Television plays a very important role in constructing and presenting images of Indian modernity. Channeling Cultures brings together scholars from various disciplines to locate television within multiple histories of the nation as well as current trajectories in global culture and politics. Building on analytical frameworks of postcoloniality, citizenship, democracy, development, globalization and consumerism, this volume addresses questions in televisual form, genre, identity, politics, affect, gender, body and sexuality, and explores regional, national, and global itineraries of Indian television.
Focusing on the genres of news, reality show, and soap opera, the book interrogates some of the standard assumptions of television studies and more broadly global media studies. It provides fresh perspectives on the transition of Indian television from a state monopoly to a market-driven system and liberalization’s nuanced relationships with Indian media in general. The arguments invite the reader to critically engage with many theoretical perspectives ranging from political economy to cultural studies that energize the field of research on Indian television. The book will interest all those looking to critically engage with television, media theory, and popular culture.
Buy it here OUP India
Click here to order: http://www.zero-books.net/books/pantomime-terror
Lecture course on Marx’s “Capital” at Goldsmiths: everybody is welcome
Capitalism and Cultural Studies – Prof John Hutnyk:
tuesday evenings from january 14, 2014 – 5pm-8pm Goldsmiths Room RHB 309. Free – all welcome.
No fee (unless, sorry, you are doing this for award) – and that, friends, is Willetts’ fault – though the Labour Party have a share of the blame too).
The lectures/seminars begin on Tuesday 14th January 2014 between 5 and 8pm and will run for 11 weeks(with a week off in the middle) in the Richard Hoggart Building (Room 309), Goldsmiths College. You are required to bring their own copy of the Penguin, International Publishers/Progress Press of German editions of Karl Marx Capital Vol I. We are reading about 100 pages a week. (Please don’t get tricked into buying the abridged English edition/nonsense!)
Note: The Centre for Cultual Studies at Goldsmiths took a decision to make as many as possible of its lecture series open to the public without fee. Seminars, essays, library access etc remain for sale. Still, here is a chance to explore cultural studies without getting into debt. The classes are MA level, mostly in the day – though in spring the Capital course is early tuesday evening. We usually run 10 week courses. Reading required will be announced in class, but preliminary reading suggestions can also be found by following the links. RHB means main building of Goldsmiths – Richard Hoggart Building. More info on other free events from CCS here: https://hutnyk.wordpress.com/what-is-to-be-done/
#Marx #Capital #lecture #course at #Goldsmiths #GoldsmithsUni ✪
Public Lecture course on Marx’s “Capital” at Goldsmiths: everybody is welcome
Capitalism and Cultural Studies – Prof John Hutnyk:
tuesday evenings from january 14, 2014 – 5pm-8pm Goldsmiths Room RHB 309. Free – all welcome.
No fee (unless, sorry, you are doing this for award) – and that, friends, is Willetts’ fault – though the Labour Party have a share of the blame too.
This course involves a close reading of Karl Marx’s Capital (Volume One).
90 minute lectures, 60 minutes discussion.
The connections between cultural studies and critiques of capitalism are considered in an interdisciplinary context (cinema studies, anthropology, musicology, international relations, and philosophy) which reaches from Marx through to Film Studies, from ethnographic approaches to Heidegger, from anarchism and surrealism to German critical theory and poststructuralism/post-colonialism/post-early-for-christmas. Topics covered include: alienation, commodification, production, technology, education, subsumption, anti-imperialism, anti-war movement and complicity. Using a series of illustrative films (documentary and fiction) and key theoretical texts (read alongside the text of Capital), we examine contemporary capitalism as it shifts, changes, lurches through its very late 20th and early 21st century manifestations – we will look at how cultural studies copes with (or does not cope with) class struggle, anti-colonialism, new subjectivities, cultural politics, media, virtual and corporate worlds.
The lectures/seminars begin on Tuesday 14th January 2014 between 5 and 8pm and will run for 11 weeks (with a week off in the middle) in the Richard Hoggart Building (Room 309), Goldsmiths College. You are required to bring their own copy of the Penguin, International Publishers/Progress Press or German editions of Karl Marx Capital Vol I. We are reading about 100 pages a week. (Please don’t get tricked into buying the abridged English edition/nonsense!)
LISTEN/WATCH – recent Centre for Cultural Studies’ events:
canallondres.tv Report on May 22 Brazil Workshop at CCS (mostly in Portuguese language)
In conjunction with Mute: Slave to the Algorithm – including CCS PhD candidates Inigo Wilkins and Bogdan Dragos
The Matter of Contradiction Conference – Josie Berry Slater, Process Processed
At the ICA – John Hutnyk in conversation with Anthony Gormley and Hugh Brody
At Tate Modern – John Hutnyk on the theme of new cultural cartographies
Goldsmiths: ‘Double Evil’ – a talk with Matthew Fuller, Andrew Goffey and Eyal Weizman
Goldsmiths: Sylvia Federici public lecture
Goldsmiths: George Caffentzis’ public lecture
On BBC Radio 3: The Essay Scott Lash on ‘Liquid Modernity’
theme – trinket – introduction
repetition of theme – short version, long version, large and small
relation to whole
development – fate – of theme as it changes
repetitions – in different registers
rhythm, tempo, volume, intensity
reversal, dynamic, relation of components, inversion of same
further development of the whole, structure as anagram of specificity
differential overall structures and framing
being able to locate each element in the overall context
asymmetry, exceptions, incommensurables
A TV report on the Brazil conference 22.5.2013 Centre for Cultural Studies Goldsmiths
A cultura brasileira no exterior vídeo do… by Sputnyk10 A cultura brasileira no exterior vídeo do seminário Panoram Brasil em Movimento organizado pela pesquisadora brasileira Rosana Martins na Goldsmiths University de Londres – Video Dailymotion.
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.
Venue Museum of London Docklands see here.
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).
there is also a few parts of his films and one complete on the amazing annotated resource known as https://indiancine.ma you need to sign up for this one, but its great.
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).
Common Ground Film Series
Film series leading up to Common Ground Conference on 24-25 June 2013.
