Category Archives: film

Ken Wark at Goldsmiths 23.5.2013

Ken Wark - A (Post) Situationist, (Pre) Situationist Aesthetics

A talk by Professor McKenzie Wark of the New School for Social Research, NYC

McKenzie Wark

The New School for Social Research

There can of course be no such thing as a Situationist aesthetics, there can only be one that anticipates the realization and overcoming of the aesthetic into everyday life. Hence our topic is necessarily Pre-Situationist aesthetics. The particular examples I want to talk about are Debord’s films of the 70s: Society of the Spectacle and Refutation of All Judgements. Based on interviews with Debord’s film editor, I will talk about the process by which these films were made, but also how they are something more than theory texts illustrated with détourned images. There’s a critical logic to the editing as well. These films were of course made after the dissolution of the Situationist International, and so in that sense are post-Situationist.

Event Information

Location: 137, Richard Hoggart Building
Cost: free
Department: Centre For Cultural Studies
Time: 23 May 2013, 18:30 – 20:30

Docklands Cinema Club with CCS sun 26.5.2013

The Three Burials of Melquiades Estrada (2005)
Sun 26 May, 2-4pm (15)
Winner of the Best Actor and Best Screenplay awards at Cannes 2005, Tommy Lee Jones’ directorial debut follows the story of Pete Perkins,
a ranch foreman in the high desert of west Texas who undertakes a dangerous and quixotic journey into Mexico.

© BBC Film Council / The Kobal Collection

Venue Museum of London Docklands see here.

Mrinal Sen Films

Mrinal Sen 90

Mrinal SenMrinal Sen is 90 today (May 14 2013) and all the best to him. I would argue that he is the greatest living film director, bare none.This YouTube page has some films by and on Sen: http://www.youtube.com/results?search_query=%22Mrinal+Sen%22&oq=%22Mrinal+Sen%22&gs_l=youtube.3…2259.6576.0.9023.12.11.0.0.0.0.0.0..0.0…0.0…1ac.1.11.youtube. (Thanks Abhijit). I will screen a number of Sen films – especially the Maoist period Calcutta films – Interview, Calcutta 71 and Padatik – in the monday night film screening slot in Autumn term at Goldsmiths. He gave Amitabh B his first break, he made Shabana A an actress, he showed Louis M the way round the city, and more and more. Come along to the screenings – check the what’s on back here or the Goldsmiths Centre for Cultural Studies events calendar for info in late September (it will also be a course for credit as part of the new MA Critical Asian Studies, but its open to all comers like other CCS courses).

Fire in Babylon 12 May 2013 Renoir

LSFCoopB-May2013

MA in Critical Asian Studies from Sept 2013 @goldsmiths #culturalstudies #politics #asianstudies

Home > Prospectus > Postgraduate > Programmes > Cultural Studies > MA in Critical Asian Studies

Combining critical theoretical perspectives with an in-depth regional focus, this unique programme provides you with the tools to make sense of the ascendance of Asia and its impact on contemporary culture and geopolitics.

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The MA in Critical Asian Studies will equip you with a critical knowledge and understanding of the cultures and politics of contemporary Asia, focussing in particular on India, China and Japan.

This innovative interdisciplinary programme is taught between both theCentre for Cultural Studies and the Department of Politics, drawing on the considerable expertise of both.

You will be taught by renowned academics. Teaching on China is led by Professors Wang Hui, Scott Lash, and Michael Dutton, while Indian material is covered by Professors Sanjay SethJohn Hutnyk, and Dr Bhaskar MukhopadhyayDr Rajyashree Pandey provides expertise on Japan.

Core courses will introduce you to the most advanced theorists of politics and cultural studies, and to the most up to date issues facing contemporary Asia. For instance, how are the present political economies of China, India and Japan linked to traditional Confucian and Daoist, and in some cases Buddhist and Hindu, philosophies? Must the idea of India, for example, be understood as a product of colonial and capitalist subsumption, or is a global outlook now co-terminus, even constitutive, of the present national imaginary? In China, is the re-emergence of neo-Confucianism indicative of a challenge to Western-style liberal values? And how does Japan complicate this narrative as both coloniser and colonised?

