This article examines how Studio Ghibli constructs the mundane activities shown in their films as spectacular. Looking at the history of the ways in which domestic and routine events are depicted in ...Japanese animation, I will use various methodologies, beginning with formalism and phenomenology before moving on to feminism and Marxism to critically analyse several Ghibli films as case studies – My Neighbors The Yamadas (1999, Hōhokekyo Tonari no Yamada kun), Only Yesterday (1991, Omoide Poro Poro), and Howl’s Moving Castle (2004, Hauru no Ugoku Shiro). Using these methodologies, the films are placed into a broader cinematic context, and the filmic legacy of their treatment of the mundane is explored.
Accounting for nature as capital is touted as a promising way of aligning environmental conservation with global capitalism by valuing nature like economic assets. Both its proponents and detractors ...speculate on what its promises might achieve if they were fully realized, i.e., if nature were actually accounted for, capitalized or commodified. There is, however, an enduring disjunction between vision and execution in this field: the promises simply do not materialize. Economizing nature proves to be extremely complex, raising not only technical hurdles but also intractable conceptual and ontological issues. We suggest taking a critical realist approach to natural capital accounting, acknowledging the inherent resistance of nature to being treated as capital. We consider the arenas dedicated to natural capital accounting as the sites of singular dramaturgical performances, whose effects extend beyond the integration of nature into economic decision making. Drawing on documents, interviews and observations at events dedicated to natural capital accounting, we highlight their theatrical character and reveal the effects they produce. This article aims to contribute to the investigation of environmental governance arenas by emphasizing their significance as venues for symbolic performance and achievement, extending beyond the traditional emphasis on regulatory and hoped-for environmental transformations.
Para apreender corretamente o espírito de nosso tempo, é necessário analisar em profundidade e na superfície a correspondência contemporânea entre o espetáculo e o consumo: consumo espetacular e ...espetáculo de consumo. A cadeia das mercadorias-signos (Baudrillard, 1968), meio e veículo de adesão ao sistema produtivo e político, assume um valor extraordinário a partir do momento em que acolhe tudo o que é não-racional numa sociedade racionalizada, bem como o aspeto anti-utilitarista de um social focado, precisamente, na lógica do utilitarismo. Nesse sentido, o ciclo dos consumos espetaculares coincide com o consumo da individualidade burguesa, enquanto a massa que se tornou público se torna a matriz na qual o sujeito se perde para amortecer o peso das mudanças e exprimir as pulsões marginalizadas pelo sistema social.
Provider: - Institution: - Data provided by Europeana Collections- All metadata published by Europeana are available free of restriction under the Creative Commons CC0 1.0 Universal Public Domain ...Dedication. However, Europeana requests that you actively acknowledge and give attribution to all metadata sources including Europeana
Border policing and immigration law enforcement produce a spectacle that enacts a scene of 'exclusion'. Such spectacles render migrant 'illegality' visible. Thus, these material practices help to ...generate a constellation of images and discursive formations, which repetitively supply migrant 'illegality' with the semblance of an objective fact. Yet, the more these spectacles fuel anti-immigrant controversy, the more the veritable inclusion of the migrants targeted for exclusion proceeds apace. Their 'inclusion' is finally devoted to the subordination of their labour, which is best accomplished only insofar as their incorporation is persistently beleaguered with exclusionary campaigns that ensure that this inclusion is itself a form of subjugation. At stake, then, is a larger sociopolitical (and legal) process of inclusion through exclusion. This we may comprehend as the obscene of inclusion. The castigation of 'illegals' thereby supplies the rationale for essentializing citizenship inequalities as categorical differences that then may be racialized.
Precarious mobilities caused by insufficient capacity or unplanned stoppages of public transportation services can result in line-ups that are as much a part of commuters' daily routines as travel ...itself. This article explores how excessive line-ups can be analyzed as forms of spectacle dwelling in the context of a Canadian aquamobile transportation corridor on Conception Bay, linking Bell Island to the main island of Newfoundland. For several decades, Bell Island ferry commuters have been governed by vivid representations of the bureaucracy literally seizing up in users' stalled movement for hours or sometimes days. Based on an application of concepts initiated by Debord, this article discusses how such line-ups comprise forms of spectacle dwelling; the role of commentaries about these spectacles; and examples of counter-spectacles in 2017 that created a forum for protesting changes to the service.
In this article, we bring together understandings of the spectacle of nature and spectacle 2.0 to show how people are invited to participate in the spectacular production of nature. Recent work has ...expanded on the Debordian notion of spectacle, interrogating the ways people do not just consume images, but help to produce and enact spectacle: spectacle 2.0. Building on this, we argue that in conservation, consumers increasingly interact with the spectacle through digital and real-life means, thereby reinforcing and reproducing the nature that is being transformed. We term this process the spectacle of nature 2.0. We present the case of Valle Chacabuco in southern Chile, which has been transformed into Patagonia National Park. This process has been welcomed by the international conservation community, but has incited tension and conflict with local residents who have their own very different sense of Valle Chacabuco. Through the production of spectacle, park discourses highlight the heroic role of Northern conservationists, obscuring the underlying capitalist logics of the project and the social tensions it has created. We argue that it was possible to unmake/remake Valle Chacabuco from once a place of livelihoods, ranching, and production to a place of unspoiled nature through the recruitment of digital and material interaction. In the process, environmental politics and activism are channeled back into the dominant underlying capitalist ideology. Patagonia National Park is now a place that the park promoters claim belongs to the world, its nature and culture to be consumed and reproduced by environmentalists and tourists.
In recent years, the terrorist network Islamic State of Iraq and Syria has generated what might be referred to as a ‘spectacle of fear’ through strategic dissemination of execution videos and other ...graphic material. In response, social media users, activists and others circulate ‘counter-spectacles’, attempting to circumvent Islamic State of Iraq and Syria’s spectacle of fear. An important case in point is the global hacking network Anonymous declaring ‘war’ against Islamic State of Iraq and Syria, including a global call for a ‘Troll ISIS Day’. This article develops a theoretical framework for understanding the spectacle of fear generated by Islamic State of Iraq and Syria and the counter-spectacle created through Anonymous’ trolling practices and explores empirically how Anonymous uses humor to combat fear through the memes produced on ‘Troll ISIS Day’. Bottom-up, cultural forms such as memes are increasingly woven into strategies for countering the fear associated with terrorism, and they represent the potential for humor to generate public engagement. However, as these memetic counter-spectacles draw on the incongruent humor characteristic of meme culture, they both contest and adopt strategies of fear, pointing to ethical challenges inherent in the counter-spectacle.
PDF
