Position Of Spectator Research Articles

BRINGING VISIBILITY TO THE ORIGINAL SPLENDOUR OF A LOST WONDER OF THE ANCIENT WORLD: THE TEMPLE OF ARTEMIS AT EPHESUS

Abstract. The visualization work presented here seeks an answer to one of the most persistant problems of our cultural heritage: to make visible the original splendour of the lost Temple of Artemis, one of the seven wonders of the world whose glory could not be surpassed in the Classical Age by any other building. Unfortunately, neither the discovery of the temple, which was found after many years of searching, nor the excavations carried out in the following 150 years were enough to completely remove the veil of mystery from this enigmatic temple, and a completely factual and academically accepted reconstruction has not been possible until today. In this article, it has been tried to give an answer to how this world-wonder temple looked. The goal is to recreate the Temple of Artemis in virtual space using tools and methods at the forefront of digital technology.The effort to bring visibility to the temple provides an opportunity to keep this unique work of our cultural heritage alive in our memories and to increase its accessibility and awareness by providing digital access to the structure that is no longer physically accessible. The most attractive and distinctive feature of virtual reality is that it can take the observer out of the spectator position and into the virtual environment. Images of the reconstruction of the Temple of Artemis are presented in the results section of the article.

An Anthropocene Viewing Condition

This essay explores what I call an Anthropocene viewing condition, a contemporary spectator position in which images of nature, particularly moving images of natures past, resonate with present and future environmental loss. Analyzing natural disaster melodramas such as The Trail of ’98 (1928) and Deluge (1933) alongside popular science films about glaciers from the 1920s, I explore endangerment as both an explicit and latent structure of feeling in the Anthropocene.

Whose nostalgia? Differentiation in German television’s audience address

Nostalgia is often examined as an element of the text. In this contribution, I argue that texts offer a number of spectator positions that can be perceived as nostalgic if the viewer has accumulated certain life experiences that render them so. Examining Babylon Berlin, I argue that the programme offers a spectator position that can look at its Weimar of 1929 anxiously and nostalgically. This is a spectator position that assumes a viewer who is likely to be from the former West and who likely is younger than 55 years of age.

On ‘Halt!’ and On ‘on’

In this piece, two critics respond to each other about Kafka's brief tale Up in the Gallery. Vivian Liska explores several possible readings of the story correlated with the word ‘Halt!’—its key moment of interruption. She suggests that Kafka calls a halt to straightforwardly political and existentialist interpretations, based as they are on false antitheses, which, she claims, the story performatively undermines. She wonders if this necessarily ends up in a mere literature of intensities or if this subversive effect on thinking in dichotomies constitutes an intervention in the world. Paul North argues that the title, Auf der Galerie, should be read as a mode of being roughly equivalent to the spectator position. He suggests that the tale belongs to Kafka's critiques of the European onto-theological landscape, where the one continually spectates the suffering of the other.

"ПОВЕСТВОВАТЕЛЬНАЯ ГЕОМЕТРИЯ": О ПРИЕМЕ СУММИРОВАНИЯ РАКУРСОВ В РУССКОЙ ИКОНОГРАФИИ

The article deals with the techniques of the moveable spectator position and summing up angles in Russian iconography. Those visual techniques, described by a number of researchers, pertain to the ‘basic grammar’ of post-iconoclastic Byzantine and medieval Russian art. Firstly, the sliding spectator position and the summation of the angles made it possible to show the depicted object simultaneously from several points of view – the icon-painter represented the visual figure in several mutually exclusive (with a fixed observer position) angles. The technique was used in Russian iconography primarily to demonstrate significant objects. Thus, in the space of the composition the creator of the image conveyed all the necessary information about the depicted object, saturating the picture with various semantic nuances and creating ‘micro-stories’. Less often the same technique could also be used to demonstrate peripheral objects. Secondly, the summation technique solved another task, demonstrating the dynamics of the character’s movement. In that case, it is not the painter who ‘moves’ (mentally examining the object from different positions), rather the hero of the visual story. Fixing different moments of time, the icon-painter transforms the depicted figure so that the character’s body freezes in an unnatural position. The position of the body conveys information about the direction of the movements of the hero depicted. The paper considers both typical and specific examples of the use of those techniques in medieval Russian art.

