P       RNCU   REPO   ODER       E            P O S T M O D E R N
P  TMOD RNCU  U EP S  ODER  ULTU E               C U L T U R E
P  TMODERNCU  UREPOS  ODER  ULTU E          an electronic journal
P  TMODERNCU  UREPOS  ODER       E           of interdisciplinary
Volume 8, Number 2 (January 1998)              ISSN: 1053-1920

Editors:                            Robert Kolker (guest editor)
				    Lisa Brawley
                                    Stuart Moulthrop

Editors Emeritus:                   Eyal Amiran
                                    John Unsworth

Review Editor:                      Paula Geyh

Managing Editor:                    Anne Sussman

Research Assistant:                 Lisa Spiro

Editorial Board:                                           

     Michael Berube                 Phil Novak
     Nahum Chandler                 Chimalum Nwankwo
     J. Yellowlees Douglas          Patrick O'Donnell
     Jim English                    Elaine Orr
     Diane Gromala                  Marjorie Perloff
     Graham Hammill           	    Fred Pfeil
     Phillip Brian Harper           Peggy Phelan
     David Herman                   David Porush
     E. Ann Kaplan 		    Mark Poster	
     Barbara Kirshenblatt-Gimblett  Susan Schultz
     Neil Larsen                    William Spanos
     Tan Lin                  	    Allucquere Roseanne Stone
     Saree Makdisi                  Gary Lee Stonum
     Jerome McGann                  Rei Terada
     Larysa Mykyta                  Paul Trembath
     Jim Morrison                   Greg Ulmer
                      SPECIAL ISSUE ON FILM
    	       Robert Kolker, guest editor
                     Editor's Introduction
    Gina Marchetti, "Transnational Cinema, Hybrid 
    Identities and the Films of Evans Chan"
    Stephen Mamber, "Simultaneity and Overlap in 
    Stanley Kubrick's _The Killing_"
    Joseph Christopher Schaub, "Presenting the Cyborg's 
    Futurist Past: An Analysis of Dziga Vertov's 
    Jorge Otero-Pailos, "Casablanca's Regime: The 
    Shifting Aesthetics of Political Technologies 
    William D. Routt, "The Madness of Images and 
    Thinking Cinema" [WWW Version Only]
    Adrian Miles, "_Singin' In the Rain_: A 
    Hypertextual Reading" [WWW Version Only]
    Peter Donaldson, "Digital Archives and Sibylline 
    Fragments: _The Tempest_ and the End of Books 
    [WWW Version Only]
                          Review Essay
    Edward Brunner, "Ersatz Truths: Variations on the
    %Faux% Documentary."  A review of Rick Prelinger's 
    _Ephemeral Films 1931-1960_: _To New Horizons_
    and _You Can't Get There from Here_ and Prelinger's 
    _Our Secret Century: Archival Films from the Dark 
    Side of the American Dream:_ Volume 1: _The Rainbow 
    is Yours_ with Volume 2: _Capitalist Realism_;
    Volume 3: _The Behavior Offensive_ with Volume 4: 
    _Menace and Jeopardy_; and Volume 5: _Teenage 
    Transgression_ with Volume 6: _The Uncharted 
    Landscape_.  CD-ROMs.  New York: Voyager, 1994 and 
    Kim Fedderson and J.M. Richardson, "Looking for 
    Richard in _Looking for Richard_: Al Pacino 
    Appropriates the Bard and Flogs Him Back to the 
    Brits."  A review of the recent film/video.
    Anthony Enns, "The Art and Artifice of Peter 
    Greenaway."  A review of Alan Woods' _Being Naked 
    Playing Dead: The Art of Peter Greenaway_.  
    Manchester: Manchester UP, 1996.
    Mark Welch, "The Grim Fascination of an 
    Uncomfortable Legacy."  A review of Eric 
    Rentschler's _The Ministry of Illusion: Nazi 
    Cinema and its Afterlife_.  Cambridge: Harvard 
    UP, 1996.
    Benzi Zhang, "(Global) Sense and (Local) 
    Sensibility: Poetics/Politics of Reading Film as 
    (Auto)Ethnography."  A review of Rey Chow's 
    _Primitive Passions: Visuality, Sexuality, 
    Ethnography, and Contemporary Chinese Cinema_. New 
    York: Columbia UP, 1995.
    Hassan Melehy, "Looking Forward to Godard."  A 
    review of Wheeler Winston Dixon's _The Films of 
    Jean-Luc Godard_.  Albany: SUNY Press, 1997.
    M. Klaver, r rickey, and L. Howell, "Peripheral 
    Visions." A review of E. Ann Kaplan's _Looking 
    for the Other:  Feminism, Film, and the Imperial 
    Gaze_. New York: Routledge, 1996. 
    Arkady Plotnitsky and Richard Crew, Exchange on 
    Plotnitsky's essay, "'But It Is Above All Not 
    True': Derrida, Relativity and the 'Science Wars,'"
    _Postmodern Culture_ 7.2
                       [WWW Version only]
    Gina Marchetti, "Transnational Cinema, Hybrid 
    Identities and the Films of Evans Chan"
       o Abstract: This article attempts to rethink cultural 
         relationships within the dynamics of an 
         increasingly globalized media environment, using 
         the case of Evans Chan as the focus for the study.  
         Chan is a New York-based filmmaker, born in 
         mainland China, bred in Macao, educated in Hong 
         Kong and America, who makes independent narrative 
         films primarily for a Hong Kong, overseas Chinese, 
         "greater China" audience.  To date, Chan has 
         completed two features, _To Liv(e)_ (1991) and 
         _Crossings_ (1994).  Both of these films openly 
         address issues that find only a marginal voice in 
         the mainstream cinema of Hong Kong, the United 
         States, and other Chinese cinemas globally.  His 
         work will be used here as an illustration of the       
         necessity for a new approach to nation and culture 
         within media criticism.
         With one foot in the United States and the other in 
