By Brakhage, or What We Owe Jane Wodening

Reviewed by: A Line of Sight: American Avant-Garde Film since 1965, and: The Most Typical Avant-Garde: History and Geography of Minor Cinemas in Los Angeles Jan-Christopher Horak (bio) A Line of Sight: American Avant-Garde Film since 1965 by Paul ArthurUniversity of Minnesota Press, 2005 The Most Typical Avant-Garde: History and Geography of Minor Cinemas in Los Angeles by David E. JamesUniversity of California Press, 2005 Until recently, the history of American avant-garde cinema was written by critics who were often filmmakers themselves or polemicists for the avant-garde, so that their historical narratives were imbricated with other agendas. Descriptions and analyses of avant-garde films went hand in hand with valorizing specific filmmakers. Given the focus on individual works, most histories eschewed discussions of cultural contexts or theoretical frameworks in favor of enlightened connoisseurship. Unanswered were questions of how various avant-garde movements were constituted through institutional networks, historical ruptures, and continuities. As I noted in Lovers of Cinema, "Avant-garde film movements can only be historically circumscribed if they are constituted in terms of production, distribution, exhibition, and reception. Their role in the history of cinema should not only be gauged according to their individual aesthetic achievements, but also in terms of the myriad contexts of their institutional frameworks and reception."1 The two new books reviewed here are very different, but both are informed by similar concerns for establishing historical contexts. While Arthur's monograph is a collection of essays focusing on a more narrowly defined modernist film avant-garde in America, organized according to a rough chronology from the 1960s to the present, James's history of alternative film production [End Page 142] in Los Angeles over the past ninety years is a monumental work of historical synthesis that seeks to place Los Angeles beside San Francisco and New York as a center of avant-garde practice. Originally published between 1982 and 2003 and reworked for the present volume, Paul Arthur's essays chronicle the American avant-garde's checkered trajectory through the past forty years. As both an acute observer and critic and a participant in the avant-garde—he has been closely associated with Millennium Film Journal—Arthur writes both from within the movement and from outside it, being also an academic film historian. His book's title, then, refers both to the internal vision of the filmmakers as constituted in aesthetic artifacts and to the external vision of the audience and its construction. While each chapter can stand alone, Arthur notes continuities in his introduction: "the legacy of sixties counterculture; uses and theoretical implications of found footage; the allegorizing of technology; intersections of personal and social histories; the philosophical schism between poetic, expressive tropes and structural film's anti-subjective, rationalist basis" (xiii). Arthur's first chapter focuses on Jonas Mekas while discussing the rise of what was then called new American cinema in the context of the burgeoning 1960s counterculture, seeing in the culture at large the very same elements of incompleteness, fragmentation, and presentness in Mekas's diary films and exhibition/distribution projects. Quoting Mekas's dictum, "The policy of NO POLICY is also a policy," Arthur sees the sense of improvisation, of going with the flow, of staying independent by never tying yourself down as key to both the success and weakness of the times. An intense distrust of language went hand in glove with the lack of definitions, because language could be used by the ruling class to control. In chapters 2 and 3, then, the urge to capture the moment is explicated in terms of film portraiture and cityscapes, respectively. While the work of Andy Warhol (Eat, Henry Geldzahler) serves as an example of portraiture, Arthur next discusses numerous city symphonies from Shirley Clarke's Bridges-Go-Round to Hollis Frampton's Zorns Lemma to Ernie Gehr's Signal—Germany on the Air. Common to all these projects is a radical subjectivity that insisted on the primacy of aesthetics and formal experimentation over politics. In the 1970s, then, the American avant-garde turned away from its "desire to exist outside history" by embracing what Foucault has called "the archive." Influenced as much by...

