During the 1960s and early 1970s, Japanese avant-garde filmmakers intensely explored the shifting role of the image in political activism and media events. Known as the "season of politics," the era was filled with widely covered dramatic events from hijackings and hostage crises to student protests. This season of politics was, Yuriko Furuhata argues, the season of image polit...(展开全部)

Yuriko Furuhata is Assistant Professor in the Department of East Asian Studies and the World Cinemas Program at McGill University.

During the 1960s and early 1970s, Japanese avant-garde filmmakers intensely explored the shifting role of the image in political activism and media events. Known as the "season of politics," the era was filled with widely covered dramatic events from hijackings and hostage crises to student protests. This season of politics was, Yuriko Furuhata argues, the season of image polit...(展开全部)

Yuriko Furuhata is Assistant Professor in the Department of East Asian Studies and the World Cinemas Program at McGill University.

This work is a philosophical intervention into contemporary cultural theory challenges the terms of its understanding of time and history. If Aristotle sought to understand time through change, might we not reverse the procedure and seek to understand change through time? Once we do this, argues Peter Osborne, it soon becomes clear that ideas such as avant-garde, modern, postmo...(展开全部)

Elaborates a dialectics of modernity, eternity and tradition.

彼得·比格尔（Peter Burger），1936年生，1971年起任德国不来梅大学法国文学与比较文学教授。著有《先锋派理论》、《现代主义的衰弱》、《唯心主义美学批判》、《中介一接受一功能》（论文集）和《艺术体制：现代德国文化与文学》（与克丽斯塔·比格尔合著）等。

彼得·比格尔（Peter Burger），1936年生，1971年起任德国不来梅大学法国文学与比较文学教授。著有《先锋派理论》、《现代主义的衰弱》、《唯心主义美学批判》、《中介一接受一功能》（论文集）和《艺术体制：现代德国文化与文学》（与克丽斯塔·比格尔合著）等。

Convinced that all aspects of modern culture have been affected by avant-garde art, Poggioli explores the relationship between the avant-garde and civilization. Historical parallels and modern examples from all the arts are used to show how the avant-garde is both symptom and cause of many major extra-aesthetic trends of our time, and that the contemporary avant-garde is th...(展开全部)

Out of a background of war, occupation and the legacies of Japan's post-defeat politics there emerged a dissentient group of avant-garde filmmakers who created a counter-cinema that addressed a newly constituted, politically conscious audience. While there was no formal manifesto for this movement and the various key filmmakers of the period (Oshima Nagisa, Imamura Shohei, Yosh...(展开全部)