Location: Council Rm, n/a, Laurie Grove Baths
Cost: Free. All Welcome
Department: Centre For Cultural Studies
- 3 June 2013, 19:00 – 22:00
The Black Power Mixtape
- 10 June 2013, 19:00 – 22:00
- 17 June 2013, 19:00 – 22:00
- 24 June 2013, 19:00 – 22:00
Full details download here: Brazil_conference Program. 10am- 6pm.
VENUE BEN PIMLOTT LECTURE THEATRE BEN PIMLOTT BUILDING, Goldsmiths London SE14 6NW Centre for Cultural Studies | Goldsmiths University of London London SE14 6NW
ORGANIZERS Rosana Martins is a Visiting Research Fellow at the Centre for Cultural Studies, at Goldsmiths University, London. Holly Eva Ryan is a fourth year PhD student at the City University, London and visiting ERASMUS fellow at the Universiti Brunei Darussalam.
To celebrate the launch of two new Asian-centric programmes in Goldsmiths —the MA Critical Asian Studies and the Bachelor of Arts, International Studies and Chinese—the Goldsmiths Politics Department and the Centre for Cultural Studies present:
13 Feb 2013 4.30 RHB Cinema Goldsmiths
Harry Harootunian’s trenchant critique of area studies helped established him long ago as the doyen of new Critical Asian Studies approach. This new approach offered a more theoretically informed and reflexive conceptualization of questions relating to non-Western social and knowledge formations. Critical Asian Studies has, in crucial respects, changed the face of American area studies and through his detailed and erudite studies of Japanese history and probing theoretical analysis, Harootunian has set new standards for scholarship, not just in Japanese studies, but for Asian Studies more generally.
Daisy Tam video on Goldsmiths Centre for Cultural Studies site – …ehem, notice her saying ‘support of her supervisor’ – beam!
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.
Location: Cinema, Richard Hoggart Building
Cost: Free, all welcome
Department: Centre For Cultural Studies
Time: 22 February 2013, 18:00 – 21:00
// The making of a debt resistors’ movement: From Occupy Wall Street to Strike Debt //
– and a big shout out to Dissident Radio for their work in recording and uploading.
– and thanks Camille
For the record… A drab day, in which I have been consigned to routine tasks, like updating my publications list. Gets a little sketchy towards the end because I cannot be listing all the small mags stuff (some of this can be downloaded link to the left, others I’d have to send you, still others need to be scanned by the oompa-loompas one day soon)…
Books (single authored)
1996 The Rumour of Calcutta: Tourism, Charity and the Poverty of Representation. Zed Books, London. ISBN 18649408X
2000 Critique of Exotica: Music, Politics and the Culture Industry London: Pluto Press ISBN 0 7453 1597 6
2004 Bad Marxism: Capitalism and Cultural Studies London: Pluto Press, ISBN0-7453-2266-2
2005 Hybridity and Diaspora, (With Raminder Kaur and Virinder Kalra) London: Sage. ISBN 0-7619-7397-4
1996 Dis-orienting Rhythms: The Politics of the New Asian Dance Music (co-edited with Sanjay Sharma and Ashwani Sharma). Zed Books, London. ISBN 1856494705
1999 Travel Worlds: Journeys in Contemporary Cultural Politics London, (co-edited with Raminder Kaur) Zed books. ISBN 1856495620
2006 Celebrating Transgression: Method and Politics in Anthropology (with Ursula Rao) Oxford: Berghahn. ISBN 1-84545-025-6
2012 Beyond Borders London: Pavement Books ISBN: 978-0-9571470-0-3
1987 Melbourne Journal of Politics (with Nick Lane), Department of Political Science, University of Melbourne
1987-1988 Criticism, Heresy and Interpretation – Journal of the Department of Anthropology, University of Melbourne – 3 volumes as editor in chief.
1991 The Consuming Subjects of Education. La Trobe University Education Research Journal
1998 special issue – Postcolonial Studies Vol 1 No 3 – ‘Diasporic Music and politics’. ISSN No. 1368-8790
2000 special issue – Theory, Culture and Society vol 17 (3) – ‘Music and Politics’ ISSN 0263-2763
2005 special section PubliCity in the journal Left Curve USA – a samizdat style insert in this journal containing 30 articles from 19 different countries.
2006 ‘Problematising Global Knowledge, special issue (2 volumes) Theory Culture and Society Vol 23 (2-3) ISSN 0263-2764
2007 the second special section PubliCity in the journal Left Curve USA – a samizdat style insert in this journal containing 12 articles from 9 different countries.
1991 ‘Strategy, Identity, Writing: An interview with Gayatri Chakravorty Spivak’, in Sarah Harasym (ed), The Post-Colonial Critic, (USA) Routledge, New York, pp 35-49. ISBN 0415901707
1996 ‘Introduction’ (with Sanjay Sharma and Ashwani Sharma) in Sanjay Sharma, John Hutnyk and Ashwani Sharma (eds) Dis-orienting Rhythms: The Politics of the New Asian Dance Music Zed Books, London, pp 1-14. ISBN 1856494705
1996 ‘Re-Sounding (Anti)Racism, or Concordant Politics? Revolutionary Antecedents’ (with Virinder Kalra and Sanjay Sharma) in Sanjay Sharma, John Hutnyk and Ashwani Sharma (eds) Dis-orienting Rhythms: The Politics of the New Asian Dance Music Zed Books, London. pp 127-155. ISBN 1856494705
1996 ‘Repetitive Beatings or Criminal Justice?’ in Sanjay Sharma, John Hutnyk and Ashwani Sharma (eds) Dis-orienting Rhythms: The Politics of the New Asian Dance Music Zed Books, London, pp 156-189. ISBN 1856494705
1997 ‘Adorno at Womad: South Asian Crossovers and the Limits of Hybridity-talk’ forthcoming in Werbner, P and Modood, T. (eds.) Debating Cultural Hybridity: Multi-Cultural Identities and the Politics of Anti-Racism, London, Zed books, pp 106-136. ISBN 1856494241.