von Neumann Output Ratio is a widely influential concept and term in mathematical economics. von Neumann Output Ratio of Marx's reproduction with two major categories is the ratio between the total output of the means of production category and the total output of the consumption category while the two major categories obtain the maximum equilibrium growth rate. It can most centrally formalize the social structure in the state of the highest equilibrium growth. It is of theoretical significance to establish the relationship between the quantity relation of Marx's theory of social capital reproduction and von Neumann Output Ratio, and to identify and clarify von Neumann Output Ratio of Marx's reproduction with two major categories. Based on Marx's theory of social reproduction, following the stand, viewpoint, basic model and analysis method of this scientific theory, this paper focuses on the unity of opposites between von Neumann Output Ratio of Marx's reproduction with two major categories and personal consumption of capitalists, and connects Marx's social reproduction formula and the equation system of output growth of the two major categories. By finding and determining the equilibrium growth transfer matrix of output column vector of the two major categories from this term to next term, the paper proved just the development rate of the output of the two major categories which maintains original output structure is the eigenvalue of the transfer matrix. Then, by using the constant capital growth rate of the whole society of social reproduction as an intermediary, it is determined that the equilibrium growth rate of output of the two major categories is a monotone increasing function of the ratio of output of category Ⅰ to output of category Ⅱ, so as to determine that "preferential growth of means of production" is the path to obtain von Neumann Output Ratio of Marx's reproduction. By use of the research result that the ratio between the two major categories in Marx's social reproduction can be convergent through the preferential growth of the means of production, von Neumann Output Ratio of Marx's reproduction is obtained, and then the maximum equilibrium growth rate of the output of the two major categories and the minimum personal consumption of capitalists are also determined. von Neumann Output Ratio of Marx's reproduction is formalized in terms of several basic concepts and terms in Marx's theory of social reproduction. It was also verified that von Neumann Output Ratio of Marx's reproduction, the maximum equilibrium growth rate and the minimum personal consumption of capitalists satisfy the equation system of output growth of the two major categories.

“The Problem of Order” proposed by Talcott Parsons, which has been argued in many ways, is still one of the most important sociological theme among contemoporary authors such as Nilkas Luhmann and Anthony Giddens. How the problem of order is treated with in the theories of Luhmann and Giddens, is discussed here. Though both theories are of course different from each other, they both arrive at “the theory of reproduction”. From the viewpoint of reproduction, the order is not considered as a state just against the disorder (conflict), but a process which continuously renews the precedential order in time by human practice. Society fundamentally depends on “paradox” or “contradiction”, and the social order is inherently impossible. Therefore the social order can be only temporarily constructed. Luhmann and Giddens analyze these mechanisms, each relatively laying emphasis on an 'ideal' or 'real' aspect. Theory of reproduction indicates that simple dualism of order-disorder is ineffective, but it has a tendency to invalidate the distinction between stability and non-stability, which is a core of the problem order. It is necessary to utilize the theory of reproduction to analyze various modes of stability and non-stability.

Music as Social and Cultural Reproduction: A Sociological Analysis of Educational Processes in Ontario Schools. Un article de la revue Canadian University Music Review / Revue de musique des universités canadiennes (Numéro 5, 1984, p. 1-373) diffusée par la plateforme Érudit.

