The ‘ghost image’ of horror and pornography in Michael Haneke's La Pianiste (2001)

Editor’s Plaisance

Sinema endüstrisinin gelişmesiyle birlikte tür sineması ortaya çıkmıştır. Belirli bir kitleyi hedefleyen ve bu bağlamda kendine özgü sinemasal kodları kullanan tür sinemasının önemli yapıtaşlarından biri de korku türüdür. Tarihin her döneminde popülerliğini yitirmeyen korku türünün Türk sinemasındaki serüveni ise pek parlak olmamıştır. Birkaç başarısız deneme sonrasında bu türe dair üretim anlamında herhangi bir girişimde bulunulmamıştır. 2000’li yıllarla birlikte Türk sinemasında korku türünde film üretimi hiç görülmediği kadar artmış ve buna bağlı olarak ticari anlamda başarı da sağlanmıştır. Bu çalışmada sinemanın Türkiye’deki serüveninde korku türünün seyri incelenmiş ve 2000’lere kadar hiç ilgi görmeyen bir türün neden 2000’ler sonrasında popüler olduğu sorusuna cevap aranmıştır. İlk olarak sinema ve ideoloji ilişkisine değinilmiş, daha sonra tür sinemasının yapısı açıklanarak sinemada korku türünün yeri ve ideoloji ilişkisi tartışılmıştır. Son olarak korku türünün Türk sinemasında varoluşu ve 2000’li yıllarla birlikte Türkiye’nin değişen siyasi iklimiyle beraber korku türünün popülerlik kazanmasında ideolojik eksenin katkısı sorgulanmıştır. Çalışmada betimsel analiz yöntemi kullanılmış olup elde edilen veriler içerik analizi ile yorumlanmıştır.

The horror genre aims to evoke specific emotions (such as fear) in its audience through the literary form, connecting with the deeper layers of the collective unconscious. The purpose of this paper is to analyze and interpret the horror genre through the prism of Carl Gustav Jung's theory of the collective unconscious. Horror, as a genre in literature and film, can be viewed in the context of literary, psychiatric, psychological, and philosophical disciplines. Through a detailed analysis of classic works of this genre, such as "Dracula" and "Frankenstein", and other horror stories, the paper explores the ways in which elements of fear, horror, and the irrational act as projections of archetypal symbols and motifs, which are integral parts of the collective unconscious. The paper also discusses the influence of culture and social norms on the formation and interpretation of these archetypal elements. Additionally, the paper considers the concept and mechanism of catharsis, and the manner in which the horror genre uses language and style as means to create atmosphere and deeper emotional impact on the reader. In conclusion, it summarizes the fact that the horror genre serves not only for entertainment and inducing fear but also as a means for a deeper understanding of the complexity of human psychology and the collective unconscious. Through analysis and interpretation, the paper highlights the potential of the horror genre as a tool for exploring and understanding human nature and fears, desires, and conflicts that transcend individual differences and cultural contexts.

Domination, social norms, and the idea of an emancipatory interest

As a field, health professions education (HPE) has begun to answer calls to draw on social sciences and humanities (SS&H) knowledge and approaches for curricular content, design, and pedagogy. Two commonly used SS&H concepts in HPE are critical reflection and critical reflexivity. But these are often conflated, misunderstood, and misapplied. Improved clarity of these concepts may positively affect both the education and practice of health professionals. Thus, the authors seek to clarify the origins of each, identify the similarities and differences between them, and delineate the types of teaching and assessment methods that fit with critical reflection and/or critical reflexivity. Common to both concepts is an ultimate goal of social improvement. Key differences include the material emphasis of critical reflection and the discursive emphasis of critical reflexivity. These similarities and differences result in some different and some similar teaching and assessment approaches, which are highlighted through examples. The authors stress that all scientific and social scientific concepts and methods imported into HPE must be subject to continued scrutiny both from within their originating disciplines and in HPE. This continued questioning is core to the ongoing development of the HPE field and also to health professionals' thinking and practice.