Asymmetries : Iterative Cinematic Cartographies

The article functions as an exegesis for the installation project on the city titled Asymmetries (2018/19/20). The installation and its various iterations is conceived as a making-thinking-spectatorial research project on the urban premised on strategies developed through modes of artistic research. The project explores various forms of contemporary film practices in order to explore and re-imagine city life beyond the confines of teleological conceptions. In particular, the writing and its iterative explorations relates to cinema aesthetics and its political confrontation with the mono-focal conception of cinema and its projection norms. The work invites the reader momentarily suspend the position of the passive spectator and assume the position of a collaborative explorer or experimenter in various acts of cinematic cartography. The suspension of the inactive spectator position might lead to the re-examination of equivalences between the reader’s learned gaze and of epistemic prompts offered in this artistic research project on the city.

스티븐 히스의 영화이론 - 이중 구조와 관객의 지위를 중심으로

스티븐 히스의 영화이론 - 이중 구조와 관객의 지위를 중심으로

(¿Por qué?) ¿es necesario intervenir y cambiar las cosas?

One of the basic and for many, defining tenets of action research is contained in the “slogan” ascribed to Kurt Lewin: “In order to understand it, you have to change it”. The slogan clearly resembles what Francis Bacon claimed for experimental science, however, and also Karl Marx’ well known stance in his Feuerbach-theses. In this text I discuss this “change imperative” and relate it to its “pre-history” before action research. Most action researchers are not willing to subscribe to terms like “social engineering” but still call what they do for “interventions”. The text argues that what most people spontaneously think of as “change” may not be necessary for calling what is done for action research. Yet, the alternative is not to withdraw to a disengaged, spectator position. The change imperative raises important questions about what kind of change action research initiates, and what kind of knowledge results from different forms of change. The text challenges the “slogan” as to what kind of change is appropriate and legitimate in working with changes in individuals, culture, communities, and organisations, and suggests ways forward through developing forms of practitioner research and native or indigenous research. To illustrate, insights from Aristotle and Hegel are invoked. Action researchers are challenged to discuss and clarify answers to questions about what kind of change is produced, and what kind of knowledge is generated.

House on Fire: a political and collaborative art case

In this article, political art is perceived at the confluence of four trends in artistic practices today: the social turn, the reality urgency, the utopian impulse, and the collaborative practices. This confluence is articulated on the assumption that political art practices are, at least to a certain point, enhancing the transition to a collaborative model between artistic culture and social scientific and philosophical culture. Framed by this double perspective on art – political and collaborative –, this article is drawn from a major study about the House on Fire European network of festivals and theatres. The qualitative data that support this research consists of House on Fire’s activity plans and programmes from 2012 to 2015. The qualitative data was also analysed by resorting to research notes taken by the researcher in the position of spectator. This study is guided by the following aims: to explore the political agency position of House on Fire; to identify the focus of society criticism in the House on Fire’s programmes; and to construct an exploratory typology of collaborative modalities between artistic culture and social-scientific and philosophical culture.

Erroneous Gazes: Lucretian Poetics in Catullus 64

ABSTRACTThis article argues for a ‘reciprocal intertextuality’ between Catullus 64 and Lucretius anticipating the poetic interplays of Augustan poets with theDe Rerum Natura. Catullus’ wedding guests (proto-readers), Ariadne (proto-Narcissus), and Aegeus (proto-Dido) are interpreted here aserrantesin the Lucretian sense: through their erroneous gazes presented in Poem 64, they all exemplify hownotto gaze at the structure of the universe. In the Lucretio-Catullan intertextual space — generated, as it seems, by the Catullan text — a reciprocal way of reading emerges: while, on the one hand, ‘Catullus’ uses ‘Lucretius’ to show that the aesthetic experience he offers is dependent upon an erroneous, unLucretian gaze/reading which deprives us of the external spectator position, ‘Lucretius’, on the other hand, uses ‘Catullan’ characters as deterrent examples in order to teach us hownotto submerge in ‘Catullus’ poetics of illusion’.

