tells the story of ʿAkhbor, a bearded beggar-preacher who is revealed to be rich and lecherous. His sexual preference for a black maid leads his four white/Arab maids to murder him viciously, but not before taking revenge on his beard. In fact, the most notable feature of the false preacher is his gargantuan beard, which occupies a full one-third of the maqāma, and other beards are also excessively described. Following Robert Bartlett, I will relate to the beard as “social text” and explore its abundant symbolical meanings within the surrounding cultures of Islam and Judaism, as well as against the backdrop of Iberian contemporary society. Further, in order to better understand Ben Elʿazar’s manipulation of both the beard and the genre, as well as his emphasis on sexual, anal and scatological humor, I will have recourse to Mikhail Bakhtin’s theoretical discussions of “the grotesque body,” “the carnivalesque,” and to his generic model of the Mennipea.

This study develops the notion of infrastructural excess to foreground how representational strategies and security practices combine to facilitate a specific political rationality of public bus tr...

Este artigo tem como finalidade discutir o engendramento do risco-espetáculo enquanto uma nova modalidade de risco e também como vetor de subjetivação na contemporaneidade. Neste sentido, o risco-espetáculo se configura como uma leitura possível acerca de um fenômeno da era digital que tem alcançado enorme popularidade entre o público infanto-juvenil: os desafios do youtube. Muitos desafios se popularizaram ao serem publicados por famosos youtubers, as celebridades da Internet. Como consequência, jovens e crianças passam a reproduzir tais práticas em suas casas. Apesar do caráter lúdico e aparentemente seguro, alguns desafios do youtube implicam em risco à saúde e à vida, sendo enquadrados no rol das brincadeiras perigosas. Estas práticas de risco se desenrolam, na maior parte das vezes, alheias à tutela e à supervisão da família. Isto nos leva a interrogar que modos de governamentalidade operam no ambiente virtual, de forma a gerir condutas que incidem no mundo concreto e que modos de subjetivação estão sendo produzidos a partir destas práticas. Palavras-chave: Risco-espetáculo; desafios do Youtube; brincadeiras Perigosas; governamentalidade.

Dla Europejczyka fascynacja Ameryką ma charakter zauroczenia dziwacznością. Przejawia się ona w rzeczywistości stanowiącej ponowoczesną mieszaninę fragmentarycznych doznań, które manifestują się w obrazie zarówno wielkich miast amerykańskich jak i architekturze przydrożnej. Autorka poddaje analizie horyzontalnie rozciągnięte Los Angeles jako żywiołowe widowisko ruchu ulicznego. Pomimo powstających wciąż nowych ikonicznych dzieł architektury, bezkształtność, amorficzność i rozproszenie formacji przestrzennych tego miasta nie pozwalają na prawidłowe odczytanie jego struktur. Z badań autorki wysuwa się wniosek, iż nie budynki czy historyczne miejsca, lecz właśnie ruch uliczny i system autostradowy stanowią głównie o charakterze tego miasta, którego wizerunek utrwaliło wielkie kino. Los Angeles: a city of moving images To Europeans, fascination with America is like being charmed by oddity. It manifests itself in a reality that is a postmodern mixture of fragmentary experiences that manifest themselves in the image of both large American cities and roadside architecture. I analyse the horizontally stretched Los Angeles as a lively spectacle of street traffic. Despite newer and newer iconic works of architecture, shapelessness, amorphousness and scattering of this city’s spatial formations does not allow for a proper reading of its structures. My study concludes that it is not buildings or historical sites but street traffic and the highway system that define the character of this city, whose image was enhanced by world-class cinema.