1999 ‘Argonauts of Western Pessimism: Clifford’s Malinowski’ in Steve Clarke (ed) Travel Writing and Empire: Postcolonial Theory in Transit, London: Zed books pp 45-62. ISBN 1856496287
1999 ‘Introduction’ (with Raminder Kaur) in Raminder Kaur and John Hutnyk (eds) Travel Worlds: Journeys in Contemorary Cultural Politics London, Zed books pp 1-13. ISBN 1856495620
1999 ‘Magical Mystical Tourism’ in Raminder Kaur and John Hutnyk (eds) Travel Worlds: Journeys in Contemorary Cultural Politics London, Zed books pp 94-119. ISBN 1856495620
1999 ‘Semifeudal Cybercolonialism: Technocratic Dreamtime in Malaysia’ in Bosma, J et al (eds.) Readme! Filtered by Nettime: Ascii Culture and the Revenge of Knowledge New York: Autonomedia,. pp 315-321
2000 ‘Capital Calcutta: Coins, Maps, Monuments, Souvenirs and Tourism’ in Bell, D and Haddour, A (eds) City Visions Longman ISBN: 0582327415
2003 ‘Musik für Euro-Maoisten: Über die richtige Behandlung der Widersprüche bei Pop-stars’ in Kunstwerk und Kritik, Jour Fixe Initiative Berling (hg), Munster: Unrast-Verlag pp 111-143
2006 ‘The Dialectics of Here and There: British Asian Communism’ in Ali, Kalra and Sayyid (Eds) A Postcolonial People, Hurst, ISBN: 1850657963
2006 ‘Deathening Silence: The Terms of (Non) Political Commentary’ Basu, D and Lamelle S Eds The Vinyl Ain’t Final: Hip-hop and the Globalisation of Black Popular Culture London: Pluto Press ISBN 978-0745319407
2008 ‘Martin Heidegger Goes to the Movies’ in David Held and Henrietta Moore eds., Culturl Politics in a Global Age: Uncertainty, Solidarity and Innovation, Oxford: One World 112-120 ISBN: 978-1-85168-550-9
2008 ‘Tourism and the Selling of Cultures’ in Robin Anderson and Jonathan Gray eds., Battleground: the Media (2 Vold) vol 2 Westport: Greenwood Press: 513-519 ISBN 978-0-313-34169-4
2009 ‘Translating Appearance: On the First Sentence of Das Kapital’ in Tom Bunyard ed., The Devils Party London CCS pp50-54 ISBN 978-1-4452-1822-9
2010 ‘Hybridity’ in Kim Knott and Sean McLaughlin Diasporas: Concepts, Intersections, Identities London Zed books pp59-62 ISBN 978-1-84277-948-4
2010 (with Laura King) ‘The Eighteenth Brumaire of Gaius Baltar: Colonialism Reimagined in Battlestar Gallactica’ in Arlo Kemp fed., Breaching the Colonial Contract Springer pp237-250 ISBN978-90-481-3888-3
2011 ‘Pantomime paranoia in London or, ‘lookout he’s behind you!’’ in Peddie (ed) Popular Music and Human Rights, Volume I: British and American Music, London: Ashgate
2011 ‘Undercover Transports’ in Menrath and Schwinghammer eds What Does a Chameleon Look Like? Topographies of Immersion, Cologne: Herbert Von Halem Verlag.
2011 ‘NDTV 24X7, the Hanging Channel: News Media or Horror Show’ in Batabyal, Chowdhry, Gaur et al Indian Mass Media and the Politics of Change, London: Routledge.
2011 ‘Critica de tudo’ in Tatiana Amendola Sanches ed., Estudos Culturais uma abordagem pratica Sao Paulo: Editora Senac pp99-209 ISBN 978-85-396-0141-7
1987 ’The Authority of Style’, Social Analysis, 21:59-79. ISBN 0133977X
1988 ‘Castaway Anthropology: Malinowski’s Tropical Writings’ Antithesis, 2(1):43-56. ISSN 10303839.
1989 ‘Customs Review of Public Culture; The U.S. and Africa in Melbourne’ Public Culture 2(1)Fall: 130-136. ISSN 08992363
1989 ‘Clifford Geertz as a Cultural System’ Social Analysis 25:91-119. ISBN 0133977X
1990 ‘Comparative Anthropology and Evans-Pritchard’s African Photography’ Critique of Anthropology 10(1):81-102
1992 ‘Cinematic Calcutta: Camera Angles on the City’ Agenda Special issue, Dec:68-72 ISSN 10331115
1992 ‘Articulation and Marginalia: Making Spaces for Other Voices in Our Institutions’ New Literatures Review Winter-South:104-116. ISSN 03147495
1993 ‘Calcutta Cipher: travellers and the city’ Social Analysis 32:53-65. ISBN 0133977X
1993 ‘Noir Sociology: Can Academics Map Los Angeles’ Left Curve 17:26-33. ISSN 01601857
1994 ‘Thinking With Berger: Local/Global and Dialogue in Modernity As Exile by Nikos Papastergiadis’, New Literatures Review, 27: 91-103. ISSN 03147495
1996 ‘Media, Research, Politics, Culture’ Critique of Anthropology 16(4):417-428. ISSN 0308275X
1997 (with Virinder Kalra and Sanjay Sharma) ‘Fun^Da^Mental Politics: the New Asian Dance Music and its Revolutionary Antecedents’ Left Curve 21:54-64. ISSN 01601857
1997 ‘email@example.com’ Space and Culture 2:95-122. ISSN 12063312
1998 (with Virinder Kalra) ‘Music and Politics – introduction to the special section’ Postcolonial Studies, 1(3):335-37. ISSN No. 1368-8790
1998 (with Virinder Kalra) ‘Brimful of Agitation, Appropriation and Authenticity: Madonna’s “Asian Kool”‘ in Postcolonial Studies, 1(3):339-355. ISSN 1368-8790
1998 ‘Clifford’s Ethnographica’ Critique of Anthropology 18(4):339-378. ISSN 0308-275X
1998 ‘Adorno at Womad: South Asian Crossovers and the Limits of Hybridity-talk’ Postcolonial Studies, 1(3):401-426. ISSN 1368-8790
1999 ‘Resettling Bakun: Consultancy, Anthropologists and Development’ Left Curve 23:82-90. ISSN 0160-1857
2000 ‘Hybridity Saves: Authenticity and/or the Critique of Appropriation’ in Amer-Asia 25(3):39-58 ISSN 0044-7471
2000 (with Sanjay Sharma) ‘Music and Politics: Introduction to the Special Section’ in Theory Culture and Society 17(3):57-65 ISSN 0263-2763
2000 ‘Music for Euro-Maoists: On the Correct Handling of Contradictions Among Popstars’ in Theory Culture and Society 17(3):141-163 ISSN 0263-2763
2002 ‘Jungle Studies – the State of Anthropology’ in Futures 34(1):15-31 ISSN 0016-3287/01