Radical (Dis)Identification

This article explores how Santiago Sierra's artistic practice undoes the stable identification of the viewer by placing him or her in the double position of master and slave, employer and employee, at the same time. The author posits that Sierra's works double the spectator's position of power and make visible the existence in the present of past hierarchical constructions ostensibly surmounted. Contrary to Claire Bishop's interpretation of Sierra's work – which rests on a ‘mutual moment of non-identification’ between hired performers and audience members – the article argues that in his practice there is also the possibility for the audience to identify with his hired performers as well as with Sierra as employer. The article investigates how Sierra's works force us to realise how, as contemporary economic subjects, we operate as hiring individuals – of others’ bodies – and at the same time are individuals –bodies – for hire.

Filmic Bodies: Transgressing Boundaries between Filmic and Real Space

ABSTRACTConventional cinema constructs a strict demarcation between filmic space and the architecture of the auditorium. In acknowledging the constructed nature of the filmic situation, moving image installation has the potential to transgress this metaphysical boundary between “virtual” and “real”: to establish an encounter with a figural presence. Here, our orientation toward the virtual image is brought into play, but in such a way that ambiguities of location problematize the spectator position, revealing the radical nonmateriality of the filmic image. Using examples of my own work and others, I examine how such works address an inherent filmic tension between the moving and still image, drawing upon photography’s spectral indexicality to blur the boundary between life and death.

Circulating sadness: witnessing Filipina mothers' stories of family separation

I reflect upon a collaborative research project with activist groups at the Kalayaan Centre in Vancouver, in which we collected stories of family separation, loss, grief and traumatic returns to more fully trace the impacts of the Canadian temporary work visa program (the Live-in Caregiver Program), which brings mostly Filipino women to Canada as live-in domestic workers. Our hope is that these stories of maternal loss will find an audience and evoke an affective response among policy-makers and a wide public beyond the Filipino community in ways that earlier critiques of the program have not. The article draws upon critical literatures on trauma and testimony to consider some of the risks of circulating these kinds of testimonials, and the possibilities of moving the audience from the position of spectator to witness. I then work closely with two mothers' testimonies to experiment with ways of establishing a ‘more difficult contract’ between those who give testimony and those who receive it, one that creates a complex ethical and political space in which the audience is required to register their own complicity in the other's loss or grief. I consider of the possibilities of assembling stories that tell a collective history without reducing the complexity of individual's lives into the same sad story of victimization, and of telling these stories so that the categories of ‘good’ and ‘bad’ mother are exhausted and the listener/reader is forced to listen/read more closely, just beyond the expected story line or cultural cliché.

