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Abstract

Welcome to the latest IAFOR Journal of Cultural Studies, whose publication coincides with the outbreak of the Covid-19 virus. At first, during late January and early February 2020, the world breathlessly stared at China, fascinated by the ill fate that had befallen its populace, deemed to be far removed from the West and containable on living room flat screens and mobile phones. At times, the virus outbreak was even used as an excuse for localised racism, as when a bus of Chinese was stoned in the Ukraine. But by late February 2020, however, panic had set in in many parts of the world, as it became clear that, thanks to globalisation, China was everywhere and that dreams of racial and cultural differences, as fake news would have us believe, did protect neither Africans nor Europeans from the disease. Already within a single culture, individuals change the side of the street when another approaches; outbreaks are denied or designated as "negligible" or a return to normalcy by "this coming Saturday" (Irans president Hassan Rohani) is promised; whistleblowers are taken into police custody or the outbreak is used to showcase a government's ability to build a new hospital within a week, relegating the outbreak to an economic problem that can be solved by real estate means; hoarding taking place in supermarkets, with prices of food rising by up to 20% month-on-month (China) or masks and disinfectant sold at exorbitant prices; and news outlets decrying the negative effect the virus has on the stock market or the output of companies rather than looking at the plight of the infected people. At such a time, it is good to remember that culture, the relating of oneself to one's own and to others' social modes of behaviour, is never a state, but always a process; any "progress" is always under threat and can easily be reversed in times of crisis. The articles in this issue do not address the Covid-19 virus, as they were all written before the existence of this virus was known. But all of them do comment on it indirectly as they comment on political and cultural changes and challenges people face in different parts of the world, as they flag inequalities, attempts at rewriting history and undue pressure exerted by governments to regulate free artistic expression.

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“…Untuk itu peneliti memilih Contri butory Modes yang menurut Burn dapat diuraikan lagi menjadi Embodied Modes, Visual Modes, Auditory Modes; dan lebih tepat digunakan untuk memahami film melalui aspek terkecil. Peneliti hanya mengambil dari kategori contributory modes, karena di dalamorchestrating modes berisi sub kategori yang lebih banyak membahas ke teknik penyuntingan, pergerakan kamera, dan cara pengambilan gambar [14]. Sedangkan hal ini sudah ada di dalam contributory modes.…”