2002 Tales from the Raj’ in Rethinking Marxism, vol. 13(3-4):119-136, ISSN 0893-5696.
2003 ‘Bataille’s Wars: Surrealism, Marxism, Fascism’ Critique of Anthropology, 23(3):264-288 ISSN 0308-275X
2004 ‘The Chapati Story: How Hybridity as Theory displaced Maoism as Politics in Subaltern Studies’ Contemporary South Asia 12(4)481-491 ISSN 0958-4935
2004 ‘Photogenic Poverty: Souvenirs and Infantilism’ Journal of Visual Culture, 3(1):77-94 ISSN 1470-4129
2005 ‘The Dialectics of European Hip-Hop: Fun^da^mental and the Deathening Silence’ South Asian Popular Culture 3(1):17-32 ISSN 1474-6689
2005 ‘Hybridity’ Ethnic and Racial Studies 28(1):79-102, ISSN 0141-9870
2005 ‘Panoramas of Asia and the Electronic Hearth: Michael Palin’s Connection’ Journal of the Moving Image 4(Nov):32-62
2006 ‘The Dialectic of Here and There: Anthropology ‘At Home’ and British Asian Communism’ Social Identities 11(4):345-361 ISSN 1350-4630
2006 ‘Culture’ main entry for culture section in Theory Culture and Society Vol. 23(2–3): 351–375 23 ISSN 0263-2764
2007. Pantomime Terror Diasporic Music in a Time of War. Journal of Creative Communications, 2(1-2), pp. 123-141.
2011 ‘Critique of Everything’ in Soumen Antropologi: Journal of the Finnish Anthropological Society 36(3)71-75
2012 ‘Beyond Television Studies’ Rountable essay in South Asian History and Culture 3(4):583-590
2012 ‘Sexy Sammie and Red Rosie’? From Burning Books to the War on Terror’, Space and Culture 15.2, pp164-176
2012 ‘Poetry After Guantanamo: M.I.A.’ Social Identities 18.5, pp. 555-572
2012 ‘Contexts for Distraction’ Journal For Cultural Research (Special issue on the August 2011 uprisings in London). DOI:10.1080/14797585.2012.756248
2013 ‘Proletarianization’ in New Formations (special issue on Bernard Stiegler)
other publications, review essays and conference proceedings, magazines etc.
1986 (journal article) ‘Go Tell it on the Mountain: Politics and Knowledge in Ethnography’, Melbourne Journal of Politics, 18:126-141.
1988 (journal article) ‘Lévi-Strauss as a Cultural System: Geertz’s Chapter on Tristes Tropiques’ Criticism, Heresy and Interpretation, vol. 1, No. 1.
1989 (journal article) ‘The Third Body: Black Art on (Re)View in London’ Criticism, Heresy and Interpretation vol. 3
1990 (conference papers) ‘Introductory Essay’ The Consuming Subjects of Education La Trobe.
1992 (journal article) ‘Photogenic Calcutta- Instamatic Anthropology’ In Media (India) July.
1992 (journal article) ‘Writing for the Space Cadets: reviewing the urban west’ Melbourne Journal of Politics 21:151-167
1992 (conference publication) ‘Value for Money: Giving the $ign to the Bourgeoisie’ IIR Higher Education Summit, Sydney, Australia.
1993 (conference publication) ‘Photogenic Calcutta’ in Postmodern Cities, University of Sydney Department of Architecture and Urban Design.
1993 (conference publication) ‘Technological Dreamtime: the advanced technology park for Redfern’ in Postmodern Cities University of Sydney Department of Architecture and Urban Design.
1994 (conference review) ‘African Research Futures: Post-Colonialism and Identity’ Anthropology Today 10(4):24-25.
1995 (journal article) ‘Writing Calcutta: Travelling with Lévi-Strauss and Gunter Grass’ Kolkata 2000, (India) June pp 31-47.
1996 (Web E-Journal) Review of Bill Martin Humanism and its Aftermath: The Shared Fate of Deconstruction and Politics New Jersey, Humanities Press 1995 in Sociological Research Online 1(4) <www.socresonline.org.uk/1/4/hutnyk.html>
1996 (book review) Martin Stokes (ed) 1994 Ethnicity, Identity and Music: The Musical Construction of Place, Anthropological Notebooks: (Društvo Anthropologov Slovenije) 11(1)146-148.
1997 (occasional paper) ‘firstname.lastname@example.org’ Manchester Papers in Social Anthropology No 6, 49pages
1997 (book review) Les Back 1996 New Ethnicities and Urban Culture: racisms and multiculture in young lives, Sociological Review, 45(1)
1997 (book review) Cohen, 1996 Cambridge Survey of World Migration in Race and Class, Vol 38, N0 3
1997 (book review) Spivak 1996 The Spivak Reader in Self, Agency and Society 1(2):178-180.
1998 (book review) Ang 1996 Living Room Wars: Rethinking Media Audiences for a Postmodern World in Sociological Review 46(3):594-598.
1999 (web E-journal article, with Anna Har) ‘Languid, tropical, monsoonal time?: net-activism and hype in the context of South East Asian politics’ in SASKI No. 6. http://www.saksi.com/jul99/huynyk.htm
2000 (web E-Journal article) ‘Culture Move: On Asian Dub Foundation’ in Ghadar: the Forum of Indian Leftists 4(1), May 1 2000 www.proxsa.org/resources/ghadar/v4n1/edit.html
2000 ‘Complicity’ catalogue essay for ‘Assembly’ RCA/Goldsmiths
2000 (debate publication) ‘The Right to Difference is a Fundamental Human Right: Against the Motion’ contribution to GDAT debate No 10, with Corry, S, Jean-Klein, I, Wilson, R, ed Wade, P. The Right to Difference is a Fundamental Human Right University of Manchester, pp40-52 ISBN 0-9527837-3-8. Reprinted in Left Curve No 23, 2001
2001 (journal article in translation) ‘Dog-Tribe’ – Swedish translation of a chapter from Critique of Exotica in Glanta 3. 2001.