Extensions of Our Body Moving, Dancing:The American Avant-Garde's Theories of Handheld Subjectivity Adam Charles Hart (bio) Introduction: Rhetorics of Presence Film history is littered with casual assertions about the meaning and merits of handheld cinematography. In its current usage, the technique is perhaps most frequently described as "intimate" or "immediate" or, more vaguely, "realistic," while it sometimes is understood to be conveying a sense of "presence" within the world of the film or to be asserting an urgency or present-tense temporality: you, the viewer, are there in the world of the film, following the events as they unfold. These are all valid and valuable observations, often explicitly borne out by the rhetoric of directors and cinematographers. But there have been specific historical meanings to handheld camerawork developing out of specific cinematic contexts, each evolving different inflections and associations as new filmmakers adapt it within their own styles. This essay chronicles one of the founding discourses of handheld camerawork: that of the post–World War II American avantgarde in which handheld's registrations of the camera operator [End Page 37] within the image makes it a privileged vehicle for conveying—and expanding—subjectivity. Handheld cinematography made sporadic appearances in the 1920s in France, the Soviet Union, and even Hollywood but remained a minority practice, one that was further relegated to the margins of even nonprofessional cinema once feature film-making transitioned to sound. In the 1940s wartime newsreels and documentaries as well as Roberto Rossellini's Rome, Open City (1945) introduced shaky camerawork to global audiences within the rigidly delimited context of the battlefield but with little immediate influence. In the subsequent decade, handheld camerawork made marginal inroads into independent, documentary, and low-budget feature filmmaking around the world until, at the end of the 1950s, documentary filmmakers in Canada, France, and the United States began to develop new technology and new techniques. These new techniques inaugurated an observational style of documentary, following aspects of the films of Robert Flaherty, Italian Neo-Realism, and a variety of docufiction hybrids of the 1950s, that was dependent on the flexibility and unobtrusiveness of handheld filming. From there, those techniques became more visible not only through their gradual adoption by feature filmmakers but also through the dissemination of TV news programs.1 By the mid-1970s, these new techniques largely redefined the norms of documentary form and function away from a more instructional mode toward one characterized more by observation. In the 1940s, however, handheld camerawork off the battle field was not just unprofessional or "amateur." A shaky camera was, within the professional and amateur cinematographic discourse, antiaesthetic, an indicator of limited or nonexistent artistic aspiration. Shakiness of any kind supposedly betrayed a lack of technical proficiency or a lack of care. A shaky camera betrayed limited resources, a poverty of means and effort that moviemaking guides advised amateur filmmakers to cover up. Or, more simply, shakiness indicated that a film was no more than a "home movie,"2 suitable only for living room screenings among close friends and family (and, as the amateur filmmaking guidebooks never tired of relating, its shakiness placed an unwanted burden on its viewers). So, the handheld camera's widespread embrace by the avantgardes, documentarians, and new wave filmmakers of the 1950s and 1960s was one of the most drastic aesthetic shifts in postwar cinema, an emblem of the overturning of Hollywood and the norms of other classical cinemas. This embrace also initiated a major shift in the function of style. Whereas the classical ethic had preached invisibility, handheld insistently gestured toward the presence of [End Page 38] both camera and cameraperson, and that literal notion of presence became the source of its authenticity and its power as a technique.3 Contrary to conventional notions of cinematographic function, filmmakers began using handheld cameras because they wanted to draw viewers' attention to the cinematography. As viewers, we need to identify a shaky camera as a reference to its camera operator in order to understand its full significance, and no tradition relies more on that recognition than that of the postwar American avant-garde. As battlefield footage introduced one handheld discourse to audiences in the 1940s, Maya...

The paper reflects upon the principles and practice of an alternative educational system operating in rural Mexico in the light of Bourdieu’s theory of cultural and social reproduction. Bourdieu’s theory seeks to explain processes of reproduction of power relations within schools and society; whereas alternative educational systems seek to expand educational access in deprived areas in order to counteract processes of social inequality. The paper argues that, although Bourdieu’s theory does not fully explain the gradual inclusion of more people from disadvantaged backgrounds into education through alternative educational systems, processes of social reproduction in deprived communities still occur mainly because of lack of state support after primary school level, and a shortage of better infrastructure and opportunities for this sector of the population. Since the widespread upward educational and class mobility of the rural poor has not yet been achieved, the paper concludes that the processes of cultural and social reproduction continue despite the introduction of alternative educational systems.

ABSTRACTIgor' Savchenko (1906–50) is a pivotal figure in the history of Soviet cinema, yet his work is very little known in the West. Born in what is now Ukraine (Vinnitsa) but educated in Leningrad, Savchenko made films in Moscow, Kiev and Ashkhabad. He returned throughout his career to Ukrainian topics, most notably and often controversially in the films Riders (1939), Bohdan Khmel'nytskyi (1941), Partisans in the Ukrainian Steppes (1942) and Taras Shevchenko (released posthumously in 1951). This article examines Savchenko's role in the emergence of Soviet sound cinema, most notably as director of the first Soviet musical, The Accordion (1934). Based on a poem by Komsomol poet Aleksandr Zharov, who wanted to defend the old village ways of music and dancing and passing the time from the changes brought on by collectivization — specifically, not to give the accordion over to the kulaks, but to preserve it for Komsomol youth. Yet, the film stages the new Komsomol ‘enjoyment’ music and dancing not in terms of pure unfettered pleasure, but in terms of bodily control: the new Komsomol body is disciplined and rigid, its movements stiff and controlled, while the ‘old’ kulak body is represented as loose, dissipated and disorderly. This ‘old’ body must be eliminated from the Soviet ranks (validating the project of collectivization), and this is done in Savchenko's film via the introduction of music to film: sound-on-film technology subordinates the bodily movements of the characters, acting as an external force and subjecting the new disciplined Soviet bodies to a rhythm whose source is located elsewhere, both inside (diegetic) and outside (extra-diegetic) to the image track.

