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1
Bolton, Lucy. Film and Female Consciousness. London: Palgrave Macmillan UK, 2011. http://dx.doi.org/10.1057/9780230308695.
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Film consciousness: From phenomenology to Deleuze. Jefferson, N.C: McFarland & Co., 2008.
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Film and female consciousness: Irigaray, cinema and thinking women. Houndmills, Basingstoke, Hampshire: Palgrave Macmillan, 2011.
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4
Ted, Perry. Movies, me, and us: Film in the American consciousness. New York: Henry Holt, 1999.
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Innovation in ethnographic film: From innocence to self-consciousness, 1955-85. Chicago: University of Chicago Press, 1993.
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Loizos, Peter. Innovation in ethnographic film: From innocence to self-consciousness, 1955-85. Manchester: Manchester University Press, 1993.
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M, Martin Thomas. Images and the imageless: A study in religious consciousness and film. 2nd ed. Lewisburg [Pa.]: Bucknell University Press, 1991.
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8
Fiction and the camera eye: Visual consciousness in film and the modern novel. Ann Arbor, MI: University Microfilms International, 1985.
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The stream of consciousness in the films of Alain Resnais. New York: McGruer Pub., 1997.
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Bolton, L. Film and Female Consciousness: Irigaray, Cinema and Thinking Women. imusti, 2011.
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Bolton, L. Film and Female Consciousness: Irigaray, Cinema and Thinking Women. Palgrave Macmillan, 2015.
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Loizos, Peter. Innovation in Ethnographic Film: From Innocence to Self-Consciousness, 1955-1985. University Of Chicago Press, 1993.
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Loizos, Peter. Innovation in Ethnographic Film: From Innocence to Self-Consciousness, 1955-1985. University Of Chicago Press, 1993.
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16
Dalle Vacche, Angela. André Bazin's Film Theory. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190067298.001.0001.
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The best way to understand Bazin’s film theory is to pay attention to art, science, and religion, since spectatorship depends on perception, cognition, and hallucination. By arguing that this dissident Catholic’s worldview is anti-anthropocentric, Angela Dalle Vacche concludes that cinema recapitulates the history of evolution and technology inside our consciousness, so that we may better understand how we overlap with, but also differ from, animals, plants, objects, and machines. Whereas in “Art,” the author explains the difference between painting as a static object and the moving image as an event unfolding in time, in “Science,” she discusses Bazin’s dislike of classical geometry and Platonic algebra, his fascination with biology and modern calculus to underline his holistic Darwinism, and his anti-Euclidean mathematics of motion and contingency. Comparable to a religious practice, Bazin’s cinema is the only collective ritual of the twentieth century capable of fostering an emotional community by calling on critical self-interrogation and ethical awareness. Especially keen on Italian neorealism, Bazin argues that this sensibility thrives on beings and things displacing themselves in such a way as to turn the Other into a Neighbor. Bazin’s film theory acknowledges the equalizing impact of the camera lens, which is analogous to, but also different from, the human eye. In the cinema, two different kinds of eyes coexist: one is mechanical and objective, the other is human and subjective. By refusing to reshape the world according to an a priori thesis, Bazin’s idea of an anti-anthropocentric cinema seeks surprise, dialogue, risk, and experiment.
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Weinel, Jonathan. Synaesthetic Overdrive. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190671181.003.0007.
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This chapter discusses altered states of consciousness in audio-visual media, such as films, psychedelic light shows, and VJ performances. First, some background theory is introduced, explaining the main categories of film sound, and what research tells us regarding the way in which sound influences the perception of visual images and vice versa. Following this background section, a tour is provided through various films that represent altered states of consciousness, including surrealist movies, ‘trance films’, and Hollywood feature films. These demonstrate a progression, where more recent movies are able to make use of digital audio and visual effects to represent the subjective experience of altered states with improved accuracy. Meanwhile, beyond the traditional confines of the cinema, ‘expanded cinema’ works such as visual music, psychedelic light shows, and VJ performances have provided increasingly sophisticated synaesthetic experiences, which are designed to transform the consciousness of their audience.
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Berrettini, Mark L. Interviews with Hal Hartley. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252035951.003.0002.