2001 (Magazine article, with Virinder Kalra), ‘Postcolonial London’ Seminar, (India).
2005 (journal report) ‘Show Neon Fashion’ – Left Curve ‘Publicity’ section article. Volume 29: 106-107. (California)
2005 (Encyclopaedia entry) ‘Calcutta’ in Vinay Lal and Ashis Nandy eds The Future of Knowledge and Culture New Delhi: Penguin pp 20-25 ISBN 0-67-005813-0
2007 (Magazine article) ‘The politics of Cats’ in Stimulus Respond – e-journal – http://www.stimulusrespond.com
2010 Catalogue essay for Steel Sculptures – Sokari Douglas Camp, London: Douglas Camp Pubs
2013 Pantomime Terror: Diasporic Music and the Politics of Fear. 60,000 monograph,with Zero
2013-14 Colour TV: B&W Life, 45,000 word monograph on culture and film.
2013 Communists Must Write 80,000 word book of essays with Minor Compositions
2013 (?) Trinketization
2014 (?) Capital and Film
by far and away the best response to lecture three ever….
Added December 2014, as its lecture three again, this possibly apocryphal stub from the wiksters…
“The storehouses of the Romanov Court in St. Petersburg were regarded as the largest collections of cognacs and wines in the world with much of it from the Transcaucasus region of Georgia. During the October Revolution of 1917, upon the storming of the Winter Palace, the Bolshevik Revolution actually paused for a week or so as the participants gorged on the substantial stores of cognac and wines. The Russian market was always a huge brandy-consuming region in which home-grown varieties were common but much of it was imported. The patterns of bottles followed that of the western European norm. Throughout the Soviet era, the production of brandy was a source of pride for the communist regime as they continued to produce some excellent varieties, especially the most famous Jubilee Brandies of 1967, 1977, and 1987. Remaining bottles of these productions are highly sought after, not simply for their quality, but for their historical significance”
I want to relate this to the Pagoda Rum story I am working on and spoke about at CSSSC Kolkata earlier this month. It will expand from this and this so as to link the market, bibles, brandy and the Serampore Pagoda… More soon…
Lectures open to the public. Starting this Monday, 7 January 2013.
11am-12noon. Ben Pimlott Lecture Theatre, Goldsmiths, University of London.
Films shown in conjunction with the course will be screened as part of the Monday film night. More details here.
To present something is always to re-present it, to repeat it, to reproduce it and ultimately to reimagine it. There is no originary gesture here. The World was never a tabula rasa or blank canvas. Meaning has always been inscribed, scratched out and recarved onto its surfaces. The World itself is presented to us (and, indeed, by us) via repetition, a repetition which produces difference via the temporal and spatial interstices emerging from each turn and return, each citation and recitation.
This year’s course will explore the relationship between visual and textual modes of representation via the notions of difference and repetition. The task at hand is three-fold. Not only will this involve consideration of the processes of doubling which occur between texts and images and the blurring of the differences between the two forms and practices but at the same time, we will be attentive to the ways in which theories of text and image replicate this doubling in the language used to describe and analyse different aesthetic and textual/literary practices. Finally, and most importantly, we will explore the political and ethical dimensions of textual and visual objects and practices and the implications of the repetition of difference and the difference of repetition. What is at stake in the proliferation of signs and sign systems, the commodification of art through the mass reproduction and distribution techniques which reach their apotheosis in late capitalism? How might we read banality, loss and impoverishment of meaning against the potential for transgression, profanity and parody which emerges here?
I. Taxonomies of Difference
7 January 2013
An Introduction to the profanity of difference and the tyranny of repetition
Reading: Jorge Luis Borges – ‘Pierre Ménard, Author of the Quixote’ in Labyrinths (Penguin, 1986), pp.62-71.
Gilles Deleuze – Preface to Difference and Repetition (Columbia University Press, 1994), pp.xix-xxii.
14 January 2013
Words and Things
Michel Foucault – ‘The Prose of the World’ in The Order of Things (Routledge, 2002), pp.19-50.
Giorgio Agamben – ‘Theory of Signatures’ in The Signature of All Things (Zone Books, 2009), pp.33-80.
Film: Helvetica (2007), Gary Hustwit (dir.)
II. Frames of Reference
21 January 2013
The Refracted Image
Walter Benjamin, ‘Art in the age of mechanical reproduction’ in One Way Street and Other Writings (Harmondsworth: Penguin, 2009), pp.228-259.
Ariella Azoulay – ‘Civil Uses of Photography’ in Civil Imagination: A Political Ontology of Photography (Verso, 2012), pp.219-241.
28 January 2013
Jean Baudrillard, The Evil Demon of Images (Power Institute of Art, 1986).
bell hooks, ‘The Oppositional Gaze: Black Female Spectators’ in Reel to Real: Race, Sex and Class at the Movies (London and New York, NY: Routledge, 1996), pp.197-213.
Gilles Deleuze – ‘Frame and Shot, Framing and Cutting’ in Cinema 1: The Movement Image(London: Continuum, 2005), pp.13-29.
Film: The Player (1992), Robert Altman (dir.)
4 February 2013
Georges Didi-Huberman, ‘Legends of Photography’ in Invention of Hysteria: Charcot and the Photographic Iconography of the Salpêtrière (MIT Press, 2003), pp.29-66.
Steven Connor, ‘Disfiguring’ in Book of Skin (New York, NY: Cornell University Press, 2004), pp.73-94.
Film: The Pillow Book (1996), Peter Greenaway (dir.)
III. Mapping and Counter-Mapping
18 February 2013
The Surface of the Earth
Martin Heidegger, ‘The Age of the World Picture’ in Off the Beaten Track (Cambridge: Cambridge University Press, 2002), pp.57-85.
Paul Virilio, ‘June 1991: Desert Screen’ in Desert Screen (Continuum, 2005), pp.76-94.
25 February 2013
Passports and Postcards
Jacques Derrida – ‘Envois’ (extracts) in The Post Card (University of Chicago Press, 1987), pp.3-256.