The article deals with specific features of metaphorical interpretation of the 2018 presidential election in the Russian Federation in humorous political communication. It is revealed, that the conceptual domains «Sports», «Games», «Theatre», «Circus», «Cinema», «Show business» are the basic sources of the metaphorical characterization of the election and the politicians participating in it. The use of a concrete source-domain of metaphorical expansion in the anecdotes published in the Internet-space is directly connected with the image of the politician, existing in the consciousness of ordinary citizens. Thus, the characteristic of V. V. Putin is dominated by sports metaphors representing him as a «sportsman-winner», while the metaphorical characteristics of V.V. Zhirinovsky and K.A. Sobchak abound in theatre-circus metaphors creating images of «political clowns». As a result, the whole multitude of metaphors, representing the 2018 presidential election, can be reduced to two macromodels: «Election is a sports competition» and «Electionis a show (performance/circus/cinema/spectacle)». Thus the participants of the humorous political communication interpret an event in the political arena as follows: the politicians try to create in voters an illusion of choice; the results of vote are predictable; and the ordinary citizens in this election campaign are allocated the role of spectators who are passively observing the event and cannot influence the process in any way. Thus, the metaphorical models used to interpret and assess the 2018 presidential election in the humorous political communication allow one to explicate the concepts about the mechanisms of organization of the political life in the country, formed in the consciousness of ordinary representatives of the Russian society.

The movie No, released in 2012, is considered in this paper as a means to reflect not only on the movie narrative (that is, its content itself: the advertising campaign previous to the 1988 plebiscite, when the Chileans decided not to perpetuate Pinochet's dictatorship), but also on the role of humor in the connection between the ‘society of the spectacle’ and the consumer society in Latin American politics, especially from the 1970s onwards, regarding the problems posed in the post-dictatorial times. In No, the director, Pablo Larrain, discusses topics such as ‘political emptying’ and the conditions of disengagement — in this case, by means of the idea of “humorous society”.

O uso da rede social Twitter, em segunda tela, permite a milhares de torcedores se manifestarem durante as transmissões ao vivo de futebol pela televisão. Dentro desse fenômeno, observado a partir do conceito de sociedade do espetáculo, de Guy Debord, o presente artigo investigou a influência do uso das hashtags. Foi feita uma análise de rede social em seis jogos de futebol. Percebemos que a hashtag, mais do que um mero indexador de assuntos, pode se colocar como um actante – dentro da conceituação formulada pela Teoria do Ator-rede, de Bruno Latour – tendo um papel determinante na interação produzida. A percepção desse papel da hashtag vai contribuir para o entendimento do agir dentro das redes sociais da internet.

As the military regime of Augusto Pinochet deregulated urban transportation in the late 1970s, controversy flared over a popular mode of urban transit called a taxibus, a small bus with a higher fare than a full-sized bus. This article utilizes newspaper sources to examine the struggles that played out between the taxibus industry, the government, and passengers in the midst of shifting policies. It focuses in particular on controversies surrounding students and youth on taxibuses. The article argues that taxibuses became an object of contention because they occupied an ambiguous space in terms of social class, they displayed the military government’s struggle to provide sufficient transportation and, finally, because bus owners, drivers, and passengers resisted deregulation during this period. This study contributes to our understanding of urban transit in the Global South by shifting attention to small-scale bus entrepreneurs, who occupied an important market in Latin American cities.

Babylon Berlin (henceforth BB) premiered in Germany on the pay channel Sky TV in October 2017 and in the United States on the streaming service Netflix in January 2018. It is based on Volker Kutscher's series of crime novels set in late Weimar Republic and early Nazi-era Berlin. At its center are the lives and investigations of the laconic and tormented police detective Gereon Rath and his charismatic and irrepressible assistant Charlotte (Lotte) Ritter. In anticipation of the series premiere on public television, marathon screenings took place in 150 cinemas across Germany, where audience members dressed up in 1920s fashion and enjoyed a Currywurst break. Its viewership in the Federal Republic was topped only by the global fantasy behemoth Game of Thrones. The series is clearly modeled on American series such as Mad Men (2007–2015) and The Wire (2002–2008) as it unfolds a complex web of characters and subplots with loving attention to the history and fashions of the time. Indeed, this collaboration of seasoned directors Tom Tykwer, Achim von Borries, and Henk Handloegten is the most expensive German TV series to date. The fact that BB premiered on pay TV while having been largely produced with public funds drew some ire. German reviewers questioned both the circumstances of its production and its creative ambition. While Der Spiegel called it “a masterpiece,” one much debated blog review went so far as to call it “pure crap,” which neither reflected historical truth nor carried artistic merit. Many critics faulted the series for trading in postcard clichés and creating a 1920s “Berlin Disneyland.” The weekly Die Zeit complained that there was a little too much cute dialect, such as “icke” and “kiek ma,” which made the critic sometimes feel like wiping the dirt makeup off the proletarian faces. (And indeed, one of the numerous intertexts of this series are Heinrich Zille's unflinching depictions of proletarian misery.)