made possible by a recent retrospective of his films at the Brooklyn Museum. It included a screening of his never-released, unconventional, cinemavdritd-ish feature film Symbiopsychotaxiplasm: Take One (1968/1971), which is now being screened at festivals, art houses, and museums. Moreover, Greaves is still making innovative, rigorous films -as demonstrated by his documentary Ida B. Wells: A Passion for Justice (1989), a historical biography of the black feminist civil rights leader Ida Wells that recently aired on PBS's The American Experience and that has won numerous prizes on the festival circuit. independent film-maker Bill Greaves has played a significant if not always fully appreciated role in the creation of a new post-1968 era in U.S. documentary cinema-one that is characterized by greater cultural diversity among those making films. During the nineteen-fifties and early nineteen-sixties Greaves endured a protracted struggle to establish himself as a documentary film-maker of artistic integrity. By the mid-nineteen-sixties he finally began to produce films on subjects of particular importance to African Americans. In 1968, while continuing to further develop his own still limited film-making opportunities, Greaves began to assist a new generation of young black documentarians through the initial stages of their professional careers--film-makers such as Kent Garrett, Madeline Anderson, and St. Clair Bourne. Greaves was not only a harbinger of a new era of multicultural film-making but a pivotal figure in the history of African-American cinema. Greaves, in addition to being an important historical force, has produced an impressive and surprisingly diverse body of work, both in approach and subject matter. This testifies, on one hand, to his inventiveness and broad range of interests and, on the other, to the numerous practical exigencies he has faced over several decades. Greaves has received much recognition for his work as executive producer and co-host of public television's Black Journal, an Emmy-winning public-affairs series, and for his direction of such ground-breaking films as the historical documentary From These Roots (1974), which looks at Harlem during its cultural renaissance in the twenties and early thirties. However, the broader course of Greaves's career and the substantial contribution he has made to African-American film production-from acting in black-cast films during the nineteen-forties to serving as executive producer on

This article examines how the Banū Fahd of Mecca successfully established and maintained a scholarly dynasty specialising in hadith transmission across multiple generations during the Mamluk and early Ottoman periods (eighth/fourteenth–eleventh/seventeenth centuries). Drawing on social reproduction theory, the study analyses the deliberate strategies through which this family transformed itself from judge-merchants into ‘the hadith transmitters of the Hijaz’. The analysis focuses on Taqī al-Dīn Muḥammad (d. 871/1466) as the pivotal figure who systematically forged the family’s scholarly identity through multiple interconnected strategies: intensive early education of children and relatives, strategic exploitation of Mecca’s position as a pilgrimage centre to build networks with visiting scholars, creation of a family library that became a regional resource, development of sophisticated information management tools (indexes, notebooks, summaries), cultivation of excellence in manuscript copying, and elaboration of genealogical claims linking the family to ʿAlī ibn Abī Ṭālib. These practices were consciously transmitted across several generations, creating a cumulative effect that sustained the family’s reputation into the early eleventh/seventeenth century. The study demonstrates that this scholarly dynasty succeeded not through passive inheritance but through active, systematic cultivation of multiple forms of capital—economic, social, cultural, and symbolic—deployed strategically to reproduce elite status across generations.

The need for theory in the sociology of education which deals with both structure and identity is discussed. It is argued that such theory is particularly relevant to an analysis of how schooling acts as an agent of social reproduction. Using Berger and Luckmann's social construction of reality theory (1966) as a basis, a number of theoretical perspectives which are relevant to the development of a theory of schooling and social reproduction are discussed. Two levels of analysis are considered: firstly the development of identity in the school context, and secondly the role of the education system in the reproduction of the social structure. Drawing on these ideas, the paper attempts to begin to move towards a theory of schooling and social reproduction which deals with both levels of analysis. It is suggested that the school processes which centre on school organization are significant mediators between identity and structure. It seems to be important that future empirical and theoretical work in sociology of education should focus on this mediating level. Only when we fully understand how schools replicate the social structure can we develop a viable pedagogy for change.