Amitava Kumar – Passport Photos (Berkeley, CA: California University Press, 2000).
Film: Erasing David (2010), David Bond and Melissa McDougall (dirs)
4 March 2013
Rem Koolhaus, Delirious New York: A Retroactive Manifesto of Manhattan (New York, NY: Monacelli Press, 1994). (extracts)
Italo Calvino, Invisible Cities (Vintage, 1997).
11 March 2013
Roland Barthes, Camera Lucida (Vintage, 2009).
Ulrich Baer, ‘Revision, Animation, Rescue’ in Spectral Evidence: The Photography of Trauma (The MIT Press, 2005), pp.127-178.
18 March 2013
Back to the Future
Walter Benjamin, On the Concept of History including ‘The Paralipomena’ in Selected Writings: Volume Four(Cambridge, MA: Belknap Press, 2003), pp.389-411.
Available (minus the Paralipomena): http://www.sfu.ca/~andrewf/CONCEPT2.html
Jean-François Lyotard, ‘Rewriting Modernity’ in The Inhuman: Reflections on Time (Cambridge: Polity Press, 1998), pp.24-35.
Film: La Jetée (1962), Chris Marker (dir.)
Lecture course on Marx’s “Capital” at Goldsmiths: everybody is welcome
Capitalism and Cultural Studies – Prof John Hutnyk:
tuesday evenings from january 8, 2013 – 5pm-8pm Goldsmiths Room RHB 309. Free – all welcome.
No fee (unless, sorry, you are doing this for award – and that, friends, is Willetts’ fault – though the Labour Party have a share of the blame too).
****** weekly course reading guide is here: Cap and cult studs outline013********
The lectures/seminars begin on Tuesday 8th January 2011 between 5 and 8pm and will run for 11 weeks (with a week off in the middle) in the Richard Hoggart Building (Room 309), Goldsmiths College. You are required to bring their own copy of the Penguin, International Publishers/Progress Press or German editions of Karl Marx Capital Vol I. We are reading about 100 pages a week. (Please don’t get tricked into buying the abridged English edition/nonsense!)
A great abstract for an upcoming must see talk by Rachel (jan 2013, goldsmiths – stay tuned), posted (with permission) because it sums up some of the best that CCS does. The sort of thing that also was described here.
In February 2012 No Borders London, along with students and academics, held a week-long Convergence at Goldsmiths. The aim was to share knowledge and experiences relating to trans-national migrant and activist struggles against the border regime. Numerous discussions by activists, academics, migrants rights groups and organisations took place, direct actions occurred simultaneously at various sites away from the Convergence, films were screened, stories were told, food was cooked, childcare was provided, plans were made, friendships and alliances were formed, debates, disagreements and grievances were aired. My proposal is to present for discussion some reflections on what happened when No Borders converged within the academic space of the university. These reflections are based on my own close involvement as an organiser throughout both the planning stages and the actual week of events. I will consider the event in relation to previous border camps to highlight both the advantages and disadvantages of staging such a meeting at a university campus.
The 2012 No Borders Convergence offered a valuable opportunity to examine the challenges of bringing scholars and militant activists together within the institutional space of the university. As an event, the Convergence attempted and – to some extent – succeeded in creating a productive clash of activist struggles with critical academic scholarly research. In my presentation I will argue that a one-off event is not enough to bridge divides across research and activist practice and that the challenge now is to discuss how, when and where to stage the next Convergence-style event. How might it be possible to bring scholars, activists, migrants, humanitarian and charity workers together into productive connection again? Should such events be a priority in other institutions where researchers are working on the issue of migration and migrant activism? Is there really such a divide between the militant activist and the academic, or are many in No Borders in fact more closely connected to academic research than it might first appear? What does it mean to assume the ‘activist identity’ and how can this role be usefully problematised?
PhD student, Centre for Cultural Studies, Goldsmiths
(working on the book again!)
– wrote and sent two references for people seeking academic jobs
– got someone an actual job, as an academic
– helped someone else find someone for the job they had on offer (see above)
– helped out with two other people doing funding apps
– coffee (see stain on son’s sleep suit – bad parent)
– had flu jab
– received additional crazed post from someone in need of help I am not qualified to give
– sought advice on the above
– took smallest son with his mom to a cafe, coffee
– walked to work in the rain
– sent out two books – Beyond Borders
– emailed copy of an old paper on overwork to someone, and got into complicated discussion exchange on that – ahh, FB.
– read a draft chapter of someones’ PhD, coffee
– read some of – not enough – the PhD I am currently examining
– read the paper – appalled at the BBC and the softening up process before Leveson
– changed doc appointment time
– tried to move the email list problem on – getting close to fixing it
– helped design a trinkets display feature
– tried yet again to get a response from a certain admin dept that has gone dark on me
– reading for Berlin trip
– scanned copy of Ben Ross article from 15 years ago that seems really relevant now – will post here soon
– more chat with people for the Proletarianization and the River project (on thursday had a good meeting with the archivist at Museum of London Docklands. They are interested in the ideas we bring. Especially that of co-research with local activist groups coming in to the museum to work with the archives and to identify local sites/trinkets that connect up with a co-constituted colonial history with other ports like Calcutta, Canton, Caribbean etc. The same sort of proposal as was welcomed at Maritime, but perhaps even more so since Docklands is planning to reorganise their collection display under a new theme of ‘many East Londons’. Having XTalk, Brick lane Circle and Housing groups as co-researchers can really work with this. The idea will not be that we teach people to do research, but we research with them, alongside their agendas which will be to do with harlots, lascars and squatters etc (XTalk are interested in sex work around the ports, Brick Lane Circle in Bengali sailors who jump ship, Deptford and Stratford Housing in land use.)
– prepared posters for Wednesday’s film – Baba Ratan’s Fair
– corrected start time for tonight’s Fedeici event
– twitter exchange with ex-student from Melbourne (I miss Marios breakfasts)
– prepared materials for PHD progress meeting in dept (which is about to start)
Not a bad morning so far, but again nothing done on my own book. Have at least updated the blog!
