The Mass Production of the Senses: Classical Cinema as Vernacular Modernism

Hansen, Miriam

doi:10.1057/9780230274297_15

Cited by 89 publications

(29 citation statements)

References 49 publications

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“…Miriam Hansen's (1999) investigation of Classical Hollywood cinema which explored its success in the global arena is useful here. Using her theory of vernacular modernism, which refers to the everyday aesthetics produced by modernisation and its products, Hansen suggests Hollywood offered the "first global vernacular" with "transnational and translatable resonance" (p. 60) and was able to provide a "collective experience of modernisation and modernity" to mass audiences both at home and abroad (2000, p. 10).…”

Section: International Audience Reception For Singapore Filmsmentioning

confidence: 99%

The Construction of "Singapore" in Singapore Cinema

Lim¹

2018

The International Journal of Diverse Identities

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Section: International Audience Reception For Singapore Filmsmentioning

confidence: 99%

The Construction of "Singapore" in Singapore Cinema

Lim¹

2018

The International Journal of Diverse Identities

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“…The rapid development of propaganda film practices would appear to confirm this potential, as nations used the apparatus to communicate visually with mass audiences in other parts of the world. At the same time, the cinema made domestic audiences visible to themselves (Hansen, 2000), participating in the creation of a mass public that both consumed images of other national publics, and defined itself against the knowledge of others acquired through film viewing.…”

Section: Travel On Filmmentioning

confidence: 99%

Journeys from the east: the popular geopolitics of film motivated Chinese tourism

Coates

Mostafanezhad

2018

IJTA

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Article:Mostafanezhad, M., Coates, J. orcid.org/0000-0001-7905-9504 and Coates, J. (2018) Journeys from the east: the popular geopolitics of film motivated Chinese tourism.Abstract: Over the past five years the number of outbound travellers from the People's Republic of China (PRC) doubled, making Chinese tourists the largest group of international travellers in the world. Drawing on media reports of the impact of box office hits on Chinese outbound tourism, we explore how popular cinema informs the Chinese tourism boom's impact on the everyday geopolitics of Sino-host tourism encounters. Through a critical discourse analysis of representations of tourism practices in Chinese film, we highlight key tropes of economic and political power that present touristic practices as imaginable, aspirational, and attainable. We then examine how actual tourism encounters compare to their onscreen imaginaries. Drawing on theoretical and methodological insights from film studies, political anthropology and geography, this article contributes to emerging multi-disciplinary work on how filmic representations of Chinese tourism mediates the ongoing rearticulation of geopolitics within what has been dubbed the 'Chinese Century'.

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“…In so doing, they anticipate Miriam Hansen's theory of "vernacular modernism," as both diagnose the cultural production and participation of a population undergoing the deeply unsettling experience of rapid modernization. 40 By highlighting the embodied experience of modernity, the concept of vernacular modernism troubles the rigid separation of politics and aesthetics, the public and the private, as well as high and low art. Kracauer and Dinerstein also draw attention to the desire created by the gendered and racialized bodies associated with the machine, cultural formations that evocatively express many cultural contradictions.…”

Section: Private Moments In Publicmentioning

confidence: 99%

Small Effects from Big Causes: The Dialogic Documentary Practice of Natalie Bookchin

Druick¹

2016

Camera Obscura: Feminism, Culture, and Media Studies

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In her digital video work Mass Ornament (2009), the Testament series (2009), and Now He's Out in Public and Everyone Can See (2012), US artist Natalie Bookchin gathers clips from video blogs in which people perform dances and discuss personal and political issues, from sexuality to racism to losing their jobs. In this essay, I argue that Bookchin's work makes an important feminist intervention into discourses that either demonize or lionize social media. Utilizing strategies of seriality, database/narrative, and orchestration, Bookchin crafts a set of composite found footage texts that challenge both documentary form that relies on typicality or composites and interactive documentaries that employ online engagement. Instead, highlighting the body and the utterance as political “contact zones,” Bookchin uses sonic composition and choreography to challenge restricted notions of political speech, demonstrating the simultaneous insignificance and importance of the everyday. Her work therefore highlights the problematic of communicability that the excess of online textual expression presents while at the same time holding out the possibility that—through listening—engaged, dialogic documentary might provide a powerful antidote to the logics of neoliberalism.

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The Mass Production of the Senses: Classical Cinema as Vernacular Modernism

Cited by 89 publications

References 49 publications

The Construction of "Singapore" in Singapore Cinema

The Construction of "Singapore" in Singapore Cinema

Journeys from the east: the popular geopolitics of film motivated Chinese tourism

Small Effects from Big Causes: The Dialogic Documentary Practice of Natalie Bookchin

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