Lotte Hoek
Datos Biográficos
| ID | 199135 |
|---|---|
| NOMBRE | Lotte Hoek |
| NOMBRES | Lotte |
| APELLIDO | Hoek |
| FIRMA | HOEK L |
| AFILIACIONES | University of Edinburgh |
| VERIFICADO | No |
| TOTAL DE OBRAS | 21 |
| TOTAL DE CITAS | 24 |
| TOTAL COMO AUTOR | 21 |
| TOTAL COMO EDITOR | 0 |
| PRIMER AÑO DE PUBLICACIÓN | 2010 |
| AÑO MÁS RECIENTE DE PUBLICACIÓN | 2025 |
| ÍNDICE H | 3 |
Cinema Haunts
Anatomy, Archaeology, Archive
Phantasmatic Remediations Between Archives and Platforms
Idols and Ideologies
Cinema in the Age of Social Media
Imaginations and Infrastructures of Visibility
Bollywood
Anthropology, Film Industries, Modularity
Share Your Screen
When celluloid pornography went digital
This article investigates the fate of celluloid pornography after the end of film. With the demise of celluloid filmmaking in Bangladesh and the rapid transitioning of film projection to digital forms, bits and pieces of stray sexually explicit celluloid have migrated to digital formats. In this article, I map the movement of so-called ‘cut-pieces’, locally produced strips of illegal celluloid pornography, onto online forums patronized by Bengali…
Journeying through Modernism
This article explores the journeys of two key twentieth-century artists from East Pakistan—Zainul Abedin and S.M. Sultan—to and through post-imperial London in the early 1950s. Sultan’s cosmopolitan journeying, from Calcutta through Karachi and Lahore, to the USA and through London, to eventually settle in the countryside of Eastern Bengal, left traces in his practice, philosophy, and the narratives that have come to surround his work. Abedin’s L…
Pictures on paper
The Bangladesh Film Club Act of 1980 set out to regulate and control the flourishing film society movement during the years of military dictatorship. This Act illustrates the response of the state to the social formations that were called into being around a canon of national and international art films. In this article, I explore the paperwork generated out of this Act and suggest it allows a reconsideration of film censorship as acting upon par…
Film for Good
Urban Wallpaper
What do film posters on city walls tell us about the relationship between the cinema and the city? In this paper, I rely on the practice and perspective of young men who put up film posters on Dhaka’s city walls to explore this question. I argue that the wall is a key site for the production of a cinematic public that does not map onto film audiences; for the experience of newness in the city and of the cinema as analogous experiences; and for an…
Mirrors of movement
In 1977 a film was released in Pakistan that broke all box-office records. Running continuously for five years in a Karachi cinema hall, Aina/Mirror (Nazrul Islam, 1977) was a massive hit. The story of a society girl and her devoted lover, the narrative offered little innovation; similar tales were, and are, a staple of South Asian film industries. It was the film’s other attractions that commanded the huge volume of repeat viewing, such as its g…
Provisional Relations, Indeterminate Conditions
In the introduction to this special section, we present six ethnographic articles that explore the sites and forms of ‘non-sociological sociality’ in South Asia. Set in urban spaces where the familiar vectors of relations, such as ethnicity, class, gender or age, may be attenuated, the articles examine how social and political entanglement is suffused with ambiguity, indeterminacy, provisionality and contingency. In these sites, opaque conditions…
Killer not terrorist
This article explores the relationship between the account of terror presented in the popular action cinema of Bangladesh and the acts of terror they describe. Popular action films have eagerly taken on terrorists and other criminal types in their spectacular narratives. Through conversations with film personnel involved in the creation of these films, I consider their interpretation of terrorism as it becomes presented on celluloid. I explore th…
Blood splattered Bengal
The contemporary Bangladeshi cinema is stained red by the enthusiastic use of fake blood that erupts from bodies pictured in fist fights, gun battles and sword attacks. In this article, I draw on my ethnographic fieldwork in the Bangladesh film industry to illustrate the spurting of fake blood in two popular film genres: mainstream action cinema and straight-to-VCD rural crime stories (kiccha pala VCDs). I suggest that the affective intensity asc…
Introduction to crowds and conviviality
In this introduction to the special issue of Ethnography, we argue that the South Asian city is not an inert backdrop to the lives of its various inhabitants. Living cities change and morph, their instability and transformation demanding a concomitant openness to change from its inhabitants. The open-endedness of the living city in South Asia requires an open and exploratory ethnographic approach unburdened by inflexible terminology, formats or c…
Mofussil Metropolis