Damn, forget to get a sandwich for lunch. Will eat and think about how if we comply with social media’s demand to tell everyone what we are doing all the time we will never do anything. Vanishing up an orifice of our own making…
This is one of those internal discussion documents that never sees the light of day – here it is for the gnawing criticism of the mice (supposed to leave it in a drawer for that, but of course I mean digital mice):
The Centre for Cultural Studies at Goldsmiths has offered the PhD for over ten years and aims to provide the destination of choice for research in cultural and postcolonial theory, popular culture studies, critical philosophy of praxis, creative and interactive technological media, new media and media activism. The PhD can be either ‘practice-based research which entails significant practical work and a written component of up to 60,000 words, or textual research with a 100,000 word thesis’.
Students undertake the CCS PhD for several reasons: academic research and teaching as well as cultural organization, international agencies and third sector careers. The engagement with critical theory in cultural studies is well established and draws upon a strong heritage in the UK, especially at Goldsmiths with staff in the Centre for Cultural Studies as well as Cultural Studies-and cognate area identified staff in Media and Comms, Visual Cultures, Politics and Art, Visual Art, Visual Anthropology and Digital Sociology. At Goldsmiths, the Centre for Cultural Studies was founded by Professor Scott Lash in consultation with people like Profs Morley, McRobbie and Professor Stuart Hall. It was Professor Hall who insisted that CCS should aim at extending beyond the founding interests of British Cultural Studies. Today CCS incorporates theoretical and practical explorations in technological media and cultural difference in the geo-political context of global capitalism. It’s commitment to theory involves enquiries into the most advanced paradigms of cultural thought. It’s practical commitment involves us in cultural production and critical engagement with the culture industries.
An ethos in cultural studies is interdisciplinarity. A way to describe this is to say that the Centre for Cultural Studies works by mixing possibly incongruent constituencies – what this means is that we have, for more than ten years, been bringing what may at first seem like incommensurate groups together to debate and research creatively, in teams, workshops and symposia: for example we ran a series of research conferences pairing neuropsychologists and artists together to examine new modes of representing the brain and its functions, innovating the new area of neuro-aesthetics; also we brought both London City and Chinese Finance modelers together with artists to rethink the portrayal of high finance and money [hence, the recession]; following the same convergence model, in a series of 6 workshops in London, Berlin, Copenhagen and Gothenburg we brought immigration activists and theatre, film, music and medical practitioners together to re-imagine the border. We continue to develop new projects along such lines, most recently historians and the Maritime Museum Greenwich, the Museum of London Docklands and activists in social and housing campaigns along the eastern end of the Thames in London (eg., ‘Proletarianisation and the River’ event for Museum of London Docklands Sept 2013). Our mode of operation is to intersect and interrupt in creative ways the protocols of disciplinarity, so as to inspire new work. This has a successful; track record reflected in our theory-practice research student projects.
The Centre for Cultural Studies at Goldsmiths has some 12-15 PhD students per year, currently 45 students enrolled, and has increased enrollment year on year since founding in 1998 with one PhD student. Its MA programmes feed into the PhD – there are five such programmes at present – Interactive Media, Cultural Studies, Postcolonial Theory, Creating Social Media and Culture Industry. MA Contemporary Asia and MA Provocative Media are planned to start in 2013. There are some 100+ MA students. In 2012 there were twelve graduations from the Centre for Cultural Studies PhD programme, but this by no means is the extent of cultural studies at Goldsmiths. Significant Cultural Studies PhDs, especially working in popular culture and media, are housed in Goldsmiths five star rated Media and Communications Department, and there are significant numbers of PhD students working in Visual Anthropology, Visual Sociology, as well as initiatives in Visual Cultures and Politics and Art. Goldsmiths is pre-eminent in this area, as evinced by its staff profile, and its contribution to cultural debate in the UK.
Training provision for PhD students is rich and diverse and tailor-made to individuals.
The Centre for Cultural Studies at Goldsmiths has a dedicated PhD-level cultural theory seminar, writing practice groups, and readings groups (Hegel, Deleuze, Ranciere, Spivak, Lefebvre, new Media at preset) and runs numerous training workshops on practical and formal aspects of the Phds – for example a publishing workshop in Spring 2012, a video editing training in Spring 2013, risograph training, print on demand trainings, and much more, including in-house publications such as NyX: a Noctournal (supported by the Graduate School), Coputational Culture and close associations with Mute, TCS, and Pavement Books. In terms of colloquia, three times each year CCS participates in or co-ordinates a joint doctoral symposium with InterArts Berlin and the Copenhagen Doctoral School in Cultural Studies (Berlin November, London February, Copenhagen in June) and we send AHRC candidates to India via the AHRC International Placement Scheme. CCS doctoral students must present their work at least once per year in the PhD seminar as well as in the Graduate School Spring Review, they participate in the writing group, an annual panel, regular supervision, often with co-supervision in another department, and are encouraged to present at conferences and international colloquia.
Proposal: that we think in terms of Convergences and Frictions. The putting together of seemingly incommensurate or unusual partnerships so as to provoke creative and innovative alliances. A fund to be apportioned to initiatives on the model of ‘incongruent constituencies’ described above, with PhD students in cultural studies tasked with proposing projects:
– the two Augusts – the imagery of Olympics and the Riots
– cinema and mapping
– global rivers, cultural theory, history and value theory
– geological and social survey techniques, the report from Hunan used to survey London
– border convergence, time-based media and immigration
– the politics of cleaning
Proposal: on the model of the artist-in-residence programme, already extant alongside for example the Politics and Art PhD programme at Goldsmiths, we introduce a cultural activist–in-residence programme. An ‘activist-in-residence’ programme similar to established ‘artist-in-residence’ initiatives would be developed with initial efforts to establish the ways such placement would enable relevant people to work in collaboration and parallel to grant holders and other staff members across Goldsmiths…
Educate the educators. Pace Gayatri Spivak: The effort to build an ethics of education into the protocols of the institution. The institution as a mechanism for social mobility is filled with blockages and cul-de-sacs that can only be circumvented through a ruthless criticism of everything that exists
Transnational literacy, lexicon-consulting, language-learning, long-durée effort to unpack assumptions and counter the too easy inducements of information retrieval and impression management that web 2.0 offers as alternative to book-learning.
