scholarly journals New Materialist Spectatorship: The Moving-Image-Body, the Mockumentary and a New Image of Thought

2015 ◽  
Vol 8 (5) ◽  
Author(s):  
Miriam Von Schantz
Keyword(s):  
Genre Theory ◽  
New Materialism ◽  
Potential Production ◽  
Moving Image ◽  
Cinema Studies ◽  
The Core ◽  
Materialist Theory

In this article I propose to rethink spectatorship as analytic category within cinema studies. Through an engagement with new materialist theory I shift the conversation from the locked positions of spectator and text towards an acknowledgement of the spectatorial event as a becoming increased or decreased in capacity to affect and be affected. By doing so I argue that what is effectuated in the event of spectating is in fact the production of a certain body, what I call a moving-image-body. This, I claim, develops in connection with different so-called spectatorial contracts, contracts that produce different agential conditions. An examination of some examples from the realm of the mockumentary, notably I’m Still Here (Affleck, 2010), leads me to discuss the core of the issue as one pertaining to the potential production of new realities, and my methodological proposal as a way towards mapping, not what the event of spectating means, but rather what it does.     KEYWORDS Spectatorship, Mockumentary, New Materialism, Genre theory, Audiovisual Event.  

Large-scale Projection and the (New) New Monumentality

2019 ◽  
Author(s):  
Dave Colangelo
Keyword(s):  
Public Space ◽  
Case Studies ◽  
Large Scale ◽  
The Other ◽  
Historical Narratives ◽  
Moving Image ◽  
Cinema Studies ◽  
Urban Behaviour ◽  
Space Case

The use of the moving image in public space extends the techniques of cinema — namely superimposition, montage, and apparatus/dispositif — threatening, on one end of the spectrum, to dehistoricise and distract, and promising to provide new narrative and associative possibilities on the other. These techniques also serve as helpful tools for analysis and practice drawn from cinema studies that can be applied to examples of the moving image in public space. Case studies and creative works are presented in order to examine and illustrate the ways that public projections extend the effect of superimposition through the rehistoricisation of space, expand the diegetic boundaries of the moving image through spatial montage, and enact new possibilities for the cinematic apparatus and dispositif through scale and interaction in order to reframe and democratise historical narratives and scripts of urban behaviour.

scholarly journals The Arts and New Materialism: A Call to Stewardship through Mercy, Grace, and Hope

Humanities ◽  
2020 ◽  
Vol 9 (3) ◽  
pp. 84
Author(s):  
Nicholas Leonard
Keyword(s):  
New Materialism ◽  
Agential Realism ◽  
The Arts ◽  
The World ◽  
Karen Barad ◽  
Depth Study ◽  
Materialist Theory

During highly polarized times, issues are quickly addressed in ways that emphasize divisions. To support the healing of our polarized culture through art, new materialist theory as presented by Karen Barad and Rosi Braidotti will be entangled with art and artmaking according to Dennis Atkinson and Makoto Fujimura to argue for art as an act of environmental and cultural stewardship, creating new possibilities and differences in the virtual that are merciful, graceful, and hopeful. To form this argument, first a summary of new materialism and ethics through Agential Realism and Affirmative Ethics is addressed. Next, a cartography including scientific and theological perspectives is presented for a diffractive reading regarding the concepts of mercy, grace, and hope to develop a new materialist understanding through a philosophy of immanence to counter the circular perpetuation of violence. These concepts are then individually addressed through the proposed new materialist framework to further break from material-discursive dualistic thought. This approach is then explored through various artworks to investigate the co-constructing material-discursive nature of art to create new relations and possibilities in the world. Finally, an in-depth study of the artworks Becoming Us by Megan Constance Altieri and Teeter-Totter Wall by Ronald Rael are addressed to detail how a new materialist approach to art that focuses on the concepts of mercy, grace, and hope can position art as an act of stewardship.

scholarly journals META-GENRE PATTERN OF MYSTERY IN THE SYSTEM OF KIND-TYPE-GENRE LITERARY VERTICAL

2021 ◽  
pp. 128-132
Author(s):  
Drozdovskyi D.I.
Keyword(s):  
Classical Model ◽  
Genre Theory ◽  
Common Source ◽  
Traditional Model ◽  
The Core ◽  
Separate Line ◽  
Comparative Results ◽  
The Stability ◽  
Historical Epoch ◽  
Historical Periods