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This chapter presents two interviews of Hal Hartley. The first, conducted by Justin Wyatt, was originally published in the fall 1998 issue of Film Quarterly. The second, conducted by Robert Avila in 2007, originally appeared on SF360.org, the San Francisco Film Society's online magazine. Topics covered in these interviews include the darker tone of the film Henry Fool; Hartley's views about the label “independent” after being heralded as one of the most important voices in American independent cinema; whether the conflicted attitude toward technology and the corporate world seen in his films reflect his own ambivalence in these areas; whether he is concerned that his films may be straying too far to the side of self-consciousness and self-reflexivity; whether he sees a of Hollywood movies; and whether there are times when he finds writing difficult.
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Consciousness And The Actor: A Reassessment Of Western And Indian Approaches To The Actor's Emotional Involvement From The Perspective Of Vedic Psychology ... Film- Und Fernsehwissenschaften, Bd 67). Peter Lang Pub Inc, 1996.
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MacDougall, David. The looking machine. Manchester University Press, 2019. http://dx.doi.org/10.7228/manchester/9781526134097.001.0001.
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The looking machine calls for the redemption of documentary cinema, exploring the potential and promise of the genre at a time when it appears under increasing threat from reality television, historical re-enactments, designer packaging, and corporate authorship. The book consists of a set of essays each focused on a particular theme derived from the author’s own experience as a filmmaker. It provides a practice-based, critical perspective on the history of documentary, how films evoke space, time and physical sensations, questions of aesthetics, and the intellectual and emotional relationships between filmmakers and their subjects. It is especially concerned with the potential of film to broaden the base of human knowledge, distinct from its expression in written texts. Among its underlying concerns are the political and ethical implications of how films are actually made, and the constraints that may prevent filmmakers from honestly showing what they have seen. While defending the importance of the documentary idea, MacDougall urges us to consider how the form can become a ‘cinema of consciousness’ that more accurately represents the sensory and everyday aspects of human life. Building on his experience bridging anthropology and cinema, he argues that this means resisting the inherent ethnocentrism of both our own society and the societies we film.
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Grimm, Joshua. Ex Machina. Liverpool University Press, 2020. http://dx.doi.org/10.3828/liverpool/9781800348301.001.0001.
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Ex Machina (2014) impressed critics and audiences alike with its bold ideas and all-too-realistic depiction of the unexpected consequences of constructing a sentient being. In his feature directorial debut, Alex Garland uses efficient storytelling, a compelling narrative, and heady concepts to create a modern science fiction masterpiece that explores gender, scientific advancement, and the very concept of humanity, all in a compelling, suspenseful film. Artificial intelligence has long been a sci-fi staple, but here, Garland posits what would happen if, for once, humans, rather than AI, were the real villains. In exploring Ex Machina's ideas about consciousness, embodiment, and masculinity, all through the lens of a misogynist mad scientist, Joshua Grimm argues the result is a fascinating, truly unique film that immediately established Garland as a breakout voice in the landscape of science fiction film.
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Haas, Michael. Hollywood raises political consciousness: Political messages in feature films. 2014.
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HaCohen, Ruth. Between Generation and Suspension. Edited by Yael Kaduri. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780199841547.013.13.
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The chapter discusses two modes of combining music and moving images that developed in modernism. The first mode, which the author termsgeneration, relates to a type of animated narrative film in which the music precedes the visual sequence which generates the will or thought (modality) that gives rise to the narrative action. “The Sorcerer’s Apprentice,” from the Disney filmFantasia, is examined as an example. In the second mode,suspension, the picture appears as if preceding the music, even if the creative order was different, or the work does not have an actual visual manifestation. The visual sequence, which appears as if deriving from the composer’s inner world, is characterized by minute occurrences, wishing to arouse as an atmosphere or “third consciousness.” The movement “Colors” from Schoenberg’sFive Pieces for an Orchestra, opus 16, is examined as an example alongside examples from film music.
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Rothermel, Dennis. Becoming-Animal Cinema Narrative. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474422734.003.0014.
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This chapter connects distinctive animal territories to specific uses of film language through a series of case studies, most notably Robert Bresson’s Au hasard Balthazar (1966), Michelangelo Frammartino’s Le Quattro Volte (2011), Bela Tarr’s The Turin Horse (2011), and Ang Lee’s Life of Pi (2012). Significantly, becoming-animal cannot be represented by conventional point-of-view and shot-reverse-shot editing (the structural mainstay of filmic suture), because it ties the animal to the conventional (and thus delimiting) human vectorial space of Deleuze’s action-image. Instead, inspired by Pier Paolo Pasolini’s seminal essay, ‘The “Cinema of Poetry”’, the chapter notes that all four filmmakers resort to a form of free-indirect discourse, whereby animality fills up the film from the inside as formative of the representation rather than rendering the subject within the structure of representation. Not unlike T.S. Eliot’s objective correlative, where the character’s subjectivity is presented objectively in and through the mise-en-scène as well as individual focalisation (in this case the character is also on-screen), animal perception is able to be expressed by a form of camera self-consciousness, what Deleuze calls ‘cinema a special kind of cinema where the camera makes itself felt.