Patient non-coercive work to rearrange desire and unlearn Eurocentric privilege. (See Gayatri Spivak 2012 An Aesthetic Education in the Era of Globalization)
Stitching the two ends of here and there together. The co-constitution of urban and rural, metropole and colonial theatre. Even if these old binaries no longer map so easily onto translocal globalism, any programme of training must make mobility multidirectional and bifurcate ideological privilege of advanced, western, developed or civilizational privileges. Remote locations, obscure languages, opaque aims are also viable research interests in a critical geopolitical and geopoetical cultural studies.
This piece by Philip Kennicott was published August 15 2012 here.
[read the whole text by clicking the link above – the part about Craig is here]: But what if such things fell into the hands of bad people? The answer to that is addressed in fascinating, elliptical ways by the most conceptually complicated project on display, “FireSale©TM,” by Colin Beatty and Craig Smith, who operate as the collective SmithBeatty. The project involves purchasing a gun, disassembling it and mailing its pieces to “33 stakeholders, including museum directors, art curators, artists, university professors, lawyers and a weapons manufacturer president.” The pieces are defined as shares in a corporation and beautifully packaged into sturdy cases. Recipients aren’t asked whether they want to participate, and when the collective issues a call on the shares — the gun pieces — the participants can ignore the whole thing or return the gun parts as asked, which are then reassembled.
The inevitable “missing” pieces are manufactured using a 3-D printer, a powerful technology that may at some point allow almost anything to be reproduced at home using digital design files readily found on the Internet. In the case of “FireSale©TM” — which includes extensive and beautifully rendered documentation of the project, a blog on which participants record their reactions, and the gun pieces (or their 3-D printer substitutes) — the missing gun elements, made from a fragile white plastic compound, are not functional.
The positive, practical elements of this technology are obvious: Surgical tools could be available in remote locations; easily acquired replacement parts might put an end to landfills stuffed with barely broken toasters. But there’s a deeper utopian element in how SmithBeatty conceived its game. By structuring the project as a corporation, the duo demonstrates how the complexity of human interaction may be the greatest brake on our collective suicide. The busy executive who tosses out his piece of this gun effectively stops the reassembly. Only complete participation — almost impossible to get in any project — can yield a functioning gun. At least for now, but perhaps not for long if 3-D technology is sufficiently advanced.
Manifest: Armed [was] at the Corcoran’s Gallery 31 space through Sept. 2. Call 202-639-1700 or visitwww.corcoran.org.
What other CCS graduates have been up to is here
Dear friends and comrades (please forward to other groups and networks and help spread the word)
Save the date: Monday 12 November – 6.30pm
New Academic Building, Room LG02
New Cross, London
Public Lecture by Silvia Federici
and launch of her new book – Revolution at Point Zero: Housework, Reproduction, and Feminist Struggle (PM Press, 2012)
Written between 1974 and the present, Revolution at Point Zero collects forty years of research and theorizing on the nature of housework, social reproduction, and women’s struggles on this terrain—to escape it, to better its conditions, to reconstruct it in ways that provide an alternative to capitalist relations. Indeed, as Federici reveals, behind the capitalist organization of work and the contradictions inherent in “alienated labor” is an explosive ground zero for revolutionary practice upon which are decided the daily realities of our collective reproduction. Beginning with Federici’s organizational work in the Wages for Housework movement, the essays collected here unravel the power and politics of wide but related issues including the international restructuring of reproductive work and its effects on the sexual division of labor, the globalization of care work and sex work, the crisis of elder care, the development of affective labor, and the politics of the commons.
Silvia Federici is a feminist writer, teacher, and militant. In 1972, she was cofounder of the International Feminist Collective, which launched the Wages for Housework campaign internationally. With other members of Wages for Housework, like Mariarosa Dalla Costa and Selma James, and with feminist authors like Maria Mies and Vandana Shiva, Federici has been instrumental in developing the concept of “reproduction” as a key to class relations of exploitation and domination in local and global contexts, and as central to forms of autonomy and the commons. She is the author of Caliban and the Witch: Women, the Body and Primitive Accumulation (Autonomedia, 2004)
In the 1990s, after a period of teaching and research in Nigeria, she was active in the anti-globalization movement and the U.S. anti-death penalty movement. She is one of the cofounders of the Committee for Academic Freedom in Africa, an organization dedicated to generating support for the struggles of students and teachers in Africa against the structural adjustment of African economies and education systems. From 1987 to 2005, she also taught international studies, women’s studies, and political philosophy courses at Hofstra University in Hempstead, NY.
Her decades of research and political organizing accompanies a long list of publications on philosophy and feminist theory, women’s history, education, culture, international politics, and more recently on the worldwide struggle against capitalist globalization and for a feminist reconstruction of the commons. Her steadfast commitment to these issues resounds in her focus on autonomy and her emphasis on the power of what she calls self-reproducing movements as a challenge to capitalism through the construction of new social relations
Drafting words for funding for PhDs – needing to describe why CCS is distinctive. First run:
The Centre for Cultural Studies works by mixing possibly incongruent constituencies – what this means is that we have, for more than ten years, been bringing what may at first seem like incommensurate groups together to debate and research creatively, in teams, workshops and symposia: for example we ran a series of research conferences pairing neuropsychologists and artists together to examine new modes of representing the brain and its functions, innovating the new area of neuro-aesthetics; also we brought both London City and Chinese Finance modellers together with artists to rethink the portrayal of high finance and money; following the same convergence model, in a series of 6 workshops in London, Berlin, Copenhagen and Gothenburg we brought immigration activists and theatre, film, music and medical practitioners together to re-imagine the border. We continue to develop new projects along such lines, most recently historians and the Maritime Museum Greenwich, the Museum of London Docklands and activists in social and housing campaigns along the eastern end of the Thames in London (eg., ‘Proletarianisation and the River’ event for Museum of London Docklands Sept 2013). Our mode of operation is to intersect and interrupt in creative ways the protocols of disciplinarity, so as to inspire new work. This has a successful; track record reflected in our theory-practice research student projects.
EUROPEAN/WORLD PREMIERE – Monday 8 October 2012 6:30
GOLDSMITHS, UNIVERSITY OF LONDON, CENTRE FOR CULTURAL STUDIES
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 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.)