The aim of this article is to articulate the theory of resistance with the theories of social and cultural reproduction, within the boundaries of the new sociology of education. Starting from the concepts of classification and framing developed by Basil Bernstein and of Pierre Bourdieu's social camp, the author defines some concepts which, in his opinion, are basic to establish the theory of resistance with conceptual rigour and analytical capacity. It will thus be possible to constitute a referential theoretical matrix for the development of counter‐hegemonic curricula, teaching materials and pedagogical practices, whose objective is to oppose the schools' social and cultural reproduction in its different forms (of class, race, ethnic groups and gender), at its two levels—the reproduction of the sexual and social division of labour and of the inculcation of the dominant ideologies.

“Cultural capital” is a key concept in the work of Pierre Bourdieu. It plays a central role in Bourdieu’s account of the generation of class inequalities in educational attainment, which has evident affinities with those advanced by other sociologists of education; but also in his far more ambitious – though empirically unsustainable – theory of social reproduction. Much confusion can then be shown to arise from a failure to distinguish between the uses of the concept in the two quite differing contexts of what might be labelled as Bourdieu “domesticated” and Bourdieu “wild”. Researchers using the concept in the former context often fail to appreciate its radical nature and, in turn, the full extent to which their findings undermine Bourdieu’s theory of social reproduction; while those who would wish to understand the concept in the latter context have difficulty in showing its continuing fitness for research purposes, given the failure of the larger theory in which it is embedded. Advantage would follow from leaving the language of “cultural capital” to those who still seek to rescue this theory, and otherwise replacing it with a more differentiated conceptual approach.

Test-based education in China is often seen as an educational system that focuses on test scores, memorization and problem-solving, with the main aim of improving students' adaptive skills. However, there are problems with this model that inhibit students' autonomy and creativity. This paper will therefore compare Bourdieu's theory of cultural capital and social reproduction with Nussbaum's theory of a competency-based approach to understanding social justice and equity in Chinese exam-based education. Bourdieu's theory of cultural reproduction objectively examines the development of students in test-based education at the level of "capital", where each student's academic performance is determined by multiple capitals. Nussbaum's competency approach theory explains the problems with this model in terms of freedom and choice, and that it is up to the student to decide what functions are valuable. The competency approach theory has been found to provide a more comprehensive and human-centered explanation of teaching to the test. There are therefore various drawbacks to teaching to the test, so how to overcome or mitigate these drawbacks is something that needs to be taken seriously in education today.

The study on how Marx created the theory of social capital reproduction shows that this theory ranks among his original contributions to economics. In this theory, Marx’s analysis of Department II and the exchange relation reveals the conditions that capitalist reproduction must follow if it is to proceed smoothly. The fully indirect exchange process indicates that the capitalists’ individual consumption preferences, and changes in these preferences, are factors not only in determining capital accumulation but also in destroying the proportional relations of reproduction. Although Marx proposed the decomposition of Department II and made a theoretical analysis of the law of the simple reproduction of social capital after decomposition, he did not construct a complete model or make the same decomposition of the two major departments in the analysis of the reproduction of social capital on an extended scale. As a result, it is necessary to develop a technical supplement on the basis of Marx’s department decomposition principle, so as to cast light on the correctness of his theory of social capital reproduction and on the inevitability of capitalist reproduction crises.

The purpose of this article is to analyze the treatment of caregiving at the level of international law, comparative law and public policies in the Latin American region, in light of the feminist paradigms that have sought to conceptualize and take charge of caregiving in a broad sense. To this end, feminist theories that approach it from the perspective of social reproduction and the ethics of care will be presented, and reference will be made to the incorporation of caregiving in democracy and through the transformation of concepts of citizenship. Then, the international and national frameworks and public policies referring to caregiving will be analyzed, considering the feminist paradigms mentioned above. It is concluded that in practice, elements of both paradigms have been incorporated, both from the theory of social reproduction and from the ethics of care. At the same time, the absence of the incorporation of elements linked to feminisms of the commons, ecofeminism and post-humanist feminisms is recognized.