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Galt, Frances. Women's Activism Behind the Screens. Policy Press, 2020. http://dx.doi.org/10.1332/policypress/9781529206296.001.0001.
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This book contributes to important discussions on gender inequality in the present-day film and television industries and labour movement through an historical analysis of women workers and their trade union in the British film and television industries from 1933 to 2017. This book concentrates on the three iterations of the technicians’ union: the Association of Cine-Technicians (ACT) (1933-56), the Association of Cinematograph, Television and Allied Technicians (ACTT) (1957-91), and the Broadcasting, Entertainment, Cinematograph and Theatre Union (BECTU) (1991-2017). Drawing on previously unseen archival material and oral history interviews with activists, it casts new light on women’s experiences of union participation and feminism over nine decades. This book advances three key arguments in relation to its central themes: the operation of a gendered union structure, women’s activism, and the relationship between class and gender in the labour movement. Firstly, it argues that a gendered union structure was institutionalised from the union’s establishment and maintained through a belief system that women’s issues were not trade union issues. Secondly, it argues that separate self-organisation was essential to women’s activity within the gendered union structure as it provided an essential space and voice for women to discuss their gender-specific concerns, develop consciousness and skills and formulate policy. It further emphasises the importance of external feminist allies to women’s union activity. Thirdly, it argues that class differences between middle-class women in film and television production and working-class women in the laboratories informed the direction of women’s activity at its height during the 1970s and 1980s.
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Bowman, Paul. The Invention of Martial Arts. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780197540336.001.0001.
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The Invention of Martial Arts examines the media history of what we now call ‘martial arts’ and argues that martial arts is a cultural construction that was born in film, TV, and other media. It argues that ‘martial arts’ exploded into popular consciousness entirely thanks to the work of media. Of course, the book does not deny the existence of real, material histories and non-media dimensions in martial arts practices. But it thoroughly recasts the status of such histories, combining recent myth-busting findings in historical martial arts research with important insights into the discontinuous character of history, the widespread ‘invention of tradition’, the orientalism and imagined geographies that animate many ideas about history, and the frequent manipulation of history for reasons of status, cultural capital, private or public power, politics, and/or financial gain. In doing so, the book argues for the primacy of media representation as key player in the emergence and spread of martial arts, and overturns the dominant belief that ‘real practices’ are primary while representations are secondary. The book makes its case via historical analysis of the British media history of such Eastern and Western martial arts as Bartitsu, jujutsu, judo, karate, taiji, and mixed martial arts (MMA) across a range of media, from newspapers, comics, and books to cartoons, films, and TV series, as well as television adverts and music videos, focusing on often overlooked texts such as adverts for ‘Hai Karate’, the 1970s hit ‘Kung Fu Fighting’, and other mainstream and marginal media texts.
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Weinel, Jonathan. Inner Sound. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190671181.001.0001.
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Inner Sound explores how altered states of consciousness have shaped the design of electronic music and audio-visual media. The book begins by discussing consciousness, and how this may change during states such as dreaming, psychedelic experience, meditation, and trance. Next, a variety of shamanic traditions are reviewed, in order to explore how indigenous societies have reflected visionary experiences through visual art and music. This provides the necessary background from which to consider how analogue and digital audio technologies enable specific capabilities for representing or inducing altered states of consciousness in psychedelic rock, electronic dance music, and electroacoustic music. Developing the discussion to consider sound in the context of audio-visual media, the role of altered states of consciousness in films, visual music, VJ performances, interactive video games, and virtual reality applications is also discussed. Through the analysis of these examples, the author uncovers common mechanisms, and ultimately proposes a conceptual model for ‘Altered States of Consciousness Simulations’. This theoretical model describes how sound can be used to simulate various subjective states of consciousness from a first-person perspective, in an interactive context. Throughout the book, the ethical issues regarding altered states of consciousness in electronic music and audio-visual media are also explored, ultimately allowing the reader to consider not only the design of Altered States of Consciousness Simulations, but also the implications of their use for digital society. In this way, Inner Sound explores the limits of technology for representing and manipulating consciousness, at the frontiers of electronic music and art.