Shakespeare’s Twelfth Night (1602) is well-known for its homoeroticism, whereas the critical consensus concerning She’s the Man (dir. Andy Fickman), a 2006 film based on Twelfth Night, seems to be that it dampens the play’s homoerotic strategies and meanings in the translation to film. This paper argues that while specific elements are indeed dampened, homoeroticism is still firmly present in the movie, and the perceived curtailing of much of the play’s subversive energy does not explain the film’s queer legacy. Because of the different codes surrounding homoeroticism for Elizabethan drama and Hollywood cinema, the different contours of homosocial space within the two societies, and the Western invention of the homosexual as a distinct category in the time between the two eras, the queer potential of She’s the Man resides in different moments of the story, and is filtered through capitalist strategies of queerbaiting. Therefore, I aim to show the diffraction patterns of queer and trans desire between the two works. Specifically, the different approaches to mimesis shape this intra-action, including the place of women in mimetics; the specters of realism and psychoanalysis; shifting notions of gender and sexuality; and changes in audience tastes regarding bodily spectacle in cross-dressing stories.

Hardline militants forced the cinema halls in Kashmir into closure in 1989. As heavy militarization ensued, several spaces, including cinema halls, were transformed into structures where people, especially young men, were detained and tortured by soldiers and militia. The generations born after the 1980s, therefore, grew up in a cinema-less, militarized world. In the absence of functional cinema halls, they, for years, relied on the state broadcaster for movies and media. Later – although under tremendous threat from extremists – a network of local cable TV operators, who functioned without licences, provided some succour. They were followed by pirate video-cassette and compact-disk parlours that provided people with a means to stay connected to movie culture. And, while the scene changed with the arrival of satellite TV, computers and later the internet, which connected the youth of the region to the larger global media culture, the absence of cinema persists. This article aims to explore how youth, born after the 1980s, associate with cinema halls of Kashmir and what the loss of the cinema viewing culture means to them. To this end, I intend to look into cinema culture before the 1990s and the politics around the closure of cinema halls. The article will also put into perspective the arrival of satellite TV and the circulation of pirated video cassettes, compact disks and videos of the funerals of rebels that were filmed and circulated by rental shops. These practices and processes, which shaped the childhood and youth of several generations in Kashmir, offer insights into the media consumption and the role the state and its apparatuses have in shaping the youth in a conflict-ridden and militarized region of the Global South.

This essay traces a line of thought through post-Homeric receptions of Helen, taking as its primary case studies Euripides’ Helen and Christopher Marlowe’s Doctor Faustus. Both plays feature Helen as a figure for articulating the phenomenological challenges that audiences face when viewing mimetic art on the stage. This essay argues that these profoundly metatheatrical plays use scenes of characters’ seeing the distinctive beauty of Helen to compare the power of theatrical spectacle to witnessing the supernatural.