We teach you to reflect critically on the validity of Western history-making and its distinctiveness in actuality from fiction. Can fiction and other forms of material culture equally become a means to tell a much broader story about Asia, as in the case of Manga/Anime in Japan and mud statues in China?

We consider the role of social and political movements, from the struggle for Independence in India to street protests and festivals across all of Asia. At the end of the course, we ask you to write a dissertation that consolidates what you have learnt and which prepares you for further study or engagement in the politics and cultures of contemporary Asia.

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What you study

You will take core courses in Critical Asian Thought and Politics and Culture in Asia, and a Dissertation. You can also tailor your degree to your own individual interests, by selecting additional papers from a range of options from across different departments that complement the programme’s focus.

In terms of practical skills, the MA is unique in offering students the opportunity to study Mandarin in co-operation with Goldsmiths’ newly established Confucius Institute. These courses will provide a platform for those interested in learning Mandarin as a new language, or those already advanced in the language who wish to further improve their skills. Classes will follow a syllabus that has been approved by the Chinese National Office for Teaching Chinese as a Foreign Language (Hanban for short), and provide students with a HSK-equivalent qualification useful in many Asian countries (the HSK qualification itself is not a part of the course, but the test may be taken separately).

These courses will increase students’ employability in Asia, as well as provide them with the means to carry out PhD research on topics that require experience in Mandarin.

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Courses

Critical Asian Thought

This core course provides theoretical grounding for the degree programme as a whole. We cover a range of key texts in cultural and critical theory, while seeking to re-evaluate their significance for the contemporary world in the light of Asian philosophies, histories and modernities.

Are liberalism and neo-liberalism specifically Western problematics? Can we locate an ‘alternative modernity’ in the emergence of early market economies in 11th- and 12th-century China and India or during the later colonial expansion of the East India Company? What is the nature of the political in Japan, China and India? Is sovereignty in Asia an issue of statehood, or alternatively of nation, of empire, or of Hindu or Confucian civilisation? What conceptions of art and culture, of revolution and violence would do justice to these sites? In exploring these questions and others, we seek to reframe our understanding of global politics, art and culture.

Politics and Culture in Asia

From the macro-scale to the everyday, this core course explores some of the key transformations in religion and cosmology, politics and economics that define the landscape of contemporary Asia.

In these seminars and lectures, you will encounter cutting edge research into specific issues from Japan, China and India, learning to identify the politics inherent in cultural forms. Outside of conventional politics, we find anxieties about nuclear disaster and utopian fantasies surfacing in Japanese anime and manga. We examine how Chinese Kongfu movies reify and ‘modernise’ ancient traditions such as that of ‘rivers and lakes’ (Jianghu yiqi), how the idea of ‘flow’ (liu) is set against a Confucian tradition of ‘wen’, meaning stability, and how in this worlding the traditional built environment was never ‘utilitarian’ in the Western sense but mapped onto this world of sacred and symbolic understandings. How, too, do we account for the extraordinary popularity of religious festivals like the Ganpati festival in Pune, India – a burgeoning economic powerhouse? Challenging preconceptions about modernity and secularism, the centrality of sacred is here given careful attention, as we aim to understand how other modes of conceptualising gods, spirits and being, continue in critical ways to inflect the form modernity takes in the present.

Dissertation

The degree culminates in the dissertation, researched and written over the summer. This is an opportunity for you to undertake your own research project on a topic of significance to study in the field of contemporary Asia, drawing on the knowledge, understanding and skills developed through the rest of the programme.

Intellectual support, advice on sources and planning, as well as general methodological assistance are provided under the guidance of a dedicated supervisor allocated from either CCS or the Department of Politics.

Option courses

Aside from the core structure of the programme, you are given a variety of other ways to further immerse yourself in the subject of contemporary Asia.

In addition to the two core courses that provide the foundation of the course as a whole, you may tailor your degree to your own individual interests, by selecting additional papers from a range of options from across different departments that complement the programme’s focus.

