Other, in terms of some stereotype, is not a way (I have asked myselfĪt times whether superficial knowledge of the One’s sense of self is always mediated by the The master is made to recognize that his culture is neither homogeneous nor monolithic, that he is just an other among others. In other words, we call attention to the fact that there is a Third World in every First World and vice-versa. In dealing with hegemony, we are not only challenging the dominance of Western cultures, but also their identities as unified cultures.
It calls attention to the routine structures of everyday thought, down to common sense itself. Hegemony is established to the extent that the world view of the rulers is also the world view of the ruled.
Hegemony is most difficult to deal with because it does not really spare any of us. Of the national stage, with the spectators not Of mine, I shall get twice as much praise or twiceĪs much blame. It is thrilling to think – to know that for an act From orthodox to progressive patriarchy, from direct colonization to indirect, subtly pervasive hegemony, things have been much refined, but the road is still long and the fight still goes on. When speaking about the Master, I am necessarily speaking about both Him and the West. My history, my story, is the history of the First World/Third World, dominant/oppressed, man/woman relationship. In working to shake any system of values, a politically made film must begin by first shaking the system of cinematic values on which its politics is entirely dependent. Since women have for decades worked hard at widening the definition of “political” since there is no subject that is “apolitical” or too narrow, but only narrow, apolitical representations of subjects, a film does not necessarily need to attack governmental institutions and personalities to be ”political.” Different realms and levels of institutional values govern our daily lives. We are moving here from the making of a genre of film to the making of a wide range of genres of film in which the making itself is political. More and more, there is a need to make films politically (as differentiated from making political films). Through the way a film is made, the way it relates to its subject, as well as through the viewers’ receptions, I expect that it solicits my critical abilities and sharpens my awareness of how ideological patriarchy and hegemony works. The films I make, in other words, are made to contribute to the body of film works I like and would like to see. Let me start by asking myself: what do I expect from a film? What I expect is borne out by what I work at bringing forth in my own films. Later it was published in The Independent (Film & Video Monthly), May 1987. Our readers have come to expect excellence from our products, and they can count on us to maintain a commitment to producing rigorous and innovative information products in whatever forms the future of publishing may bring.This lecture was first delivered at Viewpoints: A Conference on Women, Culture & Public Media at Hunter College, New York, in 1986. Through our commitment to new products-whether digital journals or entirely new forms of communication-we have continued to look for the most efficient and effective means to serve our readership. Since the late 1960s, we have experimented with generation after generation of electronic publishing tools. The Press's enthusiasm for innovation is reflected in our continuing exploration of this frontier. We were among the first university presses to offer titles electronically and we continue to adopt technologies that allow us to better support the scholarly mission and disseminate our content widely.
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