FUNDING STREAMS DESIGNED TO ENABLE WIDER PARTICIPATION WITH CONTEMPORARY VISUAL ART OFTEN FAIL TO MEET THEIR OBJECTIVES. FACED WITH THE NEED TO SHOW INCREASED ENGAGEMENT IN RETURN FOR PUBLIC FUNDING, FEAR OF FAILURE HAS LED MANY ORGANISATIONS TO TURN TO WHAT WE DESCRIBE AS THE ‘ART-SPECTACLE’: PUBLIC ARTWORKS DEVELOPED AS A MEANS OF DEMONSTRATING PUBLIC PARTICIPATION. WHAT IS THE NATURE OF THE ENGAGEMENT WHEN LARGE CROWDS ENCOUNTER AN ART-SPECTACLE? WHEN ART-SPECTACLES APPROPRIATE AN EXISTING CULTURAL FORM AND REBRAND IT AS ‘ART’, BY WHAT CRITERIA CAN IT BE JUDGED A SUCCESS OR FAILURE? OUR DISCUSSION CENTRES ON THE HISTORY TRAIN, AN EVENT THAT FORMED PART OF BRITISH ART SHOW 8 IN NORWICH IN 2016. AS IT RECEIVED FUNDING TO ENGAGE NEW AUDIENCES, WE ASSESS THE HISTORY TRAIN AGAINST THE CRITERIA BY WHICH THE FUNDING WAS AWARDED. WE ALSO LOOK AT THE DEGREE TO WHICH IT MET DEBORD’S (1983) LOGIC OF SPECTACLE AND THE NECESSITY OF VISIBILITY OVER EXPERIENCE.

The article is an attempt to describe various manifestations of highland folklore in selected literary-musical works, including fragment XV of Wincenty Pol’s 1847 poetic cycle Obrazy z podróży [Images from a Journey] to which music was composed by Adam Münchheimer. It could evenb be said that if Pol expressed in the poem an uncritical idealisation of highland folklore (it is worth noting the visual beauty of the protagonists of this vitalistic dance), Münchheimer took this idealisation even further. Writing the song to be performed by a baritone and male choir, he deprived it of the primeval austerity and uncontrollable dynamics of highlanders’ dance. An important item in the Polish operatic repertoire is Stanisław Moniuszko’s Halka (premiered in 1858), composed to a libretto by Włodzimierz Wolski. Hugely important to the narrative of the work is the fact that Halka is a highland girl and that the action takes place in the village of Odrowąż (probably on the border with Orawa). Scholars agree that there is no real highland folklore in Halka (Moniuszko had never been to the Tatras!); instead, we have an uncritical idealisation of highlanders manifested in a clear axiological division into positive and negative protagonists. In the case of the most popular ballet idealising highland folklore, i.e. Karol Szymanowski’s Harnasie (composed between 1823 and 1831 to a script by Jerzy and Helena Rytard), its stage productions took on various forms, from a faithful reconstruction of highland folklore, to stylisation, from modest sets to colourful spectacle, from a vividly portrayed dramatic conflict to a subtle narrative in which dance became the main means of expression.In the case of the most popular ballet idealising highland folklore, i.e. Karol Szymanowski’s Harnasie (composed between 1823 and 1831 to a script by Jerzy and Helena Rytard), its stage productions took on various forms, from a faithful reconstruction of highland folklore, to stylisation, from modest sets to colourful spectacle, from a vividly portrayed dramatic conflict to a subtle narrative in which dance became the main means of expression.

While most professional sports quickly postponed their seasons due to COVID-19, the Ultimate Fighting Championship (UFC) took a decidedly contrarian approach as president Dana White continued to promote UFC 249 until pressure forced its cancelation on April 9, 2020. Drawing from work on sport and spectacle and the media as well as sport management scholarship on crisis management, the authors provide a commentary on the mediated spectacle of White’s (eventually successful) efforts to promote UFC 249 during the pandemic. Drawing from numerous media sources, they discuss how White sought to control the public narrative in several key ways. The authors further explore how White decried the seriousness of the pandemic while centralizing the UFC’s place in the U.S. sporting landscape. Finally, the authors discuss how White’s efforts might both help and hinder the UFC as a mainstream sports promotion.

