It is suggested that Mao’s documented decision to use this image on renminbi instead of his own otherwise ubiquitous portrait reflects a perception of the propagandistic value of this visual syntax, and that both Mao’s posthumous reappearance on Chinese currency and the icon’s transformation on fourth-series renminbi from class pairs gazing upward to ethnic pairs gazing laterally reflects, among other things, the Deng-era shift from a hieratic semantics of charismatic legitimation to a more sober strategy of legitimation by political and economic rationalization. An examination especially of the film work of Dziga Vertov shows that the icon encodes in its visual syntax techniques of political, technological, and media pedagogy meant both to form the “new Soviet man” and to orient populations within a chain of symbolic identifications supporting the charismatic authority of their leaders. It argues that this iconic type-familiar not only from Stalinist but also from Italian Fascist and German National Socialist imagery-arose initially as a consequence of the legitimation crisis provoked in the USSR by Lenin’s death in January 1924, and that it may have originated in cinema before spreading from there to photography and poster art.
#NANCY DREW THE CAPTIVE CURSE COLOR CODE SERIES#
This paper traces the history of an iconic Socialist Realist image-that of the worker, peasant, soldier, or leader viewed from below whilst gazing heroically into the symbolic dawn of a Socialist future-from its origins in mid-1920s Soviet Russia through its use on three banknotes in Communist China’s first renminbi series of 1949 to its effective dissolution in the iconography of Deng-era currency. For ordering the book + DVD to your institutions, libraries, and other agencies use link The book includes a dvd: Obsession by Pia Tikka.
With the notion of second-order authorship, the focus is shifted from the conventional idea of explicit linear control over the cinematic narrative to designing the cinematic artifact as a complex dynamical system with emergent behavior. Enactive Cinema implies reconsidering the role of the author. The enactive cinema project Obsession (2005) demonstrates such a system in practice. The novel concept of enactive cinema is introduced: an interactive cinematic montage system in which the narrative flow follows the unconscious psychophysiological enactment of the spectator, as a dynamical abstraction of the mirroring system.
It is claimed that, in particular, the finding of mirror neuron networks, i.e., built-in sensorimotor-based imitation systems, has consequences for cinema, enabling a neurophysiological explanation for authoring cinema as a socio-emotional simulation system of the other.
The method of parachronic reading extrapolates Eisenstein's thinking, embedded in his contemporary scientifically-oriented era, to the discoveries of the 21st century neurosciences. Eisenstein, the Russian filmmaker and researcher of the pre-digital age, whose visions on organic-dynamic thinking carry implications for new kinds ofinteractive cinema even today.
"Enactive Cinema: Simulatorium Eisensteinense explores the psychophysiological grounds from which the experience of cinema emerges.
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