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Abstract: “What do you find unwatchable and why'” is the question Nicholas Baer, Maggie Hennefeld, Laura Horak, and Gunnar Iversen asked the fifty-six contributors to their edited collection Unwatchable. Their answers had to be personal, short (up to 1,500 words), and quick (within three months) if they were to respond to and engage with the topic’s urgency.1 The “act of covering one’s eyes,” Unwatchable argues, “has become a representative gesture in our contemporary media culture of proliferating scenes and virally circulating images where potentially traumatic content is never more than a click, scroll, or swipe away” (1–2). In Unwatchable, the scholars, critics, visual artists, curators, and archivists who responded to ... Read More PubDate: 2022-06-07T00:00:00-05:00
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Abstract: At 3 o’clock in the afternoon of January 1, 1897, Black musicians Saint Suttle and H. C. Winn celebrated the new year in Chicago by having professional photographs taken at Hough & Son’s photography studio in the basement of 308 State Street. Coming in from the cold street, they placed their instruments on a table and proceeded to pose for a set of photos under the studio’s newly installed electric lights. Twenty minutes later the musicians left the studio with six tintypes, apparently satisfied with Hough’s work.Suttle and Winn proceeded to show the portraits off to friends around town. Something in their friends’ reaction—mocking instead of admiration, perhaps—led the musicians to return to Hough’s studio late at ... Read More PubDate: 2022-06-07T00:00:00-05:00
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Abstract: Animation has long been defined and analyzed as an art of movement. Drawing attention to the fluid movement of outlines in animated cartoon characters, Sergei Eisenstein proposes the concept of “plasmaticness,” which refers to the stretching, elongating, inflating, deflating, transforming, and deforming of bodily forms, registering “a rejection of once-and-forever allotted form, freedom from ossification, the ability to dynamically assume any form.”1 Animation has also been regarded as a moving art, capable of moving and transforming itself across media, space, and time.2 Other scholars, such as Sianne Ngai, draw attention to the affective dimensions of animation by foregrounding its power in expressing emotions ... Read More PubDate: 2022-06-07T00:00:00-05:00
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Abstract: What happens to philosophy if its claim to provide foundations is removed from it...'In late June 2020, I watched an online recording of a 2009 seminar with Stanley Cavell at Duke University. Structured as an open conversation, the seminar followed Cavell’s inaugural lecture—a preview of his then-upcoming memoir Little Did I Know: Excerpts from Memory (2010)—at Duke’s new Center for Philosophy, Arts, and Literature. Looking at and listening to Cavell—how actively he took in queries, his affirmations of question-askers, his associative offshoots, his abstractions anchored in intuition and aerated by emotional surrounds, his way of converting a question’s tenor in his response—felt less like an encounter with a ... Read More PubDate: 2022-06-07T00:00:00-05:00
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Abstract: Olivia Landry’s ambitious monograph offers new frameworks for reading that intriguing German film movement scholars and critics have come to refer to as the “Berlin School.” These films, produced between the late 1990s and the contemporary moment (assuming that school is not yet out), continue to captivate cineasts for their auteurist mode of production, the discerning gaze they cast upon rapid social change in twenty-first-century Germany, and their loosely shared aesthetic and stylistic affinities that include dedramatized storytelling and open endings. The author references no fewer than twenty-five films in building a case for movement and performance as conceptual categories that enhance our understanding of ... Read More PubDate: 2022-06-07T00:00:00-05:00
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Abstract: Two recent and formidable anthologies have collected writings on the “long ’68” for its fifty-year anniversary, reframing our perspective on this historical placeholder and the era of cinema that it sutures together. Taken together, the essays in 1968 and Global Cinema and Celluloid Revolt make a decisive shift away from reading discrete film texts, opting instead to analyze the networks through which these texts moved and, in the process, tracking not only how they were received but also who was able to access them (and how). In so doing, these texts offer a forceful foregrounding of moving images’ circulation, asserting—in some essays more explicitly than others—that the logistics and politics of distribution are ... Read More PubDate: 2022-06-07T00:00:00-05:00
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Abstract: Why should we be so scared of a cosmic or cosmological ambition in cinema' It has always been part of the potential—and destiny—of film to mix the smallest with the largest, the immediate everyday with the longue durée of grand history, the microscopic with the macroscopic.Priya Jaikumar’s Where Histories Reside: India as Filmed Space is a spatial film historiography and much more than what it usually means. It asks a number of complex questions in the context of Indian film historiography, Indian cinema studies, and the various modes of film history writing in general. Jaikumar presents several arguments that are located in apparently disjointed temporalities and makes a strong case for the reconsideration of ... Read More PubDate: 2022-06-07T00:00:00-05:00
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Abstract: While it is important to place Genevieve Yue’s Girl Head: Feminism and Film Materiality within a history of feminist scholarship that has been less concerned with matters of cinematic representation than with investigation of the circumstances in which films get made and circulated, this book also strikes out in exciting new directions. Feminist film and media scholars working in the burgeoning field of production studies have expanded on early studies of women’s roles in the film and television industries by turning their attention to both production at the margins of these industries and alternative production communities. Yue makes an important distinction between these studies and her own interest in film ... Read More PubDate: 2022-06-07T00:00:00-05:00
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