China/France Director BI Gan Runtime 140 minutes

This essay analyses the changing politics of beauty labour and female body image in Indian cinema. It begins by discussing how beauty, a social capital for women, is a measuring rod with which their bodies are both assessed and objectified. It claims that cinema being a visual medium demands some aesthetic capital from actors, and the beauty of leading ladies portrayed on screen often adds to the spectacle. Focusing on mainstream Bollywood films produced especially over the last two decades, this essay examines narratives upholding the beauty ideal both as a cinematic necessity and also as a plot point. Tracing developments in cinematic representations of female beauty, it then examines select postmillennial films (both mainstream Bollywood as well as regional productions) to suggest that a maturing trend in representing female bodies is emerging in Indian cinema where instead of the prettified heroine one increasingly encounters protagonists who refuse to agonize under beauty labour. Finally, it argues that owing to global debates and critical feminist interventions on female body image, a radical shift is palpable in postmillennial Indian films which showcase women who either reject or redefine the politics of beauty labour.

The purpose of this article is to analyze the reasons behind the popularity of Kim Nae-sung’s mystery novel, Main(1939)'. This is Kim's first full-length novel and a mystery novel. In the 1930s, there were only a few mystery novels in Korea, mostly translations of Western novels. So, the success of Kim Nae-sung’s pioneering mystery novel Main was very unusual. However, many ‘popular literatures’ created by Kim since the 1940s have been highly popular. Kim’s popular novels were made into radio dramas, television dramas, and movies, and were much loved by the public. He has had a significant influence on Korean pop culture, and Main, which is not a ‘well-written’ literary work, requires analysis from the perspective of popular novels. Because it is difficult to rate Main as a good mystery novel. In fact, many researchers evaluate the lack of reasoning elements in Main. However, Main’s these features are related to the writer's attitude toward mystery novels. It is an ‘anomaly’ mystery novel. This ‘anomaly’ was also emphasized by Japanese mystery novel writers Edogawa Ranpo, Kim's teacher. Kim Nae-sung also has a novel's point of view that values popularity. Therefore, it is natural that this work is not a typical mystery novel. And Main's popular popularity lies in the fact that this work is an ‘anomaly’ novel. The article analyzed three main factors why Main was successful. The first is the character of detective YuBulan, the main character. YuBulan is rather logical intuition dependent and the events resolved when a too late or incorrect predictions ‘problematic’ detective. YuBulan is never good detective does. These weaknesses of Yubulan make Main a humorous novel. The humorous situations that often occur naturally because of his personality. The second is the element of melodrama and an exciting spectacle. Most of the characters in the novel are in a love triangle. And their relationship goes on in ‘the virutal city’ of Gyeongseong. Gyeongseong in the novel is very different from what it looks like in real life. Unlike reality, the city in the novel is too splendid and dynamic. However, the public is familiar with Gyeongseong in the novel through foreign movie. To the public, Gyeongseong in the novel is an unfamiliar and familiar city. And these factors give the public an interesting experience, like watching a foreign movie. The third is the hidden voice in the work. This voice acts like a silent-film narrator. This voice conveys the emotions and background of the character to the reader vividly. And this voice goes further here, communicating with the reader and giving a three-dimensional account of the narrative and the proceedings. Kim has an unerring talent as a writer of popular literature, and Main has all the ingredients of the popular novel. The main character, the detective YuBulan, is comically inept, and his ordinariness appeals to the ordinary reader. The setting has all the elements of melodrama and excitement in the splendid and dynamic city of Gyeongseong, where most of the characters are in a love triangle. The narrative voice gets across the emotions of the characters vividly in a three-dimensional account, which is almost cinematic. Kim mixes elements of the humorous novel, the romance novel, and of the cinema in Main. These factors define the novel as a transformative mystery novel of the 1930s in Korea.

