437 Chapters
Medium 9780253012265


Jennifer M Bean Indiana University Press ePub

Anupama Kapse

The mirror is, after all, a utopia, since it reflects a placeless place.

Michel Foucault, “Of Other Spaces”

ONE OF THE most useful insights of scholarship that considers the conversion of 35mm films to 3D is the reminder that the latter’s appearance is not a mere novelty. Such revivals are not, as Kristen Whissel points out, a way of rescuing a seemingly threatened (U.S.) film industry in view of the coming of newer and more profitable technologies of viewing and consuming visual media. Rather, 3D is better approached as a practice that “has migrated across a broad range of platforms and media, including television, smart phones, photography, tablets, video games, and live theatrical performances.”1 Which is to say that the spatial vision of 3D—its direct, tactile address to the spectator, its mutations of time and space, its loosening of the film frame—is not a phenomenon that emerged in the crisis of the fifties, as is commonly believed. Rather, such attempts need to be understood within an archaeology of media forms that have, since the late nineteenth and early twentieth century, continued to relay moving images in a variety of spatial formats which include the history of binocular and stereoscopic vision.

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Medium 9780253015976

9 Thresholds of New African Dramaturgies in France Today

Edited by Frieda Ekotto and Kenneth W H Indiana University Press ePub

Mária Minich Brewer

Not all voices can be heard at the same time in the same story/history.

Kossi Efoui, Solo d’un revenant

THIS COLLECTION OF essays, Rethinking African Cultural Productions, offers an occasion to question theater’s physical and symbolic borders, frontiers, separations, and border crossings. Working as it does across multiple thresholds and dimensions simultaneously, whether of time, space, language, or the body, the art of the theater engages its public in critical considerations of and across borders. A new generation of African diasporic playwrights of the 1990s have thoroughly reinvented the social and symbolic possibilities for new theatrical languages. In this essay, I propose to map out some of the theatrical thresholds implicit in such a project of reinventing a new theatricality. This critical work on thresholds, I argue, needs to focus explicitly on the symbolic, social, and material dimensions of writing for performance.

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Medium 9780253007278

1 Paradise Postponed

Gerald Sorin Indiana University Press ePub

On July 20, 1948, a month after the United States Supreme Court refused to review Howard Fast’s conviction for contempt of Congress, he wrote to screenwriter Albert Maltz in California complaining about the “cold fear” sweeping America. Those “bastards in Washington,” Fast said, had purposefully “singled out” and “attacked” leftist writers such as him and Maltz and the Hollywood Ten. But “once we do go to prison,” Fast said, “I think the whole nature of the campaign will . . . change.” He and the other writers, Fast believed, would then have an “extraordinary distinction” and “a responsibility we cannot fail.”1

Despite Fast’s belief, neither he nor the Hollywood Ten were going to prison for what they had written. They had been called to testify by HUAC in 1946 and 1947 for what they had allegedly done, or had seen done by others, that could be considered “subversive.” Their refusal to answer potentially incriminating questions or to “name names” earned them their contempt citations and convictions. HUAC did not ask or say anything about Fast’s books, which numbered nine in 1946. The congressmen focused instead on the account books of the Joint Anti-Fascist Refugee Committee (JAFRC), an allegedly pro-Communist organization to which Fast belonged and which had founded and continued to support a hospital in France for wounded antifascist veterans of the Spanish Civil War. Fast ended up in prison not because he wrote books, but because he refused to turn over books that contained the names of donors supportive of the work of JAFRC.

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Medium 9780253329561

Chapter Nine

Scott Russell Sanders Indiana University Press ePub

Because Zuni replied to each absurd speculation about her future with vague smiles and crooked answers, the media soon decided she was not the proper stuff of news. Her face vanished from the video, her name from the newsfax. Before long only her colleagues at the Institute and her few friends still wondered what was going on beneath that meticulous bun of white hair.

Even those friends could not pry the secret from her. Zuni had clutched it for so long that her will had sealed over it, like the bark of a tree grown around a nail.

Left in peace at last, Zuni holed up in her apartment to meditate, to gather strength for the journey, whenever it might begin. She had set events in motion, but now they had run their own course. To be ready when the break came, if the break came, that was all she could hope. Only let it be soon, soon.

Meanwhile there were the records to keep. Instead of checking weekly on the movements of the conspirators—the ones who called themselves seekers, such a quaint name—now she checked daily. On her info terminal she would punch the code for Jurgen or Teeg or one of the others, and within moments the Security cyber would inform her of the person’s current work assignment, itinerary, health status, credit balance and the like. Writing with a pen, one of the anachronisms which gave her pleasure, she then noted on file cards whatever seemed like new information. Under Sol’s name, for example, recent cards showed the increasing frequency of his visits to the C-clinic, and then his abrupt refusal to accept any more synthetic organs. Apparently his lung cancer was galloping out of control. He would be urgent to escape. Hinta and Jurgen must also have been feeling urgent, for their cards showed they had spent their credit balance nearly down to zero, mostly for tools. For the first time in several cycles, Arda had skipped the fetal implant. Pressures for escape were building up in several other members of the crew. This discovery was what had prompted Zuni to announce her retirement, to make herself ready.

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Medium 9780253006813

Chapter 5: Coplas about the Miseries That the Germans Inflicted on Salonika, 1941–1943

Melammed, Renée Levine Indiana University Press ePub

75. Mousoulini kiere azer ouna Italia fouerte, komo esta aziendo el Alman.

Akavidate makaron. Kien ko[r]re mouthe presto se kaye.

Ya vites kuaolo te akonteseria en Albania.

I si non era el Alman ke vine a Boulgaria,

Ivas a entrar en Gresia kon kadenas por manias.

Bevamos a la saloud de Benvenida.

1. Es Pesah ay romores ke los almanes estan a la pouerta de Salonique.

Todos aseraron los magazines i vingneron preso en kaza.

Despoues de ouna ora,

Se sentia romper pouertas de magazines de koumida i de bivida.

El dio ke moz vouadre de esta hazenoura.

31. El primer dia ke vingneron, los almanes estavan bien rensegnados.

Mos tomaron los tableaus de valor i de grandes pintadores ke loz pinto.

Reyna impeso a gritar. Eliaou le dicho serala, te van a matar.

Bevamos a la saloud de [E]liao[u] ke se los dio i no rezestio.

13. Loz Alvos son fiereros.

Apenas los almanes vinieron,
les vaziaron el magazin.

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