For instance, you may choose to study Contemporary Asian FilmPolitics and DifferenceGlobal Cultural TheoryPostcolonial Theory and Fiction, or modules relating to the field of Urban Studies. Some of these courses will be there to extend the groundwork of the course, while others will be more specially oriented toward advanced study in a particular substantive area or topic.

In terms of practical skills, the MA is unique in offering our students the opportunity to study Mandarin in co-operation with Goldsmiths’ newly established Confucius Institute. These courses will provide a platform for those interested in learning Mandarin as a new language, or those already advanced in the language who wish to further improve their skills. Classes will follow a syllabus that has been approved by the Chinese National Office for Teaching Chinese as a Foreign Language (Hanban for short), and provide students with a HSK-equivalent qualification useful in many Asian countries (the HSK qualification itself is not a part of the course, but the test may be taken separately).

These courses will increase your employability in Asia, as well as provide you with the means to carry out PhD research on topics that require experience in Mandarin.

You take two standard-length option papers, or two half-length and one standard-length option paper, in addition to the core course content. At least one option paper must be selected from the following. The remainder can be chosen from the wide range available from Goldsmiths departments and centres.

Contemporary Asian Film

This module introduces films drawn from one or more of the regional film traditions within Asia in the last 60 years – for example Bengali New Wave, Chinese Fifth Generation, Japanese films of Kon, Ichikawa, etc. Each year a regional tradition or director will be chosen by the course leader (Professor Hutnyk) for in-depth study. Ten films, or combinations of shorts and documentaries of suitable length, will be introduced, screened and discussed in terms of content, context and significance. The course is taught through film screenings and seminar discussions, and a premium is placed upon critical film theory and cultural theory contextualisation.

Contemporary Asia: Debates (NB not available 2013-14)

This course teaches you how to combine high-level critical contemporary theory with practical knowledge and understanding of Asia. The course is taught by several members of CCS and Politics, with significant additional input and teaching contributions from visiting professor, Wang Hui.

The module will further the programme’s explicit aim to train graduates who are able to interpret and translate the rapid changes currently sweeping across Asia, and adapt to and even influence these changes through highly developed powers of intellectual engagement in current debates surrounding contemporary Asian culture and politics. For example, we raise the question of whether we should reimagine China as something like what Wang Hui has recently coined the ‘civilisation-state’, a conceptual configuration which recognises China’s diverse regional and ethnic complexities. Through this conceptual prism, we assert a politics of imagining Asia that takes into account not just interregional relationships, but international relations between India, China, Japan, as well as the configuration of Europe and other parts of the Western hemisphere.

Mandarin Level 1 

This course provides practical experience of Mandarin at beginner level. The course is designed to improve your cross-cultural competency and advance proficiency in a language through coursework, exams and intensive linguistic training in small classes with others at the Confucius Institute.

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Length:
1 year full-time or 2 years part-time.
Applying:Applications for 2013 will open shortly.

Applicants are encouraged to submit by 31 May, though applications after this date may still be considered. If you’re applying for funding, you may be subject to an earlier application deadline. For example, the deadline for applicants applying for AHRC funding is 1 March.

Find out more about applying

Entrance requirements:
Degree of at least UK upper second class (or equivalent) in a related subject. If your first language is not English, you normally need a minimum score of 7.0 in IELTS (including 7.0 in the written element) or equivalent. Find out more about our English Language requirements.

Funding:
UK/EU students may be eligible for AHRC funding. Applications must be received by 1 March. Contact Lisa Rabanal, l.rabanal@gold.ac.uk, for further information.

Find out more about funding opportunities for home/EU applicants, or funding for international applicants.

