Diese Arbeit thematisiert das Problem der Repräsentation der Wirklichkeit im Dokumentarfilm. Eine neutrale, objektive und zuverlässige Darstellung unserer Welt im Film stößt auf verschiedene...Show moreDiese Arbeit thematisiert das Problem der Repräsentation der Wirklichkeit im Dokumentarfilm. Eine neutrale, objektive und zuverlässige Darstellung unserer Welt im Film stößt auf verschiedene Probleme. So ist es unmöglich, einen Film zu drehen, ohne in das Gezeigte oder die Bilder einzugreifen. Es stellt sich dann die Frage, ob solche Eingriffe die objektive Darstellung der Welt in Gefahr bringen. In der Arbeit stehen zwei deutsche Dokumentarfilme, Wim Wenders‘ „Tokyo-Ga“ (1985) und Werner Herzogs „Land des Schweigens und der Dunkelheit“ (1971), die sich implizit und explizit mit der Frage nach der Wahrheit im Film auseinandersetzen, im Mittelpunkt. Bevor die beiden Filme analysiert werden, setzt sich die Arbeit mit den filmtheoretischen Ansätzen zur Repräsentation der Wirklichkeit im Film auseinander. Erst wird der Unterschied zwischen Spiel- und Dokumentarfilm behandelt. Auch die Frage, ob eine wahre Wiedergabe der Wirklichkeit möglich sei, kommt zur Sprache. Schließlich werden die verschiedenen Weisen, wie die Wirklichkeit im Film repräsentiert werden kann, und die technischen Aspekte, die hierbei eine Rolle spielen, erläutert. Anhand der behandelten filmwissenschaftlichen Theorien werden die Filme von Wenders und Herzog analysiert. Im Mittelpunkt steht hierbei die Frage, wie in den beiden Filmen mit der Repräsentation der Wirklichkeit umgegangen wird. Auch die Rolle der Manipulation wird hierbei befragt.Show less
Using three different national representations from the 55th Venice Biennale as case studies, this thesis investigates the complexities of post Yugoslav national identities as articulated through...Show moreUsing three different national representations from the 55th Venice Biennale as case studies, this thesis investigates the complexities of post Yugoslav national identities as articulated through different positions and experiences of their makers. Through the examination of individual local and state narratives across selected post Yugoslav states (Slovenia, Bosnia and Herzegovina, Kosovo), I ask whether we can begin to see a larger picture of the region in question, in the process that Gayatri Chakravorty Spivak refers to as “learning to speak to”.Show less
The Stedelijk Museum in Amsterdam and the Museum of Modern Art in New York played a significant role in the assimilation of De Stijl into the canon of modern art as an important and influential...Show moreThe Stedelijk Museum in Amsterdam and the Museum of Modern Art in New York played a significant role in the assimilation of De Stijl into the canon of modern art as an important and influential modern art movement through the construction of institutionalized narratives. The historical retrospective De Stijl exhibition, shown in the Stedelijk Museum in 1951 and in the Museum of Modern Art in 1952-53 was an important instrument with which both museums produced and distributed narrative histories of De Stijl and contributed to the canonization of De Stijl. The aim of this research is to analyze the retrospective De Stijl exhibition and a selective number of preceding exhibitions organized by both museums in the period from 1932 to 1946 as narrative environments and spaces of representation in answer to the question what narrative histories of De Stijl were produced and with what narrative elements and devices these narratives were produced.Show less
The thesis focuses on the textual representation of theaters in Hangzhou during the Southern Song Dynasty. The booming economy during the Song Dynasty stimulated the recreational consumption,...Show moreThe thesis focuses on the textual representation of theaters in Hangzhou during the Southern Song Dynasty. The booming economy during the Song Dynasty stimulated the recreational consumption, especially the development of comedies and dramas. Such trend contributed to the emergence and improvement of theatrical spaces. As the thriving performances boosted the dividing hierarchies of the theatrical spaces, the most talented folk artists and performers presented performances in the central stages and had opportunities to serve the court. The mutual influences between court bureau and folk artists promoted the development of the theatrical spaces, attracting merchants and vendors to do business in the theatrical spaces. In the urban literature, the related recordings were enriched with the descriptions narrating the transformation of theatrical spaces. Repeated in the urban literature with different representations, the images of theatrical spaces were represented as commercial centers or part of urban spaces. Such representations made the theatrical spaces gradually become the symbol of the dynamic urban life and the memory of urban prosperity.Show less
This thesis examines the cinematic cyborg as a figure which embodies technophobic fears expressed in film. By exploring the cyborg's representation, I will show how its portrayal in film expresses...Show moreThis thesis examines the cinematic cyborg as a figure which embodies technophobic fears expressed in film. By exploring the cyborg's representation, I will show how its portrayal in film expresses these technophobic fears, which are, as I will show, interwoven with xenophobia. The cyborg is viewed here as a figure in which technophobia and xenophobia collide. I will examine the so-called preferred meaning expressed in my case studies, which are eight films featuring a cyborg protagonist released in a period of three decades. Moreover, I will compare these messages to see if and how the expressions of technophobia differ and whether they change over time.Show less
