By Magdalena Cieslak, Agnieszka Rasmus
Opposed to and past: Subversion and Transgression in Mass Media, pop culture and function is a suite of fourteen essays through students representing a couple of disciplines discussing transgression and subversion in movie, tv, tune, theatre and electronic media. relocating throughout significant political and cultural events of the 20 th century, the ebook addresses an international desire for transgression and subversion in our instances. making use of theories of Freud, Lacan, Kristeva, Foucault, Adorno and Horkheimer, Deleuze and Guattari, and Butler, the quantity is a vital contribution to figuring out the mechanisms and services of subversion and transgression in modern media and pop culture and offers crucial analyzing for all these trying to move opposed to and past.
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Extra info for Against and Beyond: Subversion and Transgression in Mass Media, Popular Culture and Performance
Turner: I might come with you, then. Chas, laughing: You don’t know where I’m going, pal. Turner, childishly: I do. An air of palpable tension then enters the room, accentuated by the music, a rhythmic, accelerating pulse. Turner begins to pull the covers up to his neck: Turner: I dunno. Chas: Yeah, you do. Chas pulls out his gun, slides the chamber back twice at great speed and shoots. Through a complex sequence of shots the bullet is seen entering the ear canal of what we assume is Turner’s head, followed by a shot of Jorge Luis Borges’6 face, then a cracked mirror.
Some scenes from the film will be analysed now in more detail, with attention paid to the various motifs outlined in the preceding paragraphs. The first indicative scene is the primary meeting of Turner and Chas, after Pherber has let Chas into the house and said that he can stay. Turner is called upstairs to meet Chas, and enters an ornate and cluttered room that has been described as “decorated in the Gibbsan Moroccan manner” (MacCabe 9). The room is also littered with musical equipment, lost objects and remnants of Turner’s previous life.
It’s just like a sort of document of a revolution that could happen—like someone writing a book about what would have happened if the Nazis had invaded Britain” (qtd. in Ford 87-88). But this disclaimer, apart from emphasising the way the song refers to a spectral alternative to the present, perhaps goes too far, with Smith again painting himself as a cryptoconservative. In fact, the song is a kind of cut-up of different perspectives on the uprising: of those involved in it, those opposing it, and those corrupting it for their own ends.