scholarly journals Introduction: touch, click and motion: archaeologies of fashion film after digital culture

2020 ◽  
Vol 19 (3) ◽  
pp. 323-339
Author(s):  
Caroline Evans ◽  
Jussi Parikka
Keyword(s):  
Film History ◽  
Historical Record ◽  
Digital Culture ◽  
Early Cinema ◽  
Fashion History ◽  
Media Archaeology ◽  
Moving Image ◽  
Digital Platforms ◽  
Dynamic Form ◽  
Contemporary Practice

This article functions as the introduction to the Themed Issue on Archaeologies of Fashion Film. The text introduces fashion film as a genre and as an historically dynamic form of audiovisual expression that we approach through fashion history, media archaeology and new film history. While introducing key concepts and approaches, the authors propose a form of ‘parallax historiography’, a term emerging from Thomas Elsaesser’s work, that links different time periods from early cinema to recent digital platforms, even ‘post-cinema’. The introduction makes references to the contributions in this issue that address historical conditions of emergence, marginal voices in the historical record and unexcavated archival materials; and the issue shows how they all contain feedback loops or recursive traits that resonate in contemporary practice where infrastructures of platforms and data frame the moving image.

Between Copyright and Creativity

2020 ◽  
pp. 104-121
Author(s):  
Amanda Egbe
Keyword(s):  
Film Industry ◽  
Motion Pictures ◽  
Film History ◽  
Copyright Law ◽  
Early Cinema ◽  
New Materials ◽  
Moving Image ◽  
Primary Form ◽  
Archaeological Approach

Focusing on Edison’s early cinematic apparatus and the optical printer, this chapter explores how copyright law intersects with creativity, providing an alternative to teleological accounts of moving-image technologies. Thomas Edison attempted to control the film industry through patents and copyright. Edison’s first film experiments were registered as a series of photographs on card by his assistant, W. L. Dickson. In protecting these contact copies as paper prints with copyright, the new medium of motion pictures was being formalized. The necessity to duplicate film to support the development of exhibition and distribution was also necessary for copyright purposes. An archaeological approach is utilized to explore how paper prints enabled innovation in the area of the optical printer, a primary form of duplication in cinema. In developing approaches that could bring to life the remaining examples of early cinema, novel solutions in the form of innovations were required. The overlapping concerns of the copyright clerk, the film entrepreneur, and the film historian thus provide a basis for new materials and new innovations in moving-image technology and film history.

Cinema Expanded

2020 ◽  
Author(s):  
Jonathan Walley
Keyword(s):  
New Media ◽  
Film History ◽  
Video Art ◽  
Experimental Film ◽  
Art World ◽  
Film Culture ◽  
Moving Image ◽  
Avant Garde ◽  
Expanded Cinema ◽  
History Of

Cinema Expanded: Avant-Garde Film in the Age of Intermedia is a comprehensive historical survey of expanded cinema from the mid-1960s to the present. It offers an historical and theoretical revision of the concept of expanded cinema, placing it in the context of avant-garde/experimental film history rather than the history of new media, intermedia, or multimedia. The book argues that while expanded cinema has taken an incredible variety of forms (including moving image installation, multi-screen films, live cinematic performance, light shows, shadow plays, computer-generated images, video art, sculptural objects, and texts), it is nonetheless best understood as an ongoing meditation by filmmakers on the nature of cinema, specifically, and on its relationship to the other arts. Cinema Expanded also extends its historical and theoretical scope to avant-garde film culture more generally, placing expanded cinema in that context while also considering what it has to tell us about the moving image in the art world and new media environment.

Post-digital prosumption and the sharing economy of space: The pay-per-minute cafe

2021 ◽  
pp. 146954052110220
Author(s):  
Alexandra Kviat
Keyword(s):  
Consumer Culture ◽  
Digital Technology ◽  
Sharing Economy ◽  
Digital Culture ◽  
Cultural Impact ◽  
Pricing Policy ◽  
Digital Platforms ◽  
Brick And Mortar ◽  
Physical Spaces

Although prosumption and the sharing economy are currently at the cutting edge of consumer culture research, little attempt has been made to explore the theoretical relationship between these concepts and approach them with a pluralistic, dynamic, nuanced and ethnographically informed lens moving beyond the dichotomies of capitalism versus anti-capitalism, rhetoric versus reality, exploitation versus empowerment and traditional versus digital consumer culture. This article addresses these gaps by focusing on the phenomenon of pay-per-minute cafes – physical spaces inspired by digital culture and meant to apply its principles in the brick-and-mortar servicescape. Drawing on a multi-site, multi-method case study of the world’s first pay-per-minute cafe franchise, the article shows a multitude of ways in which prosumption and the sharing economy, both shaped by different configurations of organisational culture, physical design, food offer and pricing policy, are conceived, interpreted and experienced by the firms and customers across the franchise and argues that conflicts and contradictions arising from this diversity cannot be reduced to the narrative of consumer exploitation. Finally, while both prosumption and the sharing economy are typically defined by the use of digital platforms, this article makes a case for a post-digital approach to consumer culture research, looking into the cultural impact of digital technology on traditional servicescapes.

