Jeeshan Gazi
Biographic Data
| ID | 3943048 |
|---|---|
| NAME | Jeeshan Gazi |
| GIVEN NAMES | Jeeshan |
| FAMILY NAME | Gazi |
| SIGNATURE | GAZI J |
| AFFILIATIONS | Film Independent |
| ORCID | 0000-0001-7178-8112 |
| VERIFIED | Yes |
| TOTAL WORKS | 6 |
| TOTAL CITATIONS | 0 |
| WORKS AS AUTHOR | 6 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 2016 |
| LATEST PUBLICATION YEAR | 2024 |
| H-INDEX | 0 |
Whose roar is it, anyway? Localization and ideological communication with respect to the Toho Godzilla franchise”
Since the mid-1980s, film critics and audiences have come to recognize Ishirō Honda’s original cutof Gojira/Godzilla (1954) to be a substantial meditation on the atomic bombing of Japan, ananalysis that had been initially obscured by the re-working of the film for distribution to Westernaudiences. This article elucidates how the story of the international distribution and localizationof Toho’s Godzilla films communicates the story of Japan’s rela…
Soiveillance
This article analyses the surveillance aesthetic of Hideaki Anno’s 1998 film Love & Pop. It is proposed that the film communicates the concept of “soiveillance”—a watching (veillance) that is of one’s self (soi). What underpins soiveillance is the paranoia associated with social surveillance (Marwick 2012), specifically the self-consciousness involved in the image sharing that constructs the virtual self of the social media user (Willett 2009). W…
Race in the age of tribeless youth culture
This article posits Rick Famuyiwa’s 2015 film Dope as a site of convergence for broader shifts in recent African-American pop culture against the backdrop of post-racial ideology. Firstly, the film demonstrates how, while youth culture is now largely “tribeless,” the sonic boundaries between subcultures having collapsed, the corresponding racial boundaries nevertheless persist. Having established this, it is then argued that the film’s social med…
Pynchon’s Nineteen Eighty-Four
This article argues that Thomas Pynchon’s Vineland (1990) aligns the corruption of underground filmmaking to the corruption of west coast radicalism by way of a system of metaphor concerning media that is based upon an engagement with Orwell’s Nineteen Eighty-Four (1949). Pynchon delineates between two components of the filmic object – its metaphorical status as a medium of time and its affective nature upon the spectator. As a medium of time, th…
Redeeming Kracauer's Theory of Film
Redeeming Kracauer’s Theory of Film: An Examination of the Importance of Material Aesthetics Jeeshan Gazi (bio) Introduction As is perhaps more well-known than the contents of the book itself, Siegfried Kracauer’s Theory of Film: The Redemption of Physical Reality (1960), while deemed an important work of “classical” film theory, has never been fully embraced by film theorists.1 Agreeing with Miriam Bratu Hansen that Kracauer’s work is “often mis…
Redeeming Kracauers Theory of Film
By way of an analysis of his Theory of Film: The Redemption of Physical Reality (1960), and a comparison with Martin Heidegger’s “What Are Poets For?” (1946), this paper argues that Siegfried Kracauer conceives of film as a representation of the external world in its purity – an image of physical existence free of the abstractions of science and ideology - and that this redemption of physical reality also effectuates the redemption of humanity by…
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Pynchon’s Nineteen Eighty-Four
This article argues that Thomas Pynchon’s Vineland (1990) aligns the corruption of underground filmmaking to the corruption of west coast radicalism by way of a system of metaphor concerning media that is based upon an engagement with Orwell’s Nineteen Eighty-Four (1949). Pynchon delineates between two components of the filmic object – its metaphorical status as a medium of time and its affective nature upon the spectator. As a medium of time, th…
Redeeming Kracauer's Theory of Film
Redeeming Kracauer’s Theory of Film: An Examination of the Importance of Material Aesthetics Jeeshan Gazi (bio) Introduction As is perhaps more well-known than the contents of the book itself, Siegfried Kracauer’s Theory of Film: The Redemption of Physical Reality (1960), while deemed an important work of “classical” film theory, has never been fully embraced by film theorists.1 Agreeing with Miriam Bratu Hansen that Kracauer’s work is “often mis…
Redeeming Kracauers Theory of Film
By way of an analysis of his Theory of Film: The Redemption of Physical Reality (1960), and a comparison with Martin Heidegger’s “What Are Poets For?” (1946), this paper argues that Siegfried Kracauer conceives of film as a representation of the external world in its purity – an image of physical existence free of the abstractions of science and ideology - and that this redemption of physical reality also effectuates the redemption of humanity by…
Race in the age of tribeless youth culture
This article posits Rick Famuyiwa’s 2015 film Dope as a site of convergence for broader shifts in recent African-American pop culture against the backdrop of post-racial ideology. Firstly, the film demonstrates how, while youth culture is now largely “tribeless,” the sonic boundaries between subcultures having collapsed, the corresponding racial boundaries nevertheless persist. Having established this, it is then argued that the film’s social med…
Soiveillance
This article analyses the surveillance aesthetic of Hideaki Anno’s 1998 film Love & Pop. It is proposed that the film communicates the concept of “soiveillance”—a watching (veillance) that is of one’s self (soi). What underpins soiveillance is the paranoia associated with social surveillance (Marwick 2012), specifically the self-consciousness involved in the image sharing that constructs the virtual self of the social media user (Willett 2009). W…
Whose roar is it, anyway? Localization and ideological communication with respect to the Toho Godzilla franchise”
Since the mid-1980s, film critics and audiences have come to recognize Ishirō Honda’s original cutof Gojira/Godzilla (1954) to be a substantial meditation on the atomic bombing of Japan, ananalysis that had been initially obscured by the re-working of the film for distribution to Westernaudiences. This article elucidates how the story of the international distribution and localizationof Toho’s Godzilla films communicates the story of Japan’s rela…
Art (5 works) · Law (5 works) · Aesthetics (4 works) · Ideology (4 works) · Political science (4 works) · Politics (4 works) · Cinema and Media Studies (3 works) · Literature (3 works) · Media studies (3 works) · Sociology (3 works)