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Weinel, Jonathan. Introduction. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190671181.003.0001.
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This introduction to Inner Sound: Altered States of Consciousness in Electronic Music and Audio-Visual Media outlines the background, aims, and scope of the book. The chapter begins by introducing altered states of consciousness through a description of visual hallucinations, which may have provided a basis for some of the oldest-known artworks. Next, a brief historical overview of altered states is given, from ancient shamanic traditions and cults, to modern-day use of psychedelic drugs such as LSD. The use of altered states in these contexts has resulted in a variety of associated art, literature, music, films, and video games, which in recent years have been rendered with the aid of new sound and audio-visual technologies. These works provide the main focus of Inner Sound, which explores the relationship of altered states of consciousness with electronic music and audio-visual media, in order to develop a conceptual theory of ‘Altered States of Consciousness Simulations’.
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Weinel, Jonathan. Abstractions. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190671181.003.0009.
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The concluding chapter of Inner Sound: Altered States of Consciousness in Electronic Music and Audio-Visual Media consolidates the main arguments of the book. The journey taken is recapitulated, from shamanic rituals to psychedelic rock shows and raves; and from outdoor electroacoustic concerts to synaesthetic films and hallucinatory video games. Across these examples, similar underlying principles can be identified, revealing a continuity from ancient shamanism to modern ‘technoshamanism’. Yet while some imperatives have remained consistent, the technologies have evolved, yielding ever-more accurate and sophisticated representations of altered states in electronic music and audio-visual media. This finds us on the brink of ‘Altered States of Consciousness Simulations’, which replicate the sensory experience of altered states using immersive technologies such as fulldomes and virtual reality headsets. Looking forwards, the possible uses and ethical implications of these simulations are explored, at the frontiers of electronic music and art.
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Cloud, Dana L. The Beginnings and Ends of Union Democracy. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252036378.003.0010.
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This chapter assesses the situation of the dissident Machinist movement at Boeing today. There are a number of important and poignant lessons from this struggle for democratic reformers inside unions. These lessons speak to how reformers can push their official leadership while staying focused on the company; prioritize long-term organizing and contract cycle agitation above electoral bids and legal strategies; and recognize that unions—and dissident movements inside of unions—are only democratic and vital to the extent that they involve large numbers of their members and represent their demands. The chapter considers the question of whether one can speak legitimately for the rank and file without their active involvement in the movement from a dissident position any more than one should do so from a business union position. The credentials and, more important, the power of a dissident union movement depend upon taking advantage of critical rank-and-file consciousness to build an organization that restores a balance of power between union leadership and the rank and file in the longer term. Only then can the rank and file become ready, when the time comes, to make their own history.
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Peaslee, Robert Moses, and Robert G. Weiner, eds. The Supervillain Reader. University Press of Mississippi, 2019. http://dx.doi.org/10.14325/mississippi/9781496826466.001.0001.
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It’s been argued that every good superhero needs an equally compelling supervillain. The Supervillain Reader sheds light on why “it’s all about the villain.” The editors have assembled a collection of both reprinted and original essays that tries to answer the question, Why are we so fascinated with the villain in our storytelling? The obsession with the villain is not some new phenomenon, and in fact one finds villains who are “super” going as far back as ancient religious and mythological texts. This innovative collection brings together essays, book excerpts, and original content from a wide variety of scholars and writers, weaving a tapestry of thought regarding villains in all their manifestations, including film, literature, television, games, and, of course, comics and sequential art. While The Supervillain Readerfocuses on the latter, it goes beyond comic studies to show how the concept of the supervillain is part our larger historical and popular consciousness. The principal goal of this reader is to collect in a single volume articles that show how the villain is a complex part of any narrative regardless of original text. The villain must be compelling, stimulating, and pro-active, whereas the superhero (or protagonist) is most often re-active. Our reader brings into clear focus the unique aspects of villainy and shows why the villain is so compelling, while also providing a theoretical foundation for villainy in numerous media. The editors have carefully curated this collection, and we hope it will be of interest to professors teaching graduate and undergraduate courses, the students they teach, and serious observers of popular culture across professions.
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Mansfield, Nick. Soldiers as Citizens. Liverpool University Press, 2019. http://dx.doi.org/10.3828/liverpool/9781789620863.001.0001.
