'Manifesto for the Humanities'
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Current Perspectives in Media Education: Beyond the Manifesto
Special Offer. Select Parent Grandparent Teacher Kid at heart. Age of the child I gave this to:. Hours of Play:. The same can be said about film: not only is film studies called into question; film itself has become medium and metaphor of an increasingly thin reality. What is happening in the world is much more tragic, sinister, absurd, and funny than any film or television program that we could ever imagine or direct or write or critique.
Faced with such a scenario, questions arise: How and why to make films, given that reality is so overwhelmingly outrageous?
How and why to think on film, when our standpoint is that of absurdity? And in a more concise way: How to admit that film operates as a form of hyperbole of the real? The situation is at once desperate and stimulating. New forms of storytelling; immersive narrative-sensorial experiences; the revisiting, implosion, and mixing of film genres—all need to be turned upside down, inside out.
One of the tasks for filmmakers is to incite the viewers as protagonists of utopian narratives.
Ultimately the task becomes to reinvent reality, to reimagine it, to create diverse, utopian landscapes that can provide the countershot of what is unfolding in the real. All that freely circulates today is data. Film as theory and practice cannot run the risk of merely mirroring that reality, of being just another data stream. Such a strategy would turn out to be not only the end of filmmaking, but also the end of a civilization project. Film should circulate more widely and more effectively than data!
It has to seduce those who today have become just consumers of multiplied data, those who went to the polls and democratically elected the end of democracy. Catastrophe cannot go further! Film has to be powerful, vertiginous, and infinitely more attractive than the risible misery of the real!
It is urgent to re-enchant language and to clear a path to new utopias. It is necessary to multiply the senses, not diminish them; synesthesia, then, has become more necessary than metaphor. Sharpen the senses! There is a poetic ravishment happening now, as the real incorporates the chaos, and someone is sorely needed to tell this story. Film is an act of framing the absurd, an act of making the absurd speak and exist beyond itself. Film as theory and practice must perform this suture of being and flesh, word and mouth, idea and lust.
It must be an exercise of imagination, of narrative as technique to reinvest in the senses. A decrease in distance between film studies and filmmaking is urgently needed to move toward a genuine resistance against the impoverishment of the ability to imagine. Resistance today is an exercise of radically imagining tomorrow. Resistance today is necessary to enable thought, practice, and imagination to converge in this common challenge of making life possible.
Imagining today is an exercise to prevent the cancellation of tomorrow. Part of our task is to seduce, embrace, address, provoke, and enthrall those fifty million citizens who voted for fascism in Brazil—and the hundreds of millions who have chosen and are choosing fascism and intolerance outside Brazil, worldwide. It is a day to explode the traditional family: LGBT people walking hand in hand, kissing each other inside the church with the blessing of a communist pope.
It is the day to change the name of the Americanas stores to Tupiniquim. I am hopeful for an act 5. It is a joke or a meme or a conspiracy theory. Riachuelo is a Brazilian magazine that has supported fascism.
Lojas Americanas is the name of a country-wide retailer that has also supported fascism. Michel Temer is the powerful politician who helped to impeach Dilma for his own political gain, but who in so doing opened the door to fascism. The text of act 3 is taken verbatim from an anonymous WhatsApp audio message that went viral: said to be the rantings of a drug dealer, it circulated and was shared during the presidential election campaign season.
It had the tone of a manifesto and lasted for only two issues. Born and raised in New York, avant-garde film director Stephen Dwoskin died of heart failure in at the age of seventy-three in London, his adopted home.
Education: A Manifesto for Change : Richard Gerver :
Dwoskin, who used crutches and later a wheelchair, never hid the effects or the ever-changing reality of living with polio in his films. In fact, he seemed to revel in it. His life and work were challenging, transgressive, and unpredictable. National Film Theatre curator Allan T. The director Stephen Dwoskin, with crutches and camera. Sadly, not much progress has been made in the four decades since Dwoskin broke the mold.
Too often, movies with disabled characters or disability themes remain predictably sappy, safe, or sentimental at best.
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And they are almost never directed, written by, or produced, nor do they often even feature, actual disabled people. Our intentions are as simple as they are profound: blaze a bold, new, more accurate, interesting, accessible, and inclusive way forward. Once upon a time, disability was just a diagnosis. Something to be fixed, cured, cut out, or gotten rid of. Through time, the definition has evolved to mean much more. No heroism required. But if we are to expand deeper meaning beyond the flock, these changes must be reflected in the movies we make, the films we watch, how we watch those movies, and perhaps most importantly, who gets to make them.
We did this, in part, to push back against the inclination of parents, social workers, medical professionals, and pretty much everyone else to patronize and infantilize us by making decisions about our lives without our input or consent. Unlike the war-veterans filmmakers dutifully consulted who rejected the original concept of actors getting PTSD while on a film shoot , or the African-American actors who served to call out Robert Downey Jr.
Let this be a lesson. Talk to us before filming.
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