Nouvelles Françaises Du Dix-Neuvième Siècle: Anthologie by Allan H. Pasco

MLR, I03.2, 2008 543 Chapter i draws on Reik and Deleuze to argue that the (virtual) spectator's position in relation toSade's plays involves a kind ofmasochism avant la lettre,as the spectator is rendered 'impotent yet attentivewithin the safe illusion' (p. 3 I). This claim, along with the idea thatSade's theatre isproperly viewed in themind's eye rather than on stage, provides a connecting thread for thework as awhole. Chapter 2 examines what theSadean aesthetic of tout montrer, normally associated with thenovels,might mean in relation to theplays. Chapter 3 suggests that inhis emphasis on spectacle Sade tends to subvert traditional generic distinctions 'so as toassert the independent artistover a figureof authority' (p. 82), but once again from amasochistic position. In Chapter 4 the essential point is that 'the [Sadean] tableau thathalts action to suspend carnage isalien to sadism, whereas it is an essential aspect ofmasochism' (p. I03). Chapters 5 and 6 offer innovative analyses ofLes Yumelles, Le Boudoir, and Les Antiquaires. The first two are presented as explorations of the gaze, which is revealed to be 'partial, compromised and redundant as a means of accessing truth' (p. I44). As for Les Antiquaires, in that play 'the pleasures of dramatic performance are lost to literary playfulness' as the reader is drawn into an intertextual 'network of exchange and comparison' (p. I58). The seventh and final chapter considers the relation of Sade's theatre to the post-classical or (pre-)Romantic sublime. This involves the following claim: 'Immaterial yet spectacular, Sadean drama uses thedispositif thMtral toplot a stage-like space of fantasy in the reader's imagination' (p. I73). We are thus invited to appreciate Sade's plays as theymight be seen by our mind's eye, rather than wondering if they can actually be produced. Overall this is an engaging analysis, fullof interestingand thought-provoking insights.The author's grasp of the literary and aesthetic debates of Sade's time is impressive. Although not every reader will be convinced of the value thatWynn claims for Sade's plays, his study effectively challenges us to re-examine themboth in themselves and in their relation to thenovels. UNIVERSITY OF KENT JAMES FOWLER Nouvellesfranpaises du dix-neuviemesiecle: anthologie. Ed. by ALLANH. PASCO. Char lottesville: Rookwood. 2oo6. 487 pp. $59.95. ISBN 978-I-886365-59-9. This substantial anthology comprises an introduction entitled 'Qu-est-ce que lanou velle?', followed by twenty-six texts from seventeen authors. Many of the stories chosen are acknowledged classics, and most of thewriters major figures.They in clude fourwomen: Mme de Stael, George Sand, Marceline Desbordes-Valmore, and Rachilde. Chateaubriand is represented by 'Rene, Balzac by 'Le Colonel Chabert' and two other texts, Stendhal by 'Vanina Vanini', Merimee by 'Carmen', 'Mateo Falcone', and 'La Venus d'Ille', Flaubert by 'Un cceur simple', Maupassant by 'Le Horla' and three shorter tales,Huysmans by 'Avau-l'eau'. Hugo and Zola make the selection, as do Vivant Denon, Barbey d'Aurevilly, Villiers de 1'Isle-Adam, andMar cel Schwob, whereas Gautier is surprisingly omitted. Pasco's introductory essay was originally published inNew Literary History in i99 i, and is effectivelya study of the poetics and problematics of the genre. He arrives at theunremarkable definition that 'une nouvelle est une courte fiction litteraireecrite en prose' (p. 6) (except when it is in verse), but then concedes that 'de telles discussions sont steriles et ne ciblent pas les enjeux reels' (p. 9). Yet although the anthology is aimed primarily at students, he makes no real attempt to introduce either the literaryhistory of short fictionor the social history of nineteenth-century France, still less to explore the cultural and lin guistic barrierswhich confront the twenty-first-centuryreader ofmany of these texts. No rationale isoffered forthechoice of texts,and while theyappear largely inchrono logical order of authors, this isnot always the case: thusHugo appears afterFlaubert, 544 Reviews Maupassant before Zola, Huysmans before Barbey. Each author's career ispresented in a couple of pages and followed by a brief bibliography. These sketches provide fac tual information, but few clues as tohow to interpret the texts.They are sometimes oddly redundant ormisleading: thuswe are told thatBalzac was 'unpetit homme trop rond, aux...