How Digitization is Empowering Vietnamese Cultural Professionals to Preserve, Present, and Promote Art and Culture Online: Navigating Challenges whilst Harnessing Opportunities to Create a Digital Culture

2021 ◽  
Vol 50 (2) ◽  
pp. 35-49
Author(s):  
Emma Duester
Keyword(s):  
Digital Technologies ◽  
Cultural Preservation ◽  
Digital Culture ◽  
Cultural Resources ◽  
Digital Platforms ◽  
Art And Culture ◽  
Digital Work ◽  
Cultural Sector ◽  
Cultural Colonialism ◽  
Free Open Source

Abstract The ability to publish and provide access to cultural resources via free, open source digital platforms is empowering Vietnamese cultural professionals to promote their culture to local and international audiences. Digitization projects now include the use of 3D, VR, and AR digital technologies for the purpose of being published on digital platforms. This is creating an emergent digital culture in Vietnam, with an increasing amount of available resources online. Digitization projects are now used to preserve cultural heritage as well as to present and promote contemporary art and culture. This reflects a change in practices amongst cultural professionals in Hanoi, in terms of how digital technologies are used and the value placed on making cultural resources publicly accessible online. However, as new content, knowledge, and voices are able to participate in the online discourse on art and culture, the question remains as to whether this digital transition is creating greater equality and inclusion in the cultural sector or if it is exacerbating already existing forms of digital cultural colonialism. This paper presents findings from 50 interviews with cultural professionals working in the cultural sector in Hanoi about their digitization projects and digital work practices, the developments in digitization in Hanoi’s cultural sector over the past five years, how cultural professionals are utilizing the opportunities afforded by digital technologies for cultural preservation and promotion, as well as the challenges they face in carrying out digitization projects.

scholarly journals The Use of Music in Healthcare Contexts: A Select Review of Writings From the 1890s to the 1940s

2008 ◽  
Vol 8 (2) ◽  
Author(s):  
Jane Edwards
Keyword(s):  
Music Education ◽  
Music Therapy ◽  
Well Being ◽  
Historical Record ◽  
Live Music ◽  
History Of ◽  
English Speaking ◽  
English Speaking World ◽  
Contemporary Practice ◽  
Health And Well Being

Playing live music with people who are ill to promote optimal states of health and well being is a contemporary practice which has origins as far back as the written historical record. This paper examines a select range of literature from the academic spheres of medicine, music and music education published in the late 19th century through to the mid 20th century in order to interrogate and explore aspects of the history of music therapy and its development in the English speaking world.

scholarly journals The Early 1990s and Its Afterlives: Transgender Nation Sociality in Digital Activism

2019 ◽  
Vol 5 (4) ◽  
pp. 205630511988169
Author(s):  
Eliza Steinbock
Keyword(s):  
Direct Action ◽  
Digital Culture ◽  
Imagined Community ◽  
Digital Activism ◽  
Digital Platforms ◽  
Group Transformation ◽  
Racial Dynamics ◽  
The Media

This article considers the continuities afforded by digital platforms for reactivating the 1990s Transgender Nation politics, by providing a means to bond like-minded people into imagined nations cohered into an affective public. The media archeology approach facilitates the investigation into stylistic and conceptual continuities between the 1992 and 1994 Transgender Nation’s “direct action” and militant politics into cases of digital activism from 1995 until 2016. The article further tracks early queer and trans connection and discord into later digital incarnations. The author considers digital culture as a significant site for personal and group transformation, but finds in the touchstone activities of Transgender Day of Remembrance an imagined community styled by necropolitical attunements. Direct actions online are still fueled by contesting hostility to trans life, but the critique of transgender marginalization must also account for sexual and racial dynamics.

scholarly journals Media Archaeology: a viable discipline or a valuable symptom?

Artnodes ◽  
2018 ◽  
Author(s):  
Thomas Elsaesser
Keyword(s):  
Digital Imaging ◽  
Research Field ◽  
Media Archaeology ◽  
Moving Image ◽  
Imaging Technologies ◽  
History Of ◽  
Media Practices ◽  
Opening Up

For nearly one hundred years, the moving image has been discussed primarily from the perspective of photography, by organising our questions and theories around cinema as an ocular dispositif, based on light, projection and transparency, or as a recording dispositif, based on index, imprint and trace. In the age of digital imaging technologies, some of which have little to do with optics, such a history of the moving image seems too narrowly conceived. The broadly based, if loosely defined research field of “media archaeology” not only locates cinema within more comprehensive media histories, it also investigates apparently obsolete, overlooked or poorly understood past media practices. The expectation is that by once more “opening up” these pasts, one can also enable or envisage a different future. The question then arises: is media archaeology a (viable) disciplinary subject or also a (valuable) symptom of changes in our ideas of history, causality and contingency?

scholarly journals Pixels, Police, and Batons

2021 ◽  
Vol 74 (3) ◽  
pp. 9-22
Author(s):  
Cameron L. White
Keyword(s):  
Hong Kong ◽  
Digital Media ◽  
Film Studies ◽  
Mainland China ◽  
Film History ◽  
Film Festival ◽  
Moving Image ◽  
Moving Images ◽  
Frequent Form ◽  
Productive Potential

The 2019 Hong Kong protests witnessed not only sustained physical demonstrations by locals, but also a swell of online digital media that recorded and remixed conflicts between protestors and police. By documenting key moving images that circulated throughout social media and the film festival circuit, White’s essay reorients Hong Kong film studies’ relationship with the digital. Although cinema played a secondary role in the 2019 protests compared to digital media, numerous intertextual linkages demonstrate the productive potential of considering the two together. Special attention is given to the cops-and-robbers genre, a linchpin in local film history and a frequent form of choice for Hong Kong-mainland China coproductions. While the troubled representation of police in 2019 and beyond suggests that the future of the genre is unstable, the ingenuity of recent digital media demonstrates Hong Kong’s enduring potential for moving image innovation.

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