Globalizing Discourses: Literature and Film in the Age of Google

Cinema and the Festivalization of Capitalism

“…Others have suggested that while film festivals have remained close to their democratic missions as civil-society organizations defining 'issues' concerning a global population (for global cinema see Wagner, 2015), they have become 'repositories and archives of failed revolutions' (Elsaesser, 2005). Such views are particularly interesting in light of cinema manifestos (MacKenzie, 2014), constituting an archive of hopes for aesthetic and social change that spans over one-hundred years and attesting to lineages of modern artist generations' will for more autonomy and power-away from capital, market, patronage, and a censoring state.…”

“…The chapter discusses why new forms of organized rationality such as festive events call for a theory of grants-economic support and make an argument for 'elite capture' of creativity-inducing environments. The last two chapters develop this argument further, with Chapter 12 attending to the 'culturalization' claims (Reckwitz, 2020) and applying them to festivals as producers of novelties and cultural diversity of significance to both the global trade regime for cultural goods and services (Wagner, 2015), and policy makers' need for the 'soft power' of culture (Nye, 2004). I support my arguments with an exploratory outline of subsidization patterns for arts nonprofits and cultural producers in the context of cultural-policy goals.…”

“…De Valck maintains that the avant-garde in cinema did not meet this challenge of 'a crisis of film' , because these artists challenged the 'the commercial film system and Hollywood's hegemony' (De Valck, 2007), while the International film festivals cooperate with the commercial system, fostering values of cultural enlightenment and the legitimacy of non-commercial cinema (2007, p. 24). Elsaesser (similarly see Wagner, 2015) formulates an 'agenda-setting power for diverse social causes, identity politics and protest' and calls festivals "repositories and virtual archives of the revolutions that have failed to take place in Europe over the past 50-60 years, but whose possibilities and potential they keep alive merely" by the participating audiences (2005, pp. 103-104).…”

Photographic and cinematic appropriation of atrocity images from Cambodia: auto-genocide in Western museum culture and The Missing Picture

“…In a wider assessment of the global value of these S-21 photographs, Ivan Karp and Corinne A Kratz in their Preface to their edited book Museum Frictions: Public Cultures/Global Transformations (2006) highlight what they see as ‘international connections and global orientations [which] had become increasingly central to the circumstances and practice of museums since the 1990s, in ways that sometimes seemed to differ from the international associations that had long been part of the museum world’ (p. xvi). These contemporary perspectives on the globalization of cultural artefacts mean that we must be cognizant of ‘the flow of commodities on a micro-level that need to be thought of in relation to the territoriality of production networks and the outwardness of different global products, even global issues, to emphasize their material and symbolic value’ to different indigenous and international publics (Wagner, 2015: 233). MoMA ultimately neglected balancing these parochial encounters, and what these cultural artefacts represent, as localness became an asymmetric consequence of the globalization of genocide.…”

Global Commodity, Global Meme Culture, Global Mélange and “Baby Yoda”

“…Wagner and Kapur state that "New technologies of communications have served as the glue and conduit of neoliberalism whereas the production of culture is, after war, the second most important sector in the neoliberal economy" [24]. Star Wars is arguably the most successful global cultural product of our time.…”