Purpose of the paper is to clarify the model of the kind-type-genre vertical presented in the theory of genres.Methods: typological analysis (historically comparative).Results. The author has substantiated that in the traditional model of genre evolution it is important to denote also the meta-genre pattern (meta-genre form), which contains information about the most distant genre characteristics in time, which will later develop a separate line in genres and genre varieties. In different cultural and historical periods, the stability of the genre is determined by the existing meta-genre forms, which serve as the core of the genre, ensuring the stability of key components and at the same time assimilating in different ways innovations due to worldview, aesthetic doctrines, etc. Each cultural-historical epoch reinforces and absorbs something to the genre; however, the meta-genre pattern implies the stability of the genre core and makes it possible to trace the evolution of key genre characteristics. It is suggested that in the classical model in the paradigm of kind-type-genre vertical it is important to denote a meta-genre pattern that contains the archetypal memory of the genre. The analysis of the origins of tragedy and comedy in the ancient period gives grounds to state the presence in each of the genres the features that later acquire a development in the paradigm of each genre model. The meta-genre pattern combines opposite characteristics of the genre, which indicate the emergence of genres from a common source. The legitimacy of substantiation of mystery as a meta-genre form of literature is proved. Modern approaches to the interpretation of the genre in the context of not only literary concepts, but also findings in cultural studies have been discussed.Conclusions. The interaction of the mysterious and the carnival in the most ancient forms of tragedy and comedy has been studied. The research gives grounds to speak about the mystery and the mysterious as the oldest factors of drama, containing the archetypal memory of the genre. It is reasonable to distinguish mystery as a type of drama and a meta-genre form. Meta-genre pattern represents itself differently in various cultural periods determining their dynamics of transformations.Key words: meta-genre pattern (meta-genre form), genre theory, mystery, carnival, tragedy, comedy. Мета статті – уточнити наявну в теорії жанрів модель родо-видо-жанрової вертикалі, доповнивши її компонентом мета-жанрового патерну.Методи: типологічний аналіз (порівняльно-історичний).Результати. Акцентовано на тому, що в традиційній моделі жанрової еволюції важливо позначати метажанровий патерн (метажанрову форму), що містить інформацію про найвіддаленіші в часі жанрові характеристики, котрі згодом набудуть осіб-ного розвитку в жанрах і жанрових різновидах. У різні культурно-історичні періоди сталість жанру визначають метажанрові форми, які виконують функцію ядра жанру, забезпечуючи стабільність ключових компонентів і водночас асимілюючи в різний спосіб інновації, зумовлені світовідчуттям, естетичними доктринами та ін. нового часу. Кожна культурна-історична епоха щось додає до жанру, проте метажанровий патерн забезпечує сталість жанрового ядра й дає можливість простежити еволюцію ключових жанрових характеристик. Запропоновано, що в класичній моделі між родом і видом у парадигмі родо-видо-жанрової вертикалі важливо позначати метажанровий патерн, який містить архетипну пам’ять жанру. З огляду на дослідження витоків трагедії та комедії в античному періоді доцільно говорити про наявність у кожному з жанрів рис, які згодом набудуть окремого розвитку в лоні певної жанрової моделі. Метажанровий патерн поєднує у собі часом протилежні характеристики, які свідчать про постання жанрів зі спільного джерела, а отже, це поняття має бути враховане з погляду жанрології під час характеристики генологічної специфіки твору. Охарактеризовано правомочність обґрунтування містерії як метажанрової форми літератури. Проаналізовано сучасні підходи до тлумачення жанру в контексті не лише літературознавчих концепцій, а й напрацювань у царині культурології. Досліджено взаємодію містеріального та карнавального в найдавніших формах трагедії й комедії.Висновки. Категорія «містеріальне» як один із найдавніших чинників драми експлікує архетипну пам’ять драматичних жанрів. Доцільно розрізняти містерію як жанр драми і як метажанрову форму, реактуалізовану в різні культурно-історичні періоди. Метажанровий патерн по-різному виявляє себе в історичній динаміці літературних процесів, постаючи маркером їх трансформацій.Ключові слова: метажанровий патерн (метажанрова форма), теорія жанрів, містерія, карнавал, трагедія, комедія

Method and Critique

2020 ◽  
pp. 46-58
Author(s):  
Thomas Nail
Keyword(s):  
New Materialism ◽  
Close Reading ◽  
History Plays ◽  
Critical Method ◽  
Materialist Theory

The aim of this chapter is to show the previously unacknowledged continuity between Marx’s earlier method of kinetic materialism with the methodology he lays out at the beginning of Capital. Furthermore, and more generally, it shows that Marx’s critical method in Capital has nothing to do with any sort of determinism, reductionism, or anthropocentrism. Instead, this chapter argues that Marx’s method is consistent with and anticipates the method of new materialism. Marx offers new materialism a historical new materialism in which history plays