/library/oar/handle/123456789/123389 Tue, 23 Dec 2025 05:53:44 GMT 2025-12-23T05:53:44Z /library/oar/handle/123456789/49790 Title: About our contributors [Antae Journal, 6(2-3)] Abstract: Short biographies of the contributors in this issue. Sun, 01 Dec 2019 00:00:00 GMT /library/oar/handle/123456789/49790 2019-12-01T00:00:00Z /library/oar/handle/123456789/49789 Title: A review of Portugal’s Global Cinema : Industry, History and Culture, edited by Mariana Liz Authors: Duarte, Jose Abstract: At the heart of Portugal’s Global Cinema: Industry, History and Culture—edited by Mariana Liz, published by I.B. Tauris in the series ‘Tauris World Cinema’, and totaling 283 pages— lies a (rather recent) tendency to look at other cinematic cartographies, in particular the socalled “cinema of small nations”, as opposed to the more conventional, Hollywood-adjacent productions. Noticing the ‘obvious gap in literature’, 1 the editor sets out to explore ‘the international meaning of contemporary Portuguese film’ and, indeed, Liz, along with the other contributors, achieve more than that.2 The introduction begins with a broad overview of the last four decades of Portuguese cinema, in which the editor explores its national cinema within a global context and a transnational framework. As part of a growing interest in Portuguese cinema, Portugal’s Global Cinema, written in English, is instrumental in moving towards a better understanding of the struggles, the context, and, at the same time, the possible solutions that national cinemas have adopted in order to survive. The volume achieves this by balancing the analysis of a more political and auteur cinema with more popular and mainstream productions, providing the reader with a wide range of topics. Sun, 01 Dec 2019 00:00:00 GMT /library/oar/handle/123456789/49789 2019-12-01T00:00:00Z /library/oar/handle/123456789/49788 Title: The aesthetics of vomiting in Nietzsche’s philosophy Authors: Dudova, Marketa Abstract: Through the historical link of the aesthetic with the concept of the sublime, this article allows the former to not only encompass the beautiful but also include within it a darker side, one which enables us to connect it to the concept of disgust. Following the theories of Immanuel Kant, Jacques Derrida and Friedrich Nietzsche, this essay proposes that disgust and vomiting are forms of the aesthetic and the sublime, not their “other”. Further, the paper relates vomiting to the expressive and emetic functions of language—two important concepts in theorising aesthetic thinking carried out by M.H. Abrams in his analyses. This article discusses the possibility of employing the emetic function in order to structure a text and presents Nietzsche’s works as an example for understanding nausea and vomiting as textual practices, or as aesthetic ideals, on which texts are based. Sun, 01 Dec 2019 00:00:00 GMT /library/oar/handle/123456789/49788 2019-12-01T00:00:00Z /library/oar/handle/123456789/49777 Title: Hong Kong’s cinema of cruelty : visceral visuality in Drug War Authors: Tang, Aubrey Abstract: This essay argues that repulsive images of the violated internal body can function as political resistance in modern political cinema. By examining the visceral visuality in Johnny To’s action film Drug War, this study illustrates how the internal body resists, aesthetically, China’s socialist judiciary and Hong Kong’s capitalist economy. When such forcefully imposed sociopolitical ideology becomes too contradictory for the people to accept, common narrative strategies no longer suffice. In turn, visceral images of disgust may appear as rationally uncontrolled reflections of the social reality. In Drug War, these reflections are characterised by onscreen involuntary bodily reactions, when the cinema virtually becomes a disembodied extension of a political abject’s body. With reference to the theories by Bertolt Brecht, Antonin Artaud, George Bataille, Julie Kristeva, Fabio Vighi, and Gilles Deleuze, this article finds that the corporeal expressions in Drug War signal that a modern political cinema of Hong Kong can emerge, even without the presence of positive Hong Kong characters, but only with a type of corporeal abjective subjectivity of Hong Kong consciousness. Sun, 01 Dec 2019 00:00:00 GMT /library/oar/handle/123456789/49777 2019-12-01T00:00:00Z