Time Served: Discipline & Punish 40 Years On. CFP

Originally posted on trinketization:

Hey, you might want to go to this, even give a paper at this… get in touch with Sophie here.

11-12 September 2015, The Galleries of Justice, Nottingham, UK

Call for papers
40 years after it was first published in French, the impact of Michel Foucault’s seminal text Discipline and Punish on theories of incarceration, discipline and power remains largely unchallenged. The aim of this conference is to revisit the text in light of the past four decades of penal developments, public debate and social consciousness on incarceration as it continues to constitute society’s mode of punishment par excellence.
In addition to thinking through the legacy of Discipline and Punish and its continued relevance today, specific focus will be given to the text itself, its position within Foucault’s wider critical project and its important relationship with his activism most notably the work of the GIP [Groupe d’Information…

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Censorium #Mazzarella

Screen Shot 2015-03-04 at 16.03.32In “Censorium: Cinema and the Open Edge of Mass Publicity“, William Mazzarella opens his discussion of censorship of Indian cinema with the claim that ‘thinking through film censorship discloses basic problems in the grounding of political and cultural authority in mass-mediated societies’ (Mazzarella 2013:2).

I have looked forward to reading this book. It has sat on my shelf far too long. The first filmi references are to Madhava Prasad, Ashish Rajadhyaksha and Ravi Vasudevan. Mazzarella has co-edited a related volume with Raminder Kaur (here), he thanks Anand Patwardhan and Shabana Azmi in the acknowledgements. Amit Rai is in the bibliography… so basically, this is the framework for new thinking in Indian cinema, and with these references on my shelf, for anything I might know about it – it is the frame for my own forthcoming…

Since recent events make this an urgent and topical read, I am into it today. At first glance it has wider relevance because I expect it is not just censorship that determines ‘which image-objects can or cannot be allowed to circulate’ (Mazzarella 2013:3).

What images and voices circulate, and why? Which ones do not, and even more importantly, why?, and with what consequences?

File under ‘Colour TV, Black and White Life’