Careers:
The MA provides a sound basis for international careers in areas including, but not limited to: journalism, media, translation, publishing, the Civil Service and voluntary sector, local government, NGOs, teaching and research, and the commercial world (for example semiotic analysis and brand development consultancy firms, and companies that would benefit from bi-lingual or multi-lingual employees).
Skills:
Special expertise and knowledge of Asia; critical and analytical skills; language proficiency; ability to synthesise insights from a range of disciplinary perspectives; detailed and sensitive grasp of key issues in contemporary media, politics, economy, culture and religion.
Fees:
Please see Tuition fees.
Staff research interests:
Please see Staff research interests.
Contact the departments:
Contact Lisa Rabanal
About the departments:
Centre for Cultural StudiesPolitics Find out more about:

Social Cinema Deep End + QMU 17.2.13

Social Cinema = screening + LIVE PERFORmance from FIGS IN WIGS

at the People’s Palace, Mile End Road E1 4NS

Sunday 17th February, 5.30-7.30
followed by after-party drinks reception

Screening of the 1970 cult film DEEP END (Jane Asher, Diana Dors)
with live performance and
ambient effects, pay bar and ice cream
Celebrating the former history of the People’s Palace

Tickets £5/4 CONS at door or from http://www.airproject.qmul.ac.uk/whatson/

Peopling the Palace Cultural Week
Queen Mary, University of London
London E1 4NS

Orson Welles Film Season at CCS Goldsmiths

Screen Shot 2013-02-09 at 17.11.55

Docklands Cinema Club – first screening 24.2.13

Watch a great film every month screened in our Grade I listed Georgian warehouse. Enjoy drinks, popcorn and film introductions by leading writers, directors, critics and fans.

CCS Border Film Series

With the Museum of London Docklands based at the site of a former port, where better to explore the divisive issue of the policing of national borders. With introductions and panel discussions by independent film makers, leading academics and activists.
All screenings are FREE

© Blindside Productions

Border Shorts
Sun 24 Feb, 2-4pm (15)
The border film series opens with four shorts by two highly acclaimed directors. Ursula Biemann’s Performing the Border (1999) and Europlex (2003) explore the borders of Mexico, Europe and Africa, whilst Tim Travers Hawkins’ 1000 Voices (2009) features answerphone messages from people held in a detention center in the UK, and Surpriseville (2010) reveals the daily lives of a gated community in Arizona.

© Smoking Dogs Films / The Kobal Collection

The Nine Muses (2010)
Sun 17 Mar, 2-4pm (PG)
Part documentary, part personal essay, this experimental film by John Akomfrah offers an existentialist rumination on the experience of migration to post-war Britain.

© BBC Film Council / The Kobal Collection

Ghosts (2006)
Sun 21 Apr, 2-4pm (15)
Based on the true story of the Morcambe Bay cockle-picking disaster of 2004, Nick Broomfield’s film follows Chinese undocumented immigrant Ai Qin to reveal the dangerous exploitation of migrant labour in the UK.

© Europa Corpsony / The Kobal Collection

The Three Burials of Melquiades Estrada (2005)
Sun 26 May, 2-4pm (15)
Winner of the Best Actor and Best Screenplay awards at Cannes 2005, Tommy Lee Jones’ directorial debut follows the story of Pete Perkins,
a ranch foreman in the high desert of west Texas who undertakes a dangerous and quixotic journey into Mexico.

© BBC Film Council / The Kobal Collection

In This World (2002)
Sun 23 Jun, 2-4pm (15)
This semi-fictional docu-drama follows the attempted escape of two Afghan refugees along the ‘silk road’ through Pakistan, Iran and Turkey towards London. Directed by Michael Winterbottom.

© Key Creatives / The Kobal Collection

District 9 (2009)
Sun 21 Jul, 2-4pm (15)
The Academy Award nominated sci-fi thriller set in a militarized refugee camp in Johannesburg, South Africa, drawing on real life events from the apartheid era.

 

 

Museum of London Docklands
West India Quay
Canary Wharf
London E14 4AL

The Museum entrance is two minutes walk from West India Quay.
See Museum of London Docklands on a map

DLR icon By DLR: West India Quay
Tube icon By Tube: Canary Wharf
Bus icon By Bus: D3, D7, D8, 277, N50, D6, 15, 115, 135
DLR icon By River: Thames Clippers
10-15 minute journey on a Thames Clipper riverboat from Bankside or Maritime Greenwich Pier to Canary Wharf Pier. Call 0870 781 5049 for times and prices.