This article explores the charismatic afterlife of wilting civic institutions and public sites in Dhaka, Bangladesh. Revolving around the career of an assistant film director involved in the production of cheap action movies, I argue that his love for and use of urban fine arts venues puts a spin on proclamations of the death of modernist urbanism and city planning in postcolonial cities. While such institutions and ideals have in many ways run a…
Cut‐Pieces as Stag Film
This article discusses the ‘cut‐piece’, short strips of celluloid containing sexually explicit imagery that are spliced in and out of Bangladeshi feature films, even during screening. Such cut‐pieces came into existence in Bangladesh in the mid‐1990s and are made in Bangladesh with Bangladeshi actors and crew. The article outlines the generic conventions of such Bangladeshi hard‐core cinematic pornography found in Bangladeshi action movies and fo…
Introduction to crowds and conviviality
In this introduction to the special issue of Ethnography, we argue that the South Asian city is not an inert backdrop to the lives of its various inhabitants. Living cities change and morph, their instability and transformation demanding a concomitant openness to change from its inhabitants. The open-endedness of the living city in South Asia requires an open and exploratory ethnographic approach unburdened by inflexible terminology, formats or c…
Cut‐Pieces as Stag Film
This article discusses the ‘cut‐piece’, short strips of celluloid containing sexually explicit imagery that are spliced in and out of Bangladeshi feature films, even during screening. Such cut‐pieces came into existence in Bangladesh in the mid‐1990s and are made in Bangladesh with Bangladeshi actors and crew. The article outlines the generic conventions of such Bangladeshi hard‐core cinematic pornography found in Bangladeshi action movies and fo…
When celluloid pornography went digital
This article investigates the fate of celluloid pornography after the end of film. With the demise of celluloid filmmaking in Bangladesh and the rapid transitioning of film projection to digital forms, bits and pieces of stray sexually explicit celluloid have migrated to digital formats. In this article, I map the movement of so-called ‘cut-pieces’, locally produced strips of illegal celluloid pornography, onto online forums patronized by Bengali…
Killer not terrorist
This article explores the relationship between the account of terror presented in the popular action cinema of Bangladesh and the acts of terror they describe. Popular action films have eagerly taken on terrorists and other criminal types in their spectacular narratives. Through conversations with film personnel involved in the creation of these films, I consider their interpretation of terrorism as it becomes presented on celluloid. I explore th…
Mofussil Metropolis
This article explores the charismatic afterlife of wilting civic institutions and public sites in Dhaka, Bangladesh. Revolving around the career of an assistant film director involved in the production of cheap action movies, I argue that his love for and use of urban fine arts venues puts a spin on proclamations of the death of modernist urbanism and city planning in postcolonial cities. While such institutions and ideals have in many ways run a…
Journeying through Modernism
This article explores the journeys of two key twentieth-century artists from East Pakistan—Zainul Abedin and S.M. Sultan—to and through post-imperial London in the early 1950s. Sultan’s cosmopolitan journeying, from Calcutta through Karachi and Lahore, to the USA and through London, to eventually settle in the countryside of Eastern Bengal, left traces in his practice, philosophy, and the narratives that have come to surround his work. Abedin’s L…
Film for Good
Urban Wallpaper
What do film posters on city walls tell us about the relationship between the cinema and the city? In this paper, I rely on the practice and perspective of young men who put up film posters on Dhaka’s city walls to explore this question. I argue that the wall is a key site for the production of a cinematic public that does not map onto film audiences; for the experience of newness in the city and of the cinema as analogous experiences; and for an…
Provisional Relations, Indeterminate Conditions
In the introduction to this special section, we present six ethnographic articles that explore the sites and forms of ‘non-sociological sociality’ in South Asia. Set in urban spaces where the familiar vectors of relations, such as ethnicity, class, gender or age, may be attenuated, the articles examine how social and political entanglement is suffused with ambiguity, indeterminacy, provisionality and contingency. In these sites, opaque conditions…
Cut‐Pieces as Stag Film
This article discusses the ‘cut‐piece’, short strips of celluloid containing sexually explicit imagery that are spliced in and out of Bangladeshi feature films, even during screening. Such cut‐pieces came into existence in Bangladesh in the mid‐1990s and are made in Bangladesh with Bangladeshi actors and crew. The article outlines the generic conventions of such Bangladeshi hard‐core cinematic pornography found in Bangladeshi action movies and fo…
Introduction to crowds and conviviality
