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Economic Literacy and Money Illusion
The concept of money illusion, a recently resurrected phenomenon of behavioral economics, is a real fact of economic life, the potential role of which should no longer be dismissed. Despite money illusion being utterly suppressed by mainstream economists, small deviations from rationality, together with trends in behavioral economics, alleviate the denial of money illusion induced by the rational expectations revolution. This book argues that money illusion seems to be a ubiquitous phenomenon, affecting various areas such as financial markets, housing markets, labor markets, consumption-saving decisions, and even development at the aggregate level induced by coordination issues. Furthermore,...
Communication in Postmodern Urban Fiction
We cannot imagine our world without its digital mirror anymore. We communicate to others in mediated ways and even create ourselves through our technological devices, presenting an imagined version of us to the outside world. This book is concerned with precisely this imagination of the self in an increasing digitalized society, going back to the beginning of our digital age, to the peak of postmodernism at the end of the 20th century. Looking at urban fiction from the 1980s to the early 2000s, the journey of fictional protagonists through the streets of (mostly) New York City reveals an anxiety about the loss of self in the virtual, culminating in violence and destruction. From Auster and Ellis to Palahniuk and DeLillo, this book highlights how an increasingly distanced communication triggers the imagination of violence, making it an insightful read for scholars and aficionados of city literature, postmodernism, and communication alike.
Economic Literacy and Money Illusion
The concept of money illusion, a recently resurrected phenomenon of behavioral economics, is a real fact of economic life, the potential role of which should no longer be dismissed. Despite money illusion being utterly suppressed by mainstream economists, small deviations from rationality, together with trends in behavioral economics, alleviate the denial of money illusion induced by the rational expectations revolution. This book argues that money illusion seems to be a ubiquitous phenomenon, affecting various areas such as financial markets, housing markets, labor markets, consumption-saving decisions, and even development at the aggregate level induced by coordination issues. Furthermore,...
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Czech and Slovak Cinema
This book is the first study in English to examine some of the key themes and traditions of Czech and Slovak cinema, linking inter-war and post-war cinemas together with developments in the post-Communist period. It examines links between theme, genre, and visual style, and looks at the ways in which a range of styles and traditions has extended across different historical periods and political regimes. Czech and Slovak Cinema provides a unique study of areas of Central European film history that have not previously been examined in English.
Starlight and Stargazers
Celebrification has thrived for centuries in literature, theater, music, and other cultural spheres, as vividly illustrated by Byron, Sarah Bernhardt, and Paganini. It especially effloresced in cinema after the symbolically named Lumière brothers pioneered movies as light-projected “moving life” to be contemplated and shared in the intimate darkness of theaters. Actors and actresses such as Valentino and Garbo acquired the status of divine beings whose life on and offscreen stimulated fascination and a passionate devotion most frequently invested in religious figures. The recent explosion in social media has only amplified immeasurably the scale and intensity of that adulation. Yearning for the seemingly transcendent, fans as mere mortals seek contact with celebrities as objects of worship that, like nocturnal stars, are simultaneously remote yet accessible. Starlight and Stargazers examines the multifaceted nature and specific manifestations of film celebrification in Czechoslovakia/the Czech Republic, Poland, Soviet Russia/Russia, and Ukraine before and after 1991
FILM-KONZEPTE 58 - Vera Chytilová
Als Vertreterin der tschechoslowakischen Neuen Welle ist Vera Chytilová (1929-2014) die erste und de facto einzige Frau, die in der tschechischen Filmbranche zum Erfolg kam. Ihre rebellischen Filme aus den 1960er Jahren machen nicht bei den Widersprüchen des real existierenden Sozialismus halt, sondern loten die Optionen eines künstlerisch subversiven Zugangs zur Realität aus. Während die Aufbruchstimmung der 1960er Jahre das Kino im Westen wie im Osten erfasste, polarisierten ihre ikonoklastischen Provokationen auf beiden Seiten der Berliner Mauer. Aus der heutigen Perspektive erscheinen Revolte, Suche nach neuen Lebensformen, Widerstand gegen das politische Establishment oder formale Experimente als ein gemeinsamer Nenner der filmischen Neuen Wellen in Europa. Vera Chytilová gehörte zu den Gallionsfiguren dieses Aufbruchs, bezahlte dafür aber im Gegensatz zu ihren westlichen Kollegen einen hohen Preis. Nach der Niederschlagung des Prager Frühlings verschwanden Chytilovás Filme in den Giftschränken der Zensur, sie selbst wurde mit einem Berufsverbot belegt.
Vendulka
Famed Czech Avant-garde photographer Jan Lukas snapped an offhand portrait of twelve-year-old Vendulka Vogl in March 1943. A friend of the Vogls, Lukas was saying goodbye to the family, who were soon to leave Prague for a concentration camp. The photograph almost didn’t see the light of day—Lukas knew that if the Nazis found it on him, he could wind up in the camps as well—but the image was eventually developed and came to symbolize the Holocaust and humanize its victims. Seventy years after this famous picture was taken, investigative journalist Ondřej Kundra discovered that, despite all odds, Vendulka Vogl had survived the camps of Terezín, Auschwitz, and Christianstadt, and was in...
Cinematic Bodies of Eastern Europe and Russia
Bringing together a range of theoretical and critical approaches, this edited collection is the first book to examine representations of the body in Eastern European and Russian cinema after the Second World War. Drawing on the history of the region, as well as Western and Eastern scholarship on the body, the book focuses on three areas: the traumatized body, the body as a site of erotic pleasure, and the relationship between the body and history. Critically dissecting the different ideological and aesthetic ways human bodies are framed, The Cinematic Bodies of Eastern Europe and Russia also demonstrates how bodily discourses oscillate between complicity and subversion, and how they shaped individuals and societies both during and after the period of state socialism.