         Hong Kong, Chan can freely address issues as 
         diverse as Hong Kong's return to China in 1997, the 
         legacy of the events of June 4th in Tian'anmen 
         Square, the role of women in the world economy, and 
         the processes of immigration and dispersal 
         involving the Chinese globally.  While fears of 
         censorship arising from Hong Kong's laws and the 
         unofficial censorship of the marketplace in the 
         United States place a boundary around what can and
         cannot be said in the cinema, Chan, with his 
         transnational production team, manages to seriously 
         explore controversial issues.  In this way, Chan 
         creates a transnational, transcultural discourse 
         through the medium of the motion picture, pointing 
         to a new type of cultural sphere that must be noted 
         within media studies.--gm
    Stephen Mamber, "Simultaneity and Overlap in Stanley 
    Kubrick's _The Killing_"
       o Abstract: This article explores the temporal 
         construction of the 1956 Stanley Kubrick film, 
         _The Killing_.  A caper story presented through an 
         elaborate series of isolated segments, the film is 
         organized around moments of simultaneity and 
         overlap--a grand conceptual design explored in the 
         article partly through the use of a chart and some 
         3-D re-creations.  The linkage between the film's 
         temporal strategy and its spatial construction is 
         also examined.--sm
    Jorge Otero-Pailos, "Casablanca's Regime: The Shifting 
     Aesthetics of Political Technologies (1907-1943)"
       o Abstract: In this essay, I illustrate how the film 
         _Casablanca_, while bearing little visual 
         resemblance to the city in Morocco where it draws 
         its name, exists and performs in symbiosis with the 
         real Casablanca.  I argue for a more cohesive 
         analysis of the Casablanca phenomenon, presenting a 
         previously neglected urban/filmic comparative study 
         as intrinsic to our historical understanding of 
         both aesthetic objects.  This work delineates the 
         construction of Casablanca around both World Wars, 
         first by France (architecturally), and then by 
         North America (filmically).  The history of each 
         building effort is presented %vis a vis% that of 
         the other, capitalizing on their dist urbing 
         similarities of intent, methodology, anticipated 
         political effects, and relation to dominant modes 
         of perception.  The modern city was a full scale 
         urban experiment of France's colonial 
         administration, meant to boost national self esteem 
         and secure military support from the people in the 
         face of World War I, while the film was a 
         calculated American attempt to quell national 
         anxiety about engaging in World War II.  Both 
         objects were produced on the run, riddled with 
         incertitude, and invested with an agenda to 
         aestheticize politics in an attempt to establish 
         social order by mobilizing entire populations 
         towards war.  The success of each effort lay in its 
         ability to excite the desires of their audience by 
         drawing on familiar conceptions of reality and 
         manipulating them so as to drive the general 
         perception of the world towards a politicized 
         %imago mundi% of clear rights and wrongs.  
         "Casablanca's Regime" introduces the reader to 
         Casablanca as an exceptional virtual city, where 
         images--architectural, filmic, or otherwise--are 
         jointly weapons of political control, and 
         instruments of seduction.--jop
    Joseph Christopher Schaub, "Presenting the Cyborg's 
    Futurist Past: An Analysis of Dziga Vertov's Kino-Eye"
       o Abstract: Since Donna Haraway's groundbreaking 
         essay, "A Cyborg Manifesto," there has been a great 
         deal of debate concerning the liberatory potential 
         of cyborg subjectivity.   Of particular interest 
         have been the effects that the cyborg, which 
         dissolves the boundary between human and machine, 
         will have upon the equally contested boundaries 
         which comprise distinctions of gender in the late 
         twentieth century.  In this paper I examine a 
         cyborg construction which appears in the early 
         twentieth century films of the Soviet theorist and 
         filmmaker Dziga Vertov.  The Kino-eye (or 
         camera-eye) is a cyborg combination of the 
         mechanical movie camera and the human eye.  It is 
         most fully explored in Vertov's _Man With a Movie 
         Camera_ (1929), the %magnum opus% of his cinematic 
         theories.  _Man With a Movie Camera_ has 
         interesting contemporary implications because of 
         the prominence that Vertov gives to women in this 
         film.  The Kino-eye is seen as a cyborg combination 
         that incorporates both the male cameraman and the 
         female editor.  As the film unfolds woman is 
         depicted as maker of meaning, rather than 
         spectacle.  That Vertov, a Russian Futurist, was 
         unusual in this respect can be seen by comparing 
         his work to the writings of his contemporaries.  In 
         particular, the misogynist writings of the Italian 
         Futurists provide a strong contrast to the theories 