Один из парадоксов мейнстримного советского кино заключался в том, что оно имело склонность «создавать зрелище «маскулинной телесности, не привлекая (по большей части) внимания к ней в откровенном смысле. Тело героя было мифологизировано в патриархальных структурах, что воспринималось, как естественное положение вещей. В данной работе рассматриваются различные пути, с помощью которых режиссер Кира Муратова бросает вызов этой культурной парадигме, выдвигая на первый план более откровенное мужское тело, тем самым разрушая мужской взгляд на вещи. В этом отношении фильмы Киры Муратовой бросают вызов архетипичным образам маскулинности (и фемининности), распространенным не только в Советском Союзе или в мейнстримном кино, но и во многих других странах.

La televisión, como medio de comunicación de masas por excelencia, es considerada como un instrumento de socialización, modelador de conciencias e incitador de la opinión pública. Esta investigación se enmarca en la sociedad de la información y el espectáculo. El objetivo es analizar los tipos de audiencia y hábitos de consumo de los programas de carácter sensacionalista, además de la recepción de los mensajes. Mediante un análisis cuantitativo, consistente en un cuestionario, se ha analizado una muestra significativa de 544 sujetos, repartidos entre España e Italia. Los resultados obtenidos demuestran que la población española consume con mayor frecuencia este tipo de programas. Además, el progresivo incremento de estos espacios ha provocado que existan diferencias estadísticamente significativas. Las conclusiones demuestran la falta de calidad informativa en los programas de tipo sensacionalista, convirtiéndose en un tema relevante para los estudios científicos, justificando la falta de códigos deontológicos que apoyen e incentiven una televisión de calidad.

Purpose : The purpose of this study were to investigate the transmittances of ultraviolet light and visible light according to materials used for spectacle lenses. Methods : A total of 118 transparent spectacle lenses of 5 companies being used were applied. The period of use was divided into three groups : less than 1 year, 1 year or more but less than 2 years and more than 2 years. The refractive index was also divided into the Medium refractive index(1.55~1.56), the High refractive index(1.60) and the Ultra High refractive index(1.67~ 1.74). The transmittance of UV(200~380) and visible light(380~780nm) of the spectacle lens was measured using the Topcon TM-1. Results : The UV, UVA, UVB and visible light transmittance measurements were compared according to the materials for each period of use. There was no significant difference in the transmittance measurements according to the material of the spectacle lens with the use period of less than 1 year (p=0.189, p=0.197, p=0.081, and p=0.073). The UV, UVA, and visible light transmittance measurements showed statistically significant differences according to the material of the spectacle lens with the use period of 1 year or more and less than 2 years(p=0.001, p=0.001, and p=0.003). There was no significant difference in the transmittance measurements according to the material of the spectacle lens with the use period of more than 2 years (p=0.673, p=0.674, p=0.982, and p=0.138). Conclusion : As a result of this study, there was a difference in the transmittance of each material according to the use period of the spectacle lens. Therefore, it may be helpful to select material and the use period of eyeglass lens.

Perkembangan industri 4.0 diawali dengan munculnya teknologi internet yang dapat menghubungkan seluruh masyarakat tanpa terkendala ruang dan waktu. Industri 4.0 juga memunculkan adanya society 5.0 yang berorientasi pada segala permasalahan dapat diselesaikan melalui teknologi. Salah satu permasalahan dalam masyarakat adalah masalah ekonomi. Dalam keluarga yang hidup di era industri 4.0 ini permasalahan tersebut dapat dihadapi melalui teknologi internet. Salah satunya adalah dengan menjadikan kehidupan keseharian dalam keluarga menjadi bahan spectacle atau tontonan. Untuk mewujudkan hal tersebut, maka kehidupan keluarga perlu dijadikan alat komoditas sehingga dapat melakukan proses komodifikasi. Proses komodifikasi tontonan dalam dunia virtual ini dapat dilakukan melalui platform yang ditawarkan melalui internet, salah satunya adalah Youtube. Salah satu contoh akun Youtube yang berhasil mengkomodifikasi kehidupan keluarga di era industri 4.0 adalah akun milik Li Ziqi. Kreatifitas yang dimilikinya dalam membuat konten dan membuat narasi kehidupan keluarga dapat menjadi salah satu contoh referensi bagi keluarga untuk memanfaatkan internet dalam menghasilkan keuntungan. Melalui Youtube, keluarga juga dapat melakukan komersialisasi terhadap konten yang dibuatnya sebagai tanda bahwa proses komodifikasi tersebut berhasil.