In this introduction to the special issue of Ethnography, we argue that the South Asian city is not an inert backdrop to the lives of its various inhabitants. Living cities change and morph, their instability and transformation demanding a concomitant openness to change from its inhabitants. The open-endedness of the living city in South Asia requires an open and exploratory ethnographic approach unburdened by inflexible terminology, formats or c…
Mofussil Metropolis
This article explores the charismatic afterlife of wilting civic institutions and public sites in Dhaka, Bangladesh. Revolving around the career of an assistant film director involved in the production of cheap action movies, I argue that his love for and use of urban fine arts venues puts a spin on proclamations of the death of modernist urbanism and city planning in postcolonial cities. While such institutions and ideals have in many ways run a…
Killer not terrorist
This article explores the relationship between the account of terror presented in the popular action cinema of Bangladesh and the acts of terror they describe. Popular action films have eagerly taken on terrorists and other criminal types in their spectacular narratives. Through conversations with film personnel involved in the creation of these films, I consider their interpretation of terrorism as it becomes presented on celluloid. I explore th…
Blood splattered Bengal
The contemporary Bangladeshi cinema is stained red by the enthusiastic use of fake blood that erupts from bodies pictured in fist fights, gun battles and sword attacks. In this article, I draw on my ethnographic fieldwork in the Bangladesh film industry to illustrate the spurting of fake blood in two popular film genres: mainstream action cinema and straight-to-VCD rural crime stories (kiccha pala VCDs). I suggest that the affective intensity asc…
Urban Wallpaper
What do film posters on city walls tell us about the relationship between the cinema and the city? In this paper, I rely on the practice and perspective of young men who put up film posters on Dhaka’s city walls to explore this question. I argue that the wall is a key site for the production of a cinematic public that does not map onto film audiences; for the experience of newness in the city and of the cinema as analogous experiences; and for an…
Mirrors of movement
In 1977 a film was released in Pakistan that broke all box-office records. Running continuously for five years in a Karachi cinema hall, Aina/Mirror (Nazrul Islam, 1977) was a massive hit. The story of a society girl and her devoted lover, the narrative offered little innovation; similar tales were, and are, a staple of South Asian film industries. It was the film’s other attractions that commanded the huge volume of repeat viewing, such as its g…
Provisional Relations, Indeterminate Conditions
In the introduction to this special section, we present six ethnographic articles that explore the sites and forms of ‘non-sociological sociality’ in South Asia. Set in urban spaces where the familiar vectors of relations, such as ethnicity, class, gender or age, may be attenuated, the articles examine how social and political entanglement is suffused with ambiguity, indeterminacy, provisionality and contingency. In these sites, opaque conditions…
Film for Good
When celluloid pornography went digital
This article investigates the fate of celluloid pornography after the end of film. With the demise of celluloid filmmaking in Bangladesh and the rapid transitioning of film projection to digital forms, bits and pieces of stray sexually explicit celluloid have migrated to digital formats. In this article, I map the movement of so-called ‘cut-pieces’, locally produced strips of illegal celluloid pornography, onto online forums patronized by Bengali…
Journeying through Modernism
This article explores the journeys of two key twentieth-century artists from East Pakistan—Zainul Abedin and S.M. Sultan—to and through post-imperial London in the early 1950s. Sultan’s cosmopolitan journeying, from Calcutta through Karachi and Lahore, to the USA and through London, to eventually settle in the countryside of Eastern Bengal, left traces in his practice, philosophy, and the narratives that have come to surround his work. Abedin’s L…
Pictures on paper
The Bangladesh Film Club Act of 1980 set out to regulate and control the flourishing film society movement during the years of military dictatorship. This Act illustrates the response of the state to the social formations that were called into being around a canon of national and international art films. In this article, I explore the paperwork generated out of this Act and suggest it allows a reconsideration of film censorship as acting upon par…
Share Your Screen
Bollywood
Anthropology, Film Industries, Modularity
Imaginations and Infrastructures of Visibility
Idols and Ideologies
Cinema in the Age of Social Media
Phantasmatic Remediations Between Archives and Platforms
Cinema Haunts
Anatomy, Archaeology, Archive
Art (13 obras) · Sociology (13 obras) · South Asian Cinema and Culture (10 obras) · Media studies (9 obras) · Political science (9 obras) · South Asian Studies and Conflicts (9 obras) · Law (8 obras) · Movie theater (8 obras) · Visual arts (8 obras) · Computer Science (7 obras)