 

More than a friend. 22.2.13. 6pm

poster3Screening of queer South Asian film as part of LGBT History Month at Goldsmiths.

LGBTQ Society & Centre for Cultural Studies, Goldsmiths, University of London, invite you to a screening of More Than A Friend… a film that explores the public perception of same-sex relationships in India through the story of Rupsa and Ranja – two women in love, living together in contemporary Calcutta. Directed by Debalina and produced by Sappho for Equality (an LBT organisation based in Calcutta, India), it weaves in real-life interviews into the narrative, swiftly moving between the real and the reel.

The screening will be followed by a discussion with one of the producers.


Event Information

Location: Cinema, Richard Hoggart Building
Cost: Free, all welcome
Website: Trailer
Department: Centre For Cultural Studies
Time: 22 February 2013, 18:00 – 21:00

Border Films and Discussion once a month on sundays at Museum of London Docklands (free) from 24.2.2013

Screen shot 2013-01-21 at 15.09.07

24 Feb: Short Film Nite - four short films about the border
A screening of the films Performing The Border (1999) and Europlex (2003) by Ursula Biemann. In these two short films, Biemann tracks the activities that enact the border. In the first, we see the feminisation of the border in Ciudad Juarez, Mexico and in the second the repeated crossings that link Europe and Africa. Also a screening and discussion with filmmaker Tim Travers Hawkins, creator of 1000 Voices (2009) an animated film featuring answer phone messages from people held in a detention centre in the UK, and Surpriseville (2010) a documentary about the gated community residents of Surprise, Arizona and their attempts to make themselves as safe as possible.
 
17 March: The Nine Muses - John Akomfrah – 2010 
Akomfrah offers an existentialist rumination on the experience of migration to post-war Britain in this docu-essay that intertwines archival images and original footage shot in Alaska; accompanied by voice-over readings of texts by Shakespeare, Beckett, Milton and Nietzsche, and music by Schubert, Wagner and Arvo Part.
 
21 April: Ghosts - Nick Broomfield – 2006
Based on the true story of the Morcambe Bay cockle-picking disaster of 2004, this film follows Chinese undocumented immigrant Ai Qin to Europe and reveals the dangerous exploitation of migrant labour in the UK.
 
26 May: The Three Burials of Melquiades Estrada – Tommy Lee Jones – 2005
Tommy Lee Jones’ directorial debut is a story of friendship, vengence, and one man’s commitment to fulfill a promise for his friend that sees him crossing the Rio Grande pursued by police and Border Patrol.
 
23 June: In This World - Michael Winterbottom – 2002
Using small handheld digital video cameras and non-professional actors, this semi-fictional docu-drama tracks two asylum seekers on their journey from a refugee camp in Peshawar to the UK, following the “silk road” through Pakistan, Iran and Turkey towards London.
 
21 July: District 9 – Neill Blomkamp – 2009
A camp in Johannesburg, South Africa is the setting of this science fiction body-horror drama in which an alien population of refugees is faced with eviction from the militarized ghetto where they are confined and exploited.
(with thanks to Rachel Palmer, Leila Whitley, and Maria Jose Pantoja who will, (variously/sometimes vicariously), be in discussion with John Hutnyk after the screenings).

Russian Fairytale at Doc House. (riverside 31 jan 2013)

Screen shot 2013-01-16 at 11.08.11

I am Fiction 17 Jan 2013 (London Art Fair)

Film Programme 2
Thursday 17th January only

7pm: Premier as part of Thursday Late – Max Kestner & Thomas Altheimer, ‘I am Fiction’ (2012), 82 minutes. Courtesy of Alma Enterprises (part of A.L.I.S.N., stand P29)

Reality, art performance or publicity stunt? Few people could make head or tails of the lawsuit that Thomas Altheimer (aka Thomas Skade-Rasmussen Strøbech) raised against fellow artist Claus Beck-Nielsen (aka Das Beckwerk) and the Gyldendal publishing house in 2009 for publishing the novel The Sovereign, which described Altheimer’s private life in meticulous detail.