Peter Piot (Executive Director of UNAIDS) challenged Bangkok International AIDS Conference attendees to think ahead 10 years or more so we will be prepared to meet the challenges that will face us [1]. Over this next decade, many formidable challenges are likely to stem from the interactions of social, ecological, political, and economic change; existing social structures; the changing HIV epidemic, and changes produced by emerging biomedicine and viral evolution. Although some challenges will be unpredictable, we should plan ahead for those we are able to anticipate. This paper identifies important social research issues regarding the changing global epidemic so funding agencies, journal editors, social science communities, individual researchers and students, non-governmental organizations, communitybased organizations, and the general public can debate them and, hopefully, act on them.

Gender, work and development in northwest Pakistan: working environments of Pakistani female development practitioners

White Skin and the Black Mask™

SUMMARYReference points are an approach to defining the thresholds of sustainable human use of environmental resources. The rationale for reference points can be found in a number of foundational environmental frameworks, including common property resources, carrying capacity, ecosystem management, and sustainability. However, these frameworks also suggest that reference points have both ecological and social components, and that formulation of reference points should be informed by society. Social norms, developed in sociology, offer a theoretical and empirical approach to informing reference points and have been useful in defining, measuring and managing the sustainability of parks and protected areas. Integrating sociology and ecology through the application of social norms to reference points may be a useful approach to environmental management. This paper describes social norms and their application, and illustrates the integration of sociology and ecology to more fully inform reference points.

Harmony Korine’s <em>Trash Humpers</em>: From Alternative to Hipster

The film Anatomy of a Fall offers a profound feminist analysis of gender roles, dynamics within marital relationships, and power relations. Focusing on the experiences of the female protagonist, Sandra, the film critically examines gender representations and the power structures they reflect. Through a feminist lens, it opens a discussion on gender relations and societal norms while also shedding light on gender discrimination within the framework of discourse analysis. Sandra is portrayed in a manner that differs from the traditional female figure, challenging entrenched gender stereotypes. The film delves deeply into her internal struggles and interactions with the outside world, using her personal experiences as a lens to offer broader social critique. Discourse analysis of the roles played by other characters in Sandra’s life further reveals how societal gender norms are reproduced and sustained. This study aims to analyze female representation and power dynamics in Anatomy of a Fall within the context of feminist critique and gender politics. In doing so, it seeks to contribute to contemporary feminist debates by offering a broader perspective on how societal gender norms are shaped and maintained.

The cinema of Bigas Luna tends to resist the notion of ‘genre film’. With the exception of his first feature Tatuaje/Tattoo (1978), which clearly fits the ‘police crime’ genre, his films are often quite hybrid. However, the director seems to have a clear and sustained interest in a central figure of the horror genre: the psychopath. Noticeably present in Bilbao (1978) and Angustia/Anguish (1987), more subtle examples can be found also in Caniche/Poodle (1979) or Reborn (1981). Out of all these films, Angustia stands out as the Bigas Luna film that most clearly fits the horror genre. Here he uses classic conventions that go back to Buñuel’s Un chien andalou (1929) to reflect not only on alterity but also on cinema itself as a construct where ‘reality’, ‘fiction’ and ‘meta-fiction’ are all at play. Angustia can be singled out not only as a paradigmatic example of the horror genre, but also as a very modern film.