Sade's Theatre: Pleasure, Vision, Masochism by Thomas Wynn

542 Reviews to reproduce in context any contributions that had since been published elsewhere, but the introduction to thepresent edition shows that it isdefective inotherways too. Hence, amodern critical edition is long overdue, and the team of collaborators in this project promises much by including a number of researchers, among them thegeneral editor herself,Ulla Kolving, who have already done importantwork on the collection. Nevertheless, the title-page brings with ita surprise by attributing thework only toGrimm. The early editions are unaware of the contribution ofMeister, who iscre dited for the firsttimebyTourneux, but all name-check Grimm's friend and regular contributor,Diderot, whose collaboration was an important selling point forGrimm and amajor reason for the continued subsequent interest in this above other similar literarycorrespondences. The absence of Meister's name iseasily explained: given the scope of theCorrespondance litteraire, thedecision has been taken to limit thepresent edition to the years ofGrimm's authorship, that isup to the end of February 1773. Understandable as this is, it is a disappointment, and it is tobe hoped thata new phase of theproject will be undertaken when thepresent one iscompleted-it may be true that Meister's style is less engaging than that ofGrimm, but surely the importance of thework continues to be undeniable at least foras long asDiderot's contributions continued. The absence ofDiderot's own name from the title-page isnot specifically tackled by the editors, but their introductions make itclear that,despite his impor tance, he was only a contributor to a project that is, for them, verymuch Grimm's. Perhaps there are timeswhen, moving fromRoland Mortier's preface, to the ge neral introduction, to the introductions to the individual volumes and on to the text of theCorrespondance itself,one feels one is reading evermore elaborate versions of the samematerial, but in all other senses thepresentation isexemplary-in any event, apart from reviewers, how many readers read all the introductorymaterial ofworks of reference like this inquite such detail? It is to thevery helpful individual volume introductions thatmost will turn, and these adopt a pattern thatwill be common to all thevolumes of the edition, dealing with Grimm's personal situation in theperiod covered, thepolitical context, an overview of themain events in thevarious branches of the arts, comparisons with the content of theCorrespondance and what was being dealt with in similar works both printed and manuscript, practical details relating to matters such as subscribers and copyists, and, finally,any editorial issues specific to the particular period in hand, general principals having, of course, been discussed in themain introduction. The work is copiously footnoted, and itsusefulness as a research tool isenhanced by the inclusion in each volume of not only a general index, but also indexes of titlesofworks and of firstlines of poems. The editors recognize that this isverymuch an ongoing project, and promise a round-up in the finalvolume of discoveries and developments thatemerge from the researches carried out during the course of thepublication-I forone cannot wait. SWANSEAUNIVERSITY DEREK CONNON Sade's Theatre: Pleasure, Vision,Masochism. By THOMASWYNN. (SVEC, 2007:02) Oxford: Voltaire Foundation. 2007. x+224 pP. 55. ISBN 978-o-7294-0903 2. The texton the inside cover of this studybegins with the remark: 'Sade's rehabilitation as amajor Enlightenment writer has hitherto not extended to a re-evaluation of his dramatic works'. In hismonograph, Thomas Wynn bravely steps up to fillthis gap. In order to do so, he draws on a variety of approaches and theories ranging from traditional scholarship to recent theorizations ofmasochism and even to film theory. This framework allows Wynn to cast fresh light on Sade's practice as a playwright. MLR, I03.2, 2008 543 Chapter i draws on Reik and Deleuze to argue that the (virtual) spectator's position in relation toSade's plays involves a kind ofmasochism avant la lettre,as the spectator is rendered 'impotent yet attentivewithin the safe illusion' (p. 3 I). This claim, along with the idea thatSade's theatre isproperly viewed in themind's eye rather than on stage, provides a connecting thread for thework as awhole. Chapter 2 examines what theSadean aesthetic of tout montrer, normally associated with thenovels,might mean in relation to theplays. Chapter 3 suggests...

Ethics, Agency, and Desire in Two Strip Clubs: A View From Both Sides of the Gaze

In the following two performance texts, the author uses autoethnography and feminist and performance theory to explore agency and ethics as they operate in the culture of a strip club. Part 1 is an autoethnography in which the author investigates issues of agency from a dancer’s perspective. In part 2, the author reports and reflects on her experience in a gay male strip club, writing from the position of spectator, customer, and ethnographer. By exploring this site from both ends of the gaze, the author hopes to complicate and problematize notions of agency, as well as call into question research ethics, especially when these ethics collide with desire in the field.

Watsonville/Circles in the Dirt (review)

