By K. Sieg
The e-book explores eu artists' severe engagement with the photographs and tales that politicians and the media use to recommend globalization.
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Additional resources for Choreographing the Global in European Cinema and Theater (Studies in European Culture and History)
Conversely, condemnations of mediatized mass culture in the tradition of the Frankfurt School sometimes fail to account for contemporary media operations, such as liveness, differentiated address to diverse users, and interactivity. Both Jelinek and Pollesch, for whom the relation between theater, television, and Internet is central to their critique of globalization, are very precise in their account of how particular technologies and genres dramatize social relations and encode and position bodies, and the same precision and specificity is necessary if we are to grasp how theater may intervene in mediatized narratives and images of globalization.
The predominance of men’s work in this book— albeit work that is feminist by men who are gay—reflects the current composition of the theatrical institution. While I am wary of the way in which cultural heritage is signified within the transnational context, I want to keep the beneficial effects of this policy in view, which will perhaps achieve what a century of feminist complaints and several decades of immigrant activism have not been able to accomplish. The emphasis on young audiences, ethnic minorities, and disadvantaged populations that characterizes the majority of the EU-funded cooperative projects signals not only the transfer of previously national pedagogies to the transnational level but is also a hallmark of what I call the social service paradigm.
6 The West German cinema suggested a natural inequality and hierarchy between capitalism and communism that was premised on the role division within the bourgeois family and thus consistent with the socially conservative gender and family policy of the FRG. Perhaps surprisingly, the persistent feminization of communism and masculinization of capitalism can be found as well in East German films. 7 Julia Hell has argued that the sexual body was constructed as fascist in the GDR imaginary and the fantasy of a “sublime communist body” predicated on the renunciation of sexual desire (Hell 1997, 174).