But on the initiative of the director Max Kestner, Altheimer started to film himself during the two-year trial that followed. Amidst a vortex of confrontations, dashes to America, changing lawyers and empty vodka bottles, there is no doubt in Altheimer’s mind that he has been robbed of his identity…

http://www.londonartfair.co.uk/page.cfm/Link=6/t=m/goSection=28

 

Cotton For My Shroud – screening with the directors, 6pm 16.1.2013

 

CANCELLED, or rather DIFFERENT FILM!

- news from the directors is that the people organising the premiere (due 19th Jan) have unfortunately balked at our screening, and instead we will have Nandan and Kavita present a curated selection of short films from the International Poetry Festival that they toured with in India – more details soon, same time, same place.

Cotton-2

Screening with the filmmakers Nandan Saxena & Kavita Bahl - 6pm Lauri Grove Baths, Council Room, Centre for Cultural Studies, Goldsmiths

As Multinational Corporations that produced poisons for biological warfare during the cold war positioned their deadly wares as agricultural inputs, the last few decades have seen humans waging war upon themselves.

Vidarbha, in the Indian state of Maharashtra, has become a bloody battleground in this ongoing global war between corporate greed and the people’s ‘Right to life’.

‘Cotton for my shroud’ investigates how Monsanto manipulated Bt Cotton field trials, enticed farmers with lies about yields and reduction in pesticide use. Empty promises, escalating costs, dwindling yields and depressed cotton prices played havoc.

Since 1995, a quarter of a million Indian farmers have committed suicide – the largest wave of recorded suicides in human history.

Most of them were cotton farmers from Vidarbha.

While the state and the media label these deaths as suicide, the cotton fields of Vidarbha remain a mute witness to genocide.

Narrated in the first person, the film gives us a window into the drama and despair that forms the warp and weft of life at Vidarbha.

Screening  6pm Lauri Grove Baths, Council Room, Centre for Cultural Studies, Goldsmiths. All wellcome

Two Augusts and Several Monuments

Screen shot 2012-12-01 at 11.27.04Abstract for Lisbon keynote – On the Life and Afterlife of the Popular 4.12.12

Two Augusts and Several Monuments

To evaluate the popular, and its returns, I will contrast two Augusts of recent English summers. In 2011 there were three nights of youth rioting, which might otherwise be called a popular uprising that was both an expression of anger at austerity, and not without links to the student protests of 2010 and the various events in the wake of Tunisia and Tahrir Square that pass under the name of Arab Spring. Whether in Tahrir Square or in London these popular uprisings were met with significant and unpopular police violence. In the subsequent period, across the Arab world, and in London in August 2012, the policing of the popular has taken divergent paths. In August 2012 London’s major security effort was the operation to protect the Olympic Games, universally recognised as a success (despite problems with G4 and much carping before the opening ceremony). In Libya, Syria, and arguably Egypt, a less popular mode of policing, indeed a counter-revolutionary war, has been the order of the day.

I cannot make a full assessment of the Arab Spring in this talk, but note it as a context for a possible angular appreciation of what the Olympic Games achieved for London. To make a point about the politics of popular festivals I will do a Vasco De Gama (viewed from the tower built for Expo 98) and take three examples from outside Europe, intentionally looking elsewhere for perspective, and finding it in carnival (Mela) films from India. With a historical perspective drawn from Indian film theorists like Madav Prasad and Arvind Rajagopal a possible critical perspective on the austerity cycle of power and performance, bread and circuses becomes more clear. The Ferris Wheel of the Chicago World Fair, the Eiffel Tower and the London Eye will be associated images.

Marx Reloaded Film, with the director 20.11.12

Co-sponsored by the Centre for Cultural Studies:

Inline images 1

///Film Screening: Tuesday 20th November, 7pm 
MARX RELOADED.
Director Jason Barker will be present for the discussion.
Ian Gulland Lecture Theatre
Goldsmiths College, New Cross, London Borough of Lewisham, London SE14, UK
Entrance is Free

Marx Reloaded is a 2011 German documentary film written and directed by the British writer and theorist Jason Barker. Featuring interviews with several well-known philosophers, the film aims to examine the relevance of Karl Marx’s ideas in relation to the global economic and financial crisis of 2008–09. A Q&A with the director will follow.