Reviewed by: Watsonville/Circle in the Dirt Lisa B. Thompson Watsonville/Circle in the Dirt. By Cherríe Moraga. Albuquerque: West End Press, 2002; pp. ix + 165. $15.95 cloth. Cherríe Moraga has spent her writing career documenting the undocumented, from coediting This Bridge Called My Back: Writings by Radical Women of Color (1981), an anthology that helped define Third World feminism, to Loving in the War Years: Lo que nunca pasó por sus labios (1983), a path-breaking collection of essays and poems that passionately articulate a Chicana lesbian feminist subjectivity. Similarly, her contribution to Latino/a theatre maintains a feminist viewpoint. In The Wounded Heart: Writings on Cherríe Moraga (2001), Yvonne Yarbro-Bejarano argues that the writer's early plays—Giving up the Ghost (1989), Shadow of a [End Page 523] Man (1990), and Heroes and Saints (1992)—changed American drama "by insisting on Chicano lives and Chicano language as appropriate matter for the theatre, and by creating Chicanas as desiring subjects . . . . [Moraga] invites Chicanos, including Chicanas and Chicana lesbians, to take up the ideal spectator position monopolized for so long by white, heterosexual, and economically privileged viewers" (25). That trilogy foreshadowed Moraga's later work. In her recently published plays, Watsonville: Some Place Not Here (1996) and Circle in the Dirt: El Pueblo de East Palo Alto (1995), she continues to show the relationship between domestic/private concerns and public/political ones. The plays are set in public spaces (streets, fields, work sites) and confront economically, politically charged matters such as the treatment of immigrants, youths and labor. Both plays also ponder the notion of "home for the dispossessed" (44). Although Moraga conducted extensive interviews with the inhabitants of East Palo Alto, and bases Watsonville "loosely on three actual events that took place in a central California coastal farm worker town by the same name," she does not use her research in expected ways (4). Unlike documentary theatre practices by playwrights such as Anna Deavere Smith, who use edited interviews verbatim, the voices Moraga listened to while researching the plays merge with her own. The result is drama with vibrant dialogue and compelling, diverse characters. In the foreword Moraga speaks of California's newly emerging majority population and the fear and resistance mounted against them by the powerful. Nearly a decade after Moraga's fieldwork, both places have changed, with East Palo Alto nearly unrecognizable as a result of regentrification. However, Moraga recovers the vanishing histories of these impoverished Californian towns. Circle in the Dirt, "created from, and inspired by, the stories of the residents of East Palo Alto," occurs during the day that developers have scheduled the demolition of two neighborhood buildings (111). The conversations between neighbors expose the tensions between a difficult past and uncertain future. Although they reminisce about national events ranging from the Depression and Vietnam War to segregation and the Black Power Movement, Moraga avoids nostalgia. Events assumed to be worthy of celebration are called into question. For instance, an older black woman questions the benefits of school integration because children "improved academically, but psychologically . . . their souls were just dying" (130). The play suggests that progress that fails to empower citizens alienates them instead. Moraga goes beyond illustrating the displacement of the poor and challenges the perception of home as an uncomplicated site. Each character's claim on the land gives way to prior ones as memories unfold. Neither an elderly white couple, a middle-aged Mexican immigrant, nor the twelve-year-old Samoan girl can justify their feelings of displacement once La Capitana, an aging and ageless Muwekma Mexican Indian, arrives. She explains how Stanford, the neighboring university, housed the remains of her ancestors, who first inhabited the area now recognized as East Palo Alto. The conclusion gestures towards survival. Returning the dead and seeds of corn to the earth once the demolition uproots the ground insures that the cycle of life continues. The three-act play Watsonville: Some Place Not Here incorporates music (including several original compositions), such as bolero, cumbia, and rap in the dramatization of a cannery strike in the rural town near Santa Cruz. Although realism dominates the piece, the appearance of the Virgen de...

Unapologetic women, "Comic Men" and feminine spectatorship in David E. Kelley's Ally McBeal

–This essay examines how the narrative structure of the Fox primetime television hit Ally McBeal opens the text to a feminist reading. Despite critics' charges to the contrary, I argue that producer/screenwriter David E. Kelley's teleplays construct a preferred feminine spectator position that appropriates dominant male gazes in three ways: the feminine setting of the law firm, the refusal of women characters to yield to the male gaze, and the “comic spectacle of maleness.” Ally McBeal's preferred feminine spectatorship stance is articulated through comic strategies in which gender ideals are questioned through mockery, thus opening a safe space for viewers to reject dominant patriarchal meanings and to experience a feminist epistemology.