Creating a Tapestry of Voice and Silence in Michiko Ishimure's Kugai jödo {Paradise in the Sea of Sorrow) Yuko Kurahashi As a native of Minamata, I know that the language of the victims of Minamata Disease—botii that of the spirits of the dead who are unable to die, and that of the survivors who are little more than living ghosts-—represents the pristine form of poetry before our societies were divided into classes. In order to preserve for posterity this language in which the historic significance of the Mercury Poisoning Incident is crudely branded, I must drink an infusion of my animism and "pre-animism" and become a sorceress cursing modern times forever. —Michiko Ishimure Voice, an effective apparatus of self-expression, allows an individual to challenge obstacles that interfere with his/her personal liberation, free will, and other forms of autonomy. As Dell Hymes (a scholar in ethnography and linguistics) argues, voice provides two kinds of freedom: "freedom from denial of opportunity," negative freedom, and "freedom for satisfaction ," positive freedom (64). Conversely, the lack of this powerful tool (that aids in obtaining multiple kinds of "freedom")—voicelessness— is a handicap that impedes the acts of exploring ourselves, pursuing autonomous desires, and contesting various types of oppression. Sociologist JNT: Journal of Narrative Theory 33.3 (Fall 2003): 315-334. Copyright © 2003 by JNT: Journal of Narrative Theory. 316 JNT Margaret D. LeCompte states that this juxtaposition exists in every discursive field as "privileged and non-privileged voices." LeCompte points out that in discursive fields in which multiple voices collide with one another, some voices are more powerful than others and "speak for" the rest of the community by "hiding or altering data, rewriting or refusing to release the report, blackmailing, or firing the researcher, or many number of their equally effective strategies" (102). People with power (economic, political , institutional, and other kinds) possess the discursive authority to "articulate " their voices, while people in powerless positions—in the margins —lack ways to express their ideas, feelings, and hopes, and are often under pressure to keep silent. How, then, can the subaltern "retrieve" their voices? How can all of us truly "listen," really hear them? Postcolonial feminist theorist Gayatri Chakravorty Spivak reiterates that in order to empower themselves marginalized people (in the Third World and anywhere) must first critically examine their condition. Spivak's Marxist-centered criticism is particularly relevant in contemporary capitalist society where the "less privileged population" continues to grow, and where their voices continue to be trivialized and erased in every aspect of life. Medical discourse is a case in point. Arthur Kleinman, a psychiatrist who researched the narratives of patients suffering from chronic illnesses, found that medical practitioners "have been taught to regard patients' illness narratives with suspicion and causal beliefs" (17); in medical discourse, patients' personal narratives are interpreted "in the light of [practitioners'] own special interest," so that the social values of those in power are reified (52). Hanoch Livneh, who researched the impact that disabled people have on society, define those values as "pervasive social and cultural norms, standards, and expectations" (181). They explain that disabled people internalize "the creation of negative attitudes toward the disabled population" set in those "social and cultural norms," and thus perpetuate their marginalization.1 Japanese writer Michiko Ishimure echoes those findings in her "nonfictional " novel, Kugaijödo (Paradise in the Sea of Sorrow), and she both hears and helps us to listen to subaltern voices. Kugaijödo is about Minamata disease, a fatal neurological disorder caused by ingesting methyl mercury (MeHg). The characteristic symptoms of Minamata disease are "sensory disturbance in the distal parts of extremities, ataxia, disequilibrium , concentric construction of the visual field, impairment of gait and Creating a Tapestry of Voice and Silence 317 speech, muscular weakness or atrophy, tremor, abnormal eye movement and hearing impairment" (Ishimure ii). Children and embryos are especially sensitive to MeHg as compared to adults (Kuznetsov 3). One main pathological damage is the "loss of the granule cells which causes changes in the cerebellar cortex."2 Another is "lesions in the calcarme cortex along the depth of the calcarine fissure."3 The most notable damage is the "degeneration of...

Only a few themes in English literature may have the same profound symbolic significance such as the pursuit of human potential and the quest to surpass the human capability as employed Christopher Marlowe’s Doctor Faustus and Mary Shelley’s Frankenstein or the Modern Prometheus. Marlowe’s Doctor Faustus presents the perilous exploration of knowledge and power within the context of Renaissance, the era that is brave and fertile in terms of intellectual rebirth while challenging of the long-held truth about individualism. Similarly, Shelley’s Frankenstein reflects the Romantic period’s preoccupation with individualism and the breaking of societal and natural norms centered around an academic’s hubristic struggle to conquer the mysteries of life and death. Both narratives not only stand out more than horror stories, but also turn out to be an exploration of self-identity, morality, societal norms and the inextricable link between science and the notion of the self. Thus, both protagonists, Faustus and Victor Frankenstein, embody their eras’s ethos, with the former reveling in the Renaissance’s celebration of human potential and the latter mirroring the Romantic fascination with the sublime and the transgressive. Taking these perspectives into account, this article delves into how Doctor Faustus and Frankenstein critically engage with their characters’s attempts to transcend social, cultural and scientific barriers through their process of self-fashioning. Both works not only encapsulate the social atmosphere of their respective times but also serve as cautionary tales about the ramifications of overreaching ambition.

The Politics of Nordsploitation: History, Industry, Audiences