MILANGE BABEY RATAN DE MELE TE (LET’S MEET AT BABA RATAN’S FAIR) – film and director talk 14.11.12

MILANGE BABEY RATAN DE MELE TE (LET’S MEET AT BABA RATAN’S FAIR)

Followed by discussion with the director Ajay Bhardwaj and Dr Virinder S Kalra
Time: 5pm, Wednesday 14th November 2012
Venue: The Cinema, Richard Hoggart Building, Goldsmiths
This film explores the idea of Punjabiyat, in ways seen and unseen, in the way it continues to inhabit the universe of the average Punjabi’s everyday life, language, culture, memories and consciousness. This is the universe that this film stumbles upon in the countryside of East Punjab, in India. Following the patters of lived life, it moves fluidly and eclectically across time, mapping organic cultural continuities at the local levels. It is a universe, which reaffirms the fact that cultures cannot be erased so very easily. It is where the love of Heer and Ranjah rather than the divisions of the priestly class are celebrated. This is a universe marked by a rich tradition of cultural co-existence and exchange, where the boundaries between the apparently monolithic religious identities of ‘Hindu’, ‘Muslim’ and ‘Sikh’ are blurred and subverted in the most imaginative ways.“Bhardwaj’s film further attests to the great pull the soil exercises over the people who were once rooted in it but had been forced to leave, “ Ishitaq Ahmed, Professor Emeritus of Political Science, Stockholm University.
http://www.facebook.com/l.php?u=http%3A%2F%2Fajaybhardwaj.in%2F&h=rAQHjgrF0&s=1

I am Fiction

For those in Denmark – get to CPH:DOX for I am Fiction (click image to be transported to the CPH:DOX page):

 

Amit Rai’s Untimely Bollywood, Duke UP 2009

20121003-101309.jpg

“GOD IS NOT DEAD!” 8.10.2012 Goldsmiths NAB LG02 Film and Q and A with the director and others

“GOD IS NOT DEAD!”

EUROPEAN/WORLD PREMIERE – Monday 8 October 2012 6:30

GOLDSMITHS, UNIVERSITY OF LONDON, CENTRE FOR CULTURAL STUDIES

THE FILM

Directed by young Turkish filmmaker Bahar Kılıç, “GOD IS NOT DEAD!” is a journey that cuts across the realms of music, politics and intercultural dialogue.

Shot in London, Berlin, Frankfurt and Istanbul, the documentary investigates European Muslims’ resistance against the epidemic of “Islamophobia” and their endeavour to transform the demonized visage of Islam in the West through music, creative expression, political activism and redefining the concept of “hybridity”.

The incredibly diverse stances, creative practices and routes of thinking displayed by the people in focus of “GOD IS NOT DEAD!” demonstrate a wealth that is unknown not only to the Western world who is prone to be infected by the virus of cultural exclusivist discourses but also to the Orient who’s suffering from amnesia.

“GOD IS NOT DEAD!” features exclusive interviews with and footage from Fun^Da^Mental and Aki Nawaz, The Kominas, Poetic Pilgrimage, Mecca2Medina, Mohammed Yahya, Nomadic Poet (The Planets), Quest Rah, Style Islam (Melih and Yeliz Kesmen), Sayfoudin (Germany) and Professor John Hutnyk (Goldsmiths, University of London).

THE EVENT

The European & World premiere of GOD IS NOT DEAD! will take place on October 8th, at Goldsmiths, University of London Centre for Cultural Studies.

The screening will be followed by a Q&A Session with the director, the creative staff and featured names.
The event is FREE OF CHARGE.

All free thinkers and “rebels with noble causes” are welcome to join us. New Academic Building LG02

(Goldsmiths NAB LG02 – that’s the big newish building on the hill behind the back field. Walk through the main building and up the path, and up the stairs beside the gym. In the door, and downstairs to the big auditorium. NAB LG02 New Academic Building LG02. See you there.)

http://www.gold.ac.uk/calendar/?id=5707

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