Triangulated visions: women in recent German cinema

Major-O'Sickey, Ingeborg and Ingeborg von Zadow, eds. 1998. Triangulated Visions: Women in Recent German Cinema. SUNY Series in Feminist Criticism and Theory. Albany: SUNY Press. $65.50 hc. $21.95 sc. vii + 291 pp. Triangulated Visions: Women in Recent German Cinema is a significant anthology for the way it brings together German filmmakers' and German film scholars' post-feminist insights into the conjunction of women/woman and German cinema. This volume has a lot to recommend it: it compiles in English 17 scholarly essays on the recent German cinema and five interviews with German women filmmakers. It is particularly valuable to the U.S. readership for its attention to under-treated areas of German film in English language scholarship, areas such as the former GDR (East German) cinema and documentary filmmakers.Yet the volume also includes articles on films and filmmakers who have had a higher degree of visibility in English language journals and book publications and on the screens of repertoire theaters and university classrooms. These include some of New German Cinema's famous Filmautoren (Fassbinder and Wenders), German avant-garde filmmakers (Ottinger and Treut), and women associated with the genre of women's/feminist films (Sanders-- Brahms, Sander, and Rosenbaum). The key intervention that the editors want to make in publishing this volume is to redress the relative absence of work on German women filmmakers in booklength studies on the German cinema (6). Thus the unifying theme of Triangulated Visions, according to its editors, is a psycho-politically informed discussion, from a variety of approaches, of the triangulated intersections of filmmaker/image/audience. These intersections have formed the basis of feminist film theory's investigations into gender as constructed/deconstructed/reconstructed. At the same time, the editors and the authors of the essays make clear that we are operating in an era of post-feminism, an era, that is, in which it no longer suffices to talk about a feminist or feminine aesthetic, a feminine spectator position, or representations of women with the same sense of assuredness or mission that was possible in the previous two decades. The anthology is divided into five parts (Genre and Other Border Crossings; Triangulations of Ethnicity, Gender and Class; Images of Power and Pleasure; Images ofWomen as Social Ciphers; Recovering (from) History: Memory and Film), each part reflecting theoretical and historical concerns that are addressed somewhat unevenly by the essays in each section. Of course, such divisions are themselves only constructs, and one finds many of the same films, filmmakers, and concerns reappearing in various parts of the volume. Germany's women avant-garde filmmakers Monika Treut and Ulrike Ottinger receive the most attention throughout the anthology, beginning with the lead essay by Nora Alter. The avant-garde texts by these two filmmakers exemplify Alters assertion that the triangulated intersection is an unruly place of meaning formation. According to Alter, we must approach the view of the spectator as one that is both unstable and a place where meaning is constituted. Both Treut's and Ottinger's films transgress genre categories through which the spectator participates in construing meaning. Ottinger's Johanna d'arc of Mongolia and Treut's The Virgin Machine weave documentary style and feature film sequences seamlessly together, creating a post-genre hybrid text that destabilizes our categories of understanding-categories that include sexuality, historical time, and geographical place. More than any other essay, Alters theorizes the effects of such textual/spectatorial processes for triangulated vision:. . .(it) is at once confirmed, disrupted, and confirmed again (21). Douglas Kellner's article on Fassbinder revisits the way in which his films use (Sirkian) melodrama to both create and disrupt conventional meanings (by mixing strategies of identification and distanciation) in the service of social critique. …

Termination or Transformation? The "Terminator" Films and Recent Changes in the U. S. Auto Industry

Since the 1970s, the term transparency has been widely used to signify the concealment of the technological means of the cinematic illusion characteristic of classical and realistic film style.1 Such concealment has been assumed necessary for the cinematic apparatus to achieve its ideological subject effect by providing a coherent yet illusory spectator position. Conversely, any self-reflexive inscription of a film's technical means of production, the hallmark of post1968 radical and avant-garde cinema, was assumed to radically subvert this ideological work.2 While these categorical terms may now seem somewhat dated, the relationship between technology, ideology, and subjectivity in the cinema is still worthy of serious investigation. One of the problems with many previous attempts has been their failure to recognize that cinema has always served a dual function with respect to technology, not only as a technology itself, but also as a means of representing technological change and narrativizing its social effects. These two functions interact in very interesting and sometimes contradictory ways, complicating the question