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Rank and file soldiers were not ‘the scum of the earth’. They included a cross section of working-class men who retained their former civilian culture. While they often exhibited pride in regiment and nation, soldiers could also demonstrate a growing class consciousness and support for political radicalism. The book challenges assumptions that the British army was politically neutral, if privately conservative, by uncovering a rich vein of liberal and radical political thinking among some soldiers, officers and political commentators. This ranges from the Whig ‘militia’ tradition, through radical theories on tactics and army reform, to attempted ultra-radical subversion amongst troops and the involvement of soldiers in riots and risings. Case studies are given of individual 'military radicals', soldiers or ex-soldiers who were reforming and later socialist activists. Popular anti-French feeling of the Napoleonic Wars is examined, alongside examples of rank and file bravery which fostered widespread loyalty and patriotism. This contributed to soldiers being used successfully in strike breaking, and deployed against rioters or Chartist revolts. By the late Victorian period, popular imperialism was an important part of working-class support for Conservatism. The book explores what impact this had on rank and file soldiers, whilst outlining minority support for socialism.
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Vogan, Travis. Creating and Sustaining America’s Game. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252038389.003.0002.
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This chapter charts the National Football League's (NFL) meteoric rise, thanks to NFL Films' unwavering designation of pro football as a unique and unifying reflection of America. Fueled by a combination of sport and media's increasingly profitable symbiosis and Commissioner Pete Rozelle's image-consciousness, the NFL enhanced its marketing efforts during the 1960s and began to diversify aggressively, creating branded products that reached out to audiences beyond the white, middle-class men who composed its typical fan base. The Rozelle-era NFL solidified its prominence in American culture through its merger with the American Football League and subsequent development of the Super Bowl. This chapter examines how the NFL made connections to as many potential fans as possible by establishing national television exposure, branding various items, organizing athletic events for kids, donating to charitable causes, and creating a tourist attraction. It looks at one production that codified NFL Films' signature aesthetic practices, They Call It Pro Football, and how it situates professional football as “the sport of our time.”
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Hudson, Dale. Terrorist Vampires: Religious Heritage or Planetary Advocacy. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474423083.003.0007.
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This chapter unpacks depictions of US foreign policy in Hollywood blockbusters, franchises, and series, whose content was repurposed and production was often offshored. Vampire hunters perform the racialized warfare of the failed War on Drugs and ongoing War on Terror. Vampires advocate for planetary consciousness after neoliberalism’s ascendancy. Bram Stoker’s Dracula (1992), From Dusk till Dawn (1995), and Vampires (1998) organize fears of so-called Islamic fundamentalists and Mexican border hoppers. Deterritorialized biological warfare also manifests in films that return to the historical trauma of mixed blood via stories of mixed species in franchises like Blade (1998–2004) and Underworld (2003–2016) and series like True Blood (2008–2014), The Vampire Diaries (2009–present), and The Originals (2013–present). Others examine resilience through multiple conquests, as in Cronos (1992) set in México’s federal district and released on the quincentennial of Columbus’s conquest. Meanwhile, the Twilight franchise (2008–2012) christianizes the figure of the vampire and, by extension, the concept of the US secular democracy, but also evokes indigenous rights to land. Films ask us to find a space for empathy amidst the terror of economic and military violence.
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Marmysz, John. Monstrous Masses: The Human Body as Raw Material. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474424561.003.0005.
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This chapter examines The Human Centipede, Nymphomaniac, and Videodrome; films that push the boundaries of human objectification. The chapter draws on the works of Georg Wilhelm Friedrich Hegel and Jean-Paul Sartre, highlighting an ontological distinction between being “in-itself” and being “for-itself.” It is argued that though the objectification of key characters in these films, on the one hand, promotes a sort of nihilistic reduction of humans to meaningless bodies in motion, on the other hand, this same reduction potentially provokes a sense of sympathy in viewers who are also embodied, and thus can see their own condition reflected in the experiences of the characters who suffer on screen. Depictions of others as meaningless matter remind audiences of their own corporeal nature (being in-itself), disgusting, titillating, and amusing them, but also potentially moving them to empathize with the consciousnesses presumed by analogy with themselves to exist within the bodies depicted on screen (being for-itself).
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Maslon, Laurence. Songs for Swingin’ Show Fans. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199832538.003.0007.
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The market for single recordings, now on the 45 rpm format, was still huge in the 1950s. Songs from Broadway shows were immensely popular with commercial singers at the time, such as Perry Como, Dinah Shore, Peggy Lee, and Rosemary Clooney; their renditions often shot to the top of the pop charts for weeks on end. Often these songs were placed by music publishers with A&R (artists and repertory) divisions in advance of their appearance in the actual Broadway show, as a way to promote both song and show. The LP format had matured by the mid-1950s and artists such as Frank Sinatra and Ella Fitzgerald dug deep into the catalog of Broadway songs from the earlier decades of the century to fill out extended “songbook” tributes to great Broadway songwriters, often restoring obscure material to the popular consciousness.
