Vincennes University

Reseña del libro Transnational Cinema Solidarity. Chilean Exile Film and Video after 1973, de José Miguel Palacios

This article investigates the philosophical foundations of media by re-examining the concepts of form, representation, and embodiment through a phenomenological lens. It begins with André Leroi-Gourhan’s notion of the language of forms, emphasizing how technical gestures and symbolic expression evolve together and showing how the externalization of thought into material supports lays the groundwork for the mediation between body and world. This archaeological perspective is then brought into conversation with Maurice Merleau-Ponty’s phenomenology of language, in which expression is understood not simply as a vehicle for representation but as the very process through which meaning emerges within lived, perceptual experience. By tracing the dialogue and tension between these two approaches, the article introduces a phenomenology of mediation—an approach that examines how meaning arises through the interplay between embodied perception and media forms, rather than through fixed representations. Both thinkers, though distinct in their frameworks, point toward a redefinition of mediation that unsettles the traditional subject-object dichotomy by highlighting the dynamic relationship between bodily activity and symbolic systems. Expanding on these foundations, the article advances the concept of a Phenomenology of the non-whole. This perspective understands media not as totalizing or closed systems of representation, but as open-ended, fragmentary processes that express the inherent incompleteness and relational nature of human experience; in other words, it explores how media articulate the partial, pre-representational structures through which sense is made. By clarifying these concepts, the discussion becomes accessible to readers from diverse backgrounds, fostering deeper engagement with the core arguments.

This article presents a study of memes published (on Facebook, X, Instagram, and TikTok) by six particularly different brands (Oasis, Pulco, Panzani, Gucci, IKEA, and Netflix). Through a documentary corpus and thematic content analysis, the study brings to light various observations on brand memes. These are popular, unifying, porous, and viral content that can become particularly strategic de-branded branding tools for advertisers. Memes offer brands an opportunity to increase their virality, visibility, and image at a low cost without being accused of promotional hype.

A partir de una reflexión sobre el presentismo, este texto se interesa por los usos de la memoria en la España de comienzos del siglo XXI, en particular en torno a la llamada « recuperación de la memoria histórica », que engloba los usos del pasado, discursos memoriales y reivindicaciones políticas y judiciales llevados a cabo por las víctimas de la dictadura franquista y sus descendientes. El análisis de estos usos tiene en cuenta el « giro emocional » de las ciencias sociales y propone una nueva interpretación de la presencia del pasado en los debates políticos y prácticas sociales de la España contemporánea como un reenactment, que no solo trae el pasado al presente sino que también transforma su significado, con innegables consecuencias políticas.

S’intéressant à la dimension «trouée» de l’archive, cette contribution esquisse une approche esthétique du geste de la reprise au sein de quelques films, exposés et vidéos mettant en scène certains aspects du dispositif même de l’archive et dont la forme est celle du film d’essai, de l’installation ou du film expérimental. Trois gestes qui rendent sensible, sous des formes variées, l’historicité du remploi et qui, le troublant, «restaurent» paradoxalement l’image: d’abord le geste mélancolique, lié à l’objet-film; ensuite le geste théâtral, lié à l’exposition des appareils de projection ou de montage; enfin le geste conceptuel procédant par une perturbation de l’expérience temporelle du film.

Certains couples de la langue française, tel le syntagme « aller-retour », semblent exister comme allant de soi ; l’expression du trait d’union donne à penser que les deux mots sont reliés, le premier n’étant en somme que le symétrique inversé de l’autre. « Faire la navette », dit-on à propos d’allers-retours répétitifs entre une ville et une autre, à l’image de la « navette » que tient Pénélope chaque nuit pendant plusieurs années pour défaire, la nuit, un tissage qu’elle refai

Wendy Delorme’s Viendra le temps du feu and Phoebe Hadjimarkos Clarke’s Tabor, two French polyphonic dystopian novels published in 2021, can be construed as attempts to break free from a social contract that is essentially a heterosexual contract (Wittig), so as to usher in a utopian community where the dynamics of desire is redefined. As the reader is challenged to consent to these alternative imaginary worlds on a narrative as well as on a metaliterary level, both novels end up questioning the very desire for fiction as a source of empowerment.