Gilles Deleuze

Gilles Deleuze, Cinema 2: The Time-Image, trans. Hugh Tomlinson and Robert Galeta (Minneapolis: University of Minnesota Press, 1989), 216. David William Foster, Latin American Documentary Filmmaking: Major Works (Phoenix: University of Arizona Press, 2013), x. Antonio Traverso and Kristi Wilson, “Political Documentary Cinema in Latin America,” Social Identities 19, no. 3–4 (2013): 276. Mike Wayne, Political Film: The Dialectics of Third Cinema (London: Pluto Press, 2001), 60. See Frantz Fanon

For a Philosophy of the Impersonal 1. Never more than today is the notion of person the unavoidable reference for all discourses, be they philosophical, political, or juridical in nature, that assert the value of human life as such. Leaving aside differences in ideology as well as specifically staked-out theoretical positions, no one doubts the relevance of the category of person or challenges it as the unexamined and incontrovertible presupposition of every possible perspective. This tacit convergence

has become an integral part of society. Email has replaced snail mail, online videos have replaced the tape cassette, and social media has replaced the village square. In his essay “Postscript on the Societies of Control,” the French philosopher Gilles Deleuze argues that the rise of the computer heralds the transition from a disciplinary society to a control society, where people are no longer viewed as individuals, but as “dividuals,” like data points in a system. In her book How We Became Posthuman

In The Mood For Love, Urban Space, and Post Modernity Wong Kar Wai’s Fa Yeung Nin Wa (2000), translated to In The Mood For Love, is an opening to the new millennium and homage to past genres of filmmaking. Deeply rooted in emotion and nostalgia, In The Mood For Love reads as a waltz throughout the entirety of the film. Set in 1962 Hong Kong, journalist Chow Mo-wan moves to the city with his wife, who is often away on business. He befriends a woman who lives in his apartment complex, Su Li-Zhen (referred

Power is usually defined as the ability to achieve a desired outcome, i.e. to ‘do’ something. The concept of power is normally defined of by the legislature in a rational sense, having power over others. There are three dimensions of power: decision making power, non-decision-making power and power as thought control (Buse et al 2005). Foucault’s view on power is one which extends across several different sites; gender, race and sexuality. Observing power in contemporary society as “disciplinary”

Throughout the semester, we have read many attractive novels and poetries. The adventures and narratives described in the literatures are so vivid and live which always pull audiences into the stories. Almost every literature describes the relationship between different characters, and the power dynamics also revealed in the relationship. This paper aims to study the power dynamics in the relationship, and evaluate the difference between traditional power dynamics showed in “Birdsong” compared to

Throughout this essay, I am going to explore how architecture and design can be a mechanism which is able to influence the public and have a control over society. On a daily basis, society is continuously being subconsciously impacted and some may say controlled by factors of architecture and design such as propaganda buildings, public spaces, objects, graphics, films and advertisement. I am going to investigate into how each of these aspects may have subliminal messages within them and what effect

In his book, Michael Foucault discusses the history of sexuality and the way in which power and knowledge have played a role in the “repression” of sexuality. Despite historical statements, Michael disagrees with the fact that power solely serves the purpose of repression. Rather he argues how power and knowledge are both repressive and productive. In regards to power, in Part 5 of his book, Foucault contrasts two claims of power. They are “Right of Death” and “Power over Life.” These were privileges

the two parents more ferarum, or perhaps even two dogs.  One wolf: the wolf is the father, as we all knew from the start.  Zero wolves: he lost his tail, he is not just a castrater but also castrated.  Deleuze and Guattari, "1914: One or Several Wolves?"                         Gilles Deleuze and Félix Guattari problematize the number of the wolves in Freud's case study of the Wolf-Man.  No matter how many wolves are in the dream, Freud would interpret it as the same in relation with the family

Capitalism, Marketing, and the Insidious and Covert Co-optation of the Self Subtitle: A Manifesto for Avatars 1. Introducing Avatars AVATARA-Sanskrit.; ava-'down', tarati-'he goes, passes beyond' literally, 'a descent', a conception described in the Bhagavad gita, 4th Teaching, 1-8 where Krishna confides: "when goodness grows weak, when evil increases, I make myself a body." (OED) Originally referring to the incarnation of Hindu deities, avatars in the computing realms have come