This thesis argues that within the medium of photography during Protectorate Morocco, four agents of power (French protectorate policy, French social science, commercial tourism, and the...Show moreThis thesis argues that within the medium of photography during Protectorate Morocco, four agents of power (French protectorate policy, French social science, commercial tourism, and the photographer himself) are connected and collaborate in constructing and using photography for their own interests. By analysing part of the photo collection of the French photographer Jacques Belin, who worked in Morocco between 1939 and 1961, I argue in what way these four domains were of influence in the production, construction, and use of Belin’s work. I state that these four collaborated and reinforced each other and resulted in the construction of Belin’s work. At times, France’s mission civilisatrice was the bigger picture holding the whole project together; at other times the aesthetic value or ethnographic interests were more dominant than those of the colonial mission. It is thus a much-needed contextualization of an individual photographer and the specific conditions to his work, to understand the workings of power within a larger context of photography and that of twentieth-century French colonialism.Show less
Casting the Other in a villainous light has been a trend long known in the U.S. entertainment business. Asian villains have been employed since the late 19th century, leading to the birth of the...Show moreCasting the Other in a villainous light has been a trend long known in the U.S. entertainment business. Asian villains have been employed since the late 19th century, leading to the birth of the yellow peril trope in entertainment narratives. More recently a trend of shifting this yellow peril trope from Chinese, Japanese, or any other Asian nationality to North Korean has appeared. Since the late 20th, but mostly 21st, century there has been an increase of North Korean antagonism in entertainment media. This thesis examines this shift and attempts to explain and explore this, including the effects essentialist representations (could) have on the consumer. This is done by analysing 3 films and 2 video games, all dealing with North Korean antagonism as narrative. There are also parallels drawn between the increase of North Korean antagonism in fiction and real politics, as fiction often feeds off of reality to create dramatic storylines.Show less
Master thesis | Cultural Anthropology and Development Sociology (MSc)
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In 2004, Ayaan Hirsi Ali and Theo van Gogh made the anti-Islam film Submission. Four years later, Geert Wilders published his own anti-Islam film, Fitna. These movies were both a reason for and a...Show moreIn 2004, Ayaan Hirsi Ali and Theo van Gogh made the anti-Islam film Submission. Four years later, Geert Wilders published his own anti-Islam film, Fitna. These movies were both a reason for and a consequence of a Dutch sociopolitical climate in which anti-Islam sentiments were widely spread. Using academic literature about orientalism, media and gender, such as described by Edward Said as well as many others, I researched the use of orientalist characteristics in representing Muslims and the Islam in both of these movies, paying attention to the texts, visual aspects and implications of the films, as well as looking at the intentions of the makers and the place of the movies in the wider Dutch context.Show less
Politics should be brought closer to the citizens and democracy will improve as a result. This is a widely shared opinion among Dutch political parties. Another widely shared opinion is that the...Show morePolitics should be brought closer to the citizens and democracy will improve as a result. This is a widely shared opinion among Dutch political parties. Another widely shared opinion is that the municipality is closest to the citizens. From these notions political parties draw the logical conclusion that decentralizing roles and powers to municipalities enhances democracy. Central in this thesis is the question whether the political parties are right and that from the perspective of democracy local politics are closest to the citizen indeed. Political parties differ in their interpretations of the word ‘closer’. By combining these interpretations with different perspectives on democracy I have identified three aspects by which the central research question can be investigated: representation, political involvement and responsiveness. On these three aspects I have compared local politics to national and provincial politics. For this comparison I have used evidence from existing surveys and inquiries and actual data. I have found little evidence that local politics are closer to the citizens than national politics. The Dutch Lower House is more representative than the average municipal council, except for the point of education. Citizens themselves believe national politics to be more important and they are more interested in national politics. National politics play a larger role in the municipal elections than local politcs do. The turnout in local elections is lower than in national elections. The knowledge of local politics is probably lower than the knowledge of national politics. However citizens are satisfied with their local authority, especially when it comes to services.Show less
