Titlebook: Comedies of Nihilism; The Representation o Amir Khan Book 2017 The Editor(s) (if applicable) and The Author(s) 2017 Pursuits of happiness.S

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The Firm and Its Contradictions, shock-term designed to garner a chuckle due to the severity of the verb and the unconventionality of the phrasing. The juxtaposition of “rape” and “face” does force the mind to think of what such an idiom, were it to make it into wide enough circulation, would entail or consist of. Not that I have

Decongestant

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VEIL

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Social Contracts and Economic Markets technology (originating with the Gutenberg printing press) to an “electronic age”. in which communications are made instantaneous through electronic media, which McLuhan has comprising “the telegraph, radio, films, telephone, computer and television.”

parsimony

Introduction,. The present-day ontological realities of film itself necessitate that even films that end happily (i.e., affirmatively) do so ironically, by way, that is, of presenting a world dead to us and past, to be received passively. Movies cannot show us the future—or, perhaps, if they want to be taken ser

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All War and No Agency: ,, depict such ideals in (popular) culture and cinema. Whether the film is crassly opportunistic in making light of, or mobilizing resentment against, such depictions, or whether it seeks to . crass opportunism in relation to popular-cultural depictions of, say, obesity (.), race and the superficialit

Exaggerate

Tragic Cinema: The Death of Subjectivities in ,,the two are related less to content than to form. My claim here will be that . use their respective mediums (i.e., theatre, cinema) to depict tragedy, but that the latter’s medium can only transfigure what we take tragedy to be, hence inherits, in a way, tragedy from theatre. The conduit through whi

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Hiding from Significance: ,,rlds of art and criticism. Is an effectively rendered documentary an example of art, or criticism, or both? This question bears on what I want to say about . (2009), a film documentary that is an example, I will argue, of what Robin Wood calls “oppositional cinema.” Therefore, we must ask not only i