         of the cyborg Vertov explored in his own film work.  
         This paper then, also explores the way that Vertov 
         rescues the cyborg (his Kino-eye construct) from 
         the misogynist framework of its initial Italian 
         Futurist conception, and suggest that there is much 
         that can be applied from his work to the 
         contemporary debate on gender in cyberspace.--jcs
    William D. Routt, "The Madness of Images and Thinking 
    Cinema" [WWW Version Only]
       o Abstract: This article attempts a preliminary 
         understanding of the experience--or sensation--of 
         place evoked in the cinema, based on some of the 
         earliest films and their spectators. It exposits 
         certain ideas contained in Vachel Lindsay's _The 
         Art of the Moving Picture_ and finds a delirious 
         resemblance between these ideas and some in Gilles 
         Deleuze's two Cinema books.  Perhaps the piece 
         suggests that madness is a property of the 
         sensation of place in the cinema.  Animated gif 
         files, maddening their sources, offer a crude 
         supplementary patchwork commentary.--wdr
    Adrian Miles, "_Singin' in the Rain_: A Hypertextual 
    Reading"  [WWW Version Only]
       o Abstract: _Singin' in the Rain_ is a canonical 
         self-reflexive film which combines an informed 
         self-consciousness with an argument about its own 
         legitimacy as art.  The film's argument is 
         structurally evident within one of the film's more 
         famous self-reflexive sequences, "You Were Meant 
         for Me."  Through the incorporation of video into 
         the essay and an emphasis on a hypertextual writing 
         style, this hypertext attempts to find a middle 
         ground between hypertext and film theory where each 
         complements the other.  It is hoped that the 
         inclusion of part of the object of study within the 
         work exerts some hermeneutic force on the reading 
         and the writing, and it is intended as a 
         preliminary move in an exploration of new academic 
         genres in film theory that hypertext and 
         digitisation might allow.--am
    Peter Donaldson, "Digital Archives and Sibylline 
    Fragments: _The Tempest_ and the End of Books" 
    [WWW Version Only]
       o Abstract: This multimedia essay traces how Peter 
         Greenaway's film _Prospero's Books_ reads _The 
         Tempest_, anachronistically,  as a play about the 
         end of books and the advent of electronic forms.  
         Greenaway finds _The Tempest_ relevant to this 
         shift because, as he puts it, we are living in the 
         early years of a new "Gutenberg Revolution," in 
         which the ambitions of the Renaissance magus with 
         his magic books are being realized, in part, 
         through digital technologies.  
         _Prospero's Books_ is an anticipatory or proleptic 
         allegory of the digital future, figuring the 
         figuring the destruction of libraries and their 
         rebirth as "magically" enhanced electronic books.  
         It is set in the past, and extrapolates from the 
         several passages in the play in which Prospero's 
         books are mentioned the story of twenty-four 
         wonder-working books through which Prospero 
         achieves his magic; yet, by calling attention to 
         the digital special effects by which these books 
         have been created on screen--"paint" and 
         photoprocessing applications, computer animation, 
         multiple screen overlays--Greenaway suggests that 
         the magically enhanced codex volume is as much a 
         part of our future as our past.  
         The essay also compares the "creative" magical 
         volumes of Greenaway's film to several kinds of 
         documentary evidence concering the fate of real 
         books (Shakespeare's Folios) and their vicissitudes 
         in the material world (damage, compositorial 
         variation) and the use of specialized books such 
         as fold-out anatomies in ways that parallel 
         Greenaway's attempt to rival the miracle of human 
         reproduction in digitally enhanced cinema.
         Like _Prospero's Books_, this essay itself exists 
         in a transitional form (networked hypertext with 
         linked images and brief video citations), and like 
         _Prospero's Books_ it imagines future forms and 
         depends on them. It is relatively linear in its 
         form, and bounded in its contours, presenting a 
         small number of textual and visual citations.  Yet 
         it asks its readers to imagine that they are 
         exploring a path, one particular path, through an 
         immense networked digital archive.  
         Such an archive would include the complete film 
         _Prospero's Books_--as well as all other 
         Shakespearean film adaptations, linked to relevant 
         lines of text; which includes all extant copies and 
         page fragments of the Folio text of _The Tempest_, 
         and an extensive library of commentary; which is 
         linked as well to extensive collections of 
         anatomical illustrations from the Renaissance 
         forward, and to texts and images that illustrate 
         the motif of the "end of the book" in the late 
         twentieth century.--pd 
Copyright (c) 1998 Postmodern Culture & Johns Hopkins University

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