El cine, desde su invención, ha cambiado la sensibilidad y la forma en que el ser humano conoce el mundo, se ha estudiado como: visión, intuición, espectáculo, naturalismo, fenómeno, contenido-forma, materia-forma, organismo-forma, espejo, ventana, experiencia, conocimiento especial, etc. Este artículo no es una revisión crítica de la estética del cine, ni de su lenguaje, tampoco explica una teoría particular; es una introducción a los estudios especializados e interdisciplinarios sobre las películas, la cinematografía de autor y el cine como fenómeno cultural, técnico y artístico. Dilucida la importancia cognitiva, sensible y emocional de las estéticas del cine para dar forma a la subjetividad.

As shaped by Ovid’s beautifully sensual poetic conception in the Metamorphoses, the conjoined fable of Echo and Narcissus has captivated the imagination of hearers, readers, and viewers across centuries and cultures. My attraction to the fable began with the study of Pedro Calderon de la Barca’s court spectacle play Eco y Narciso (1661) and the attention Calderon devoted to developing therein the figures of Echo and Narcissus’s mother Liriope. That development was prefigured by the first Spanish theatrical version of the myth, the Trajedia de Narciso written by Francisco de la Cueva y Silva (ca. 1580). The voice and vision of Echo would then be dramatically refigured by Sor Juana Ines de la Cruz in her auto sacramental, El divino Narciso (ca. 1689). In this article, I examine the three dramas comparatively, seeking to relate the divergent potentialities brought out by the three dramatic poets to the different media and cultural contexts in which they worked.

This article aims to temper the myth of the sound and scale of Arsenii Avraamov's city-wide mass spectacle the “Symphony of Sirens”—a myth that has been largely unquestioned in English-language sound and urban studies scholarship on the symphony. Instead of focusing solely on the symphony's dreaded noise, I pay attention to the symphony's silence—to the limits of what can be known about its sounds. Drawing on Avraamov's untranslated writings and personal correspondences, I investigate how the symphony's ideal of proletarian unity collides with the geographic, social, and sonic reality of the cities it sought to compose. I then investigate the roots of this ideal in Avraamov's personal aesthetic philosophy, as well as his idiosyncratic views on mechanical reproduction. This article will be of interest to those who wish to explore the connections between urbanism, colonialism, sound technology, the mass spectacle, and mass media in the Soviet musical avant-garde.

The so-called “Dormition” scene in On Divine Names 3.2 has been variously interpreted. The author has the narrator, Dionysius the Areopagite, recall how he once joined a gathering of the apostles at a divine spectacle together with another character named Hierotheus, whom Dionysius presents as his own teacher. The apostles begin to offer hymns, and Hierotheus distinguishes himself with an ecstatic performance. Whether the scene in question actually represents the Dormition of the Virgin is the subject of much controversy. This article avoids that controversy and makes new progress by focusing instead on the depiction of Hierotheus as performer of hymns, and it shows how Dionysius’s account of his teacher is informed by the traditions of late antique festal oratory, particularly the example of the Cappadocian fathers. Hierotheus’s ecstasy is modeled on the self-presentation of rhetors signaling the pathos they experience in response to the subjects of the orations they perform or the texts they read. The early Byzantine reception of Pseudo-Dionysius, notably represented by Andrew of Crete and his three homilies on the Dormition, singles out this aspect of the depiction of Hierotheus’s hymn-singing and reads his performance as that of a festal rhetor engaged in the mediation of pathos.