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Frederick, William C. Corporate Social Responsibility. Edited by Andrew Crane, Dirk Matten, Abagail McWilliams, Jeremy Moon, and Donald S. Siegel. Oxford University Press, 2009. http://dx.doi.org/10.1093/oxfordhb/9780199211593.003.0023.
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This article argues that prospects for corporate social responsibility (CSR) are anchored in its early beginnings, in its ever-expanding acceptance as a legitimate business practice, and in the looming necessities and crises spawned by unprecedented global expansion of economic enterprise. CSR is an idea whose time has arrived, not just in the United States but wherever markets and corporate enterprise comprise the foundation of a society's economic endeavors. Unevenly developed and experienced across the grand arc of 21st century societies, CSR is infiltrating into corporate consciousness and corporate culture, finds expression in the workplace, sparks stakeholder involvement, molds company strategy, enriches the quality of community life, broadens business vision, and seeks to humanize economic enterprise wherever it is found. A cardinal principle of CSR's spread throughout the globe is that each society and each business firm shall find its own unique way of expressing and realizing CSR's core meaning.
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Geue, Tom, and Elena Giusti, eds. Unspoken Rome. Cambridge University Press, 2021. http://dx.doi.org/10.1017/9781108913843.
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Latin literature is a hotbed of holes and erasures. Its sensitivity to politics leaves it ripe for repression of all sorts of names, places and historical events, while its dense allusivity appears to hide interpretative clues in a network of texts that only the reader's consciousness can make present. This volume showcases innovative approaches to the field of Latin literature, all of which are refracted through this prism of absence, which functions as a fundamental generative force both for the hermeneutics and the ongoing literary aftermath of these texts. Reviewing and working with various influential approaches to textual absence, the contributors to Unspoken Rome treat these texts as silent types, listening out for what they do not say, and how they do not speak, whilst also tracing the ill-defined borders within which scholars and modern authors are legitimized to fill in the silences around which they are built.
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Majumdar, Sumit K. Final Thoughts. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199641994.003.0009.
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The chapter sums up the evidence and concludes that India’s industrial performance has been sub-par. Given India’s uninspiring industrial performance, three ameliorative reforms, an administrative reform, a structural reform, and a behavioral reform, are put forward. Since talent management is a critical administrative functionality of capitalism, an Indian Management Service would fill key strategic management positions in State firms to deepen the human capital pool for strategic management in the State sector. State sector firms’ ownership could be restructured. An autonomous India Public Investment Authority would be the agency for share-vesting and portfolio management. The India Public Investment Authority would own controlling stakes, while granting strategic and operational autonomy to the firms. A message of economic nationalism, on the theme that a productive industrial India will be a prosperous India, has to stir a consciousness for Indians to change behavior to achieve the efficiency needed for India’s economy to prosper.
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Harvey-Kattou, Liz. Contested Identities in Costa Rica. Liverpool University Press, 2019. http://dx.doi.org/10.3828/liverpool/9781789620054.001.0001.
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Costa Rica is a country known internationally for its eco-credentials, dazzling coastlines, and reputation as one of the happiest and most peaceful nations on earth. Beneath this façade, however, lies an exclusionary rhetoric of nationalism bound up in the concept of the tico, as many Costa Ricans refer to themselves. Beginning by considering the very idea of national identity and what this constitutes, this book explores the nature of the idealised tico identity, demonstrating the ways in which it has assumed a white supremacist, Central Valley-centric, patriarchal, heteronormative stance based on colonial ideals. Chapters two and three then go on to consider the literature and films produced that stand in opposition to this normative image of who or what is tico and their creation as vehicles of soft power which aim to question social norms. This book explores protest literature from the 1970s by Quince Duncan, Carmen Naranjo, and Alfonso Chase who narrate their experiences from the margins of society by virtue of their identity as Afro-Costa Rican, feminist, and homosexual authors. Cinema from the twenty-first century is then analysed to demonstrate the nuanced and intersectional position chosen by national directors Esteban Ramírez, Paz Fábrega, Jurgen Ureña, and Patricia Velásquez to challenge the dominant nation-image as they reinscribe youth culture, Afro-Costa Rica, a female consciousness, and trans identity into the fabric of the nation.