Ambiguity Revisited
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Ambiguity and Film Criticism
This book defends an account of ambiguity which illuminates the aesthetic possibilities of film and the nature of film criticism. Ambiguity typically describes the condition of multiple meanings. But we can find multiple meanings in what appears unambiguous to us. So, what makes ambiguity ambiguous? This study argues that a sense of uncertainty is vital to the concept. Ambiguity is what presses us to inquire into our puzzlement over a movie, to persistently ask “why is it as it is?” Notably, this account of the concept is also an account of its criticism. It recognises that a satisfying assessment of what is ambiguous involves both our reason and doubt; that is, reason and doubt can work together in our practice of reading. This book, then, considers ambiguity as a form of reasonable doubt, one that invites us to reflect on our critical efforts, rethinking the operation of film criticism.
Ambiguity Revisited
ambiguity revisited is concerned with the manner in which pictures communicate with the spectator. Its focus lies in those fluid, indeterminate spaces where our reading of images, in art and photography, exercises and draws upon our imagination, memory, and experience. Sir William Empson's seminal (1930) text: Seven Types of Ambiguity is used as a springboard to discussion, towards a fresh way of exploring ambiguity beyond English literature, and in a broader framework to that contained in John Berger's (1989) Another Way of Telling. The use of ambiguity in art and photography, as in literature, is both a conscious and an unconscious act; and ambiguity influences the way in which we respond to work, from Leonardo da Vinci's portraits to the photographer William Eggleston's engaging and idiosyncratic reflections on America's Deep South. This ambiguity is a force for good, or at least one to be reckoned with, due to its participatory nature in actively engaging with, or masking itself from, the viewer. Ambiguity is infrequently discussed but is highly relevant as an expressive device. It holds a position at the core of communication within the visual arts. As society becomes influenced increasingly by communications delivered in a visual form, so we, the consumers, require tools, more than ever, to engage with the work.
Glen
The "Hizmet" ("Service") Movement of Fethullah Gülen is Turkey’s most influential Islamic identity community. Widely praised throughout the early 2000s as a mild and moderate variation on Islamic political identity, the Gülen Movement has long been a topic of both adulation and conspiracy in Turkey, and has become more controversial as it spreads across the world. In Gülen, Joshua D. Hendrick suggests that when analyzed in accordance with its political and economic impact, the Gülen Movement, despite both praise and criticism, should be given credit for playing a significant role in Turkey's rise to global prominence. Drawing on 14 months of ethnographic fieldwork in Turkey and the U.S., Hendrick examines the Gülen Movement’s role in Turkey’s recent rise, as well as its strategic relationship with Turkey’s Justice and Development Party-led government. He argues that the movement’s growth and impact both inside and outside Turkey position both its leader and its followers as indicative of a "post political" turn in twenty-first century Islamic political identity in general, and as illustrative of Turkey’s political, economic, and cultural transformation in particular. Joshua D. Hendrick is Assistant Professor of Sociology and Global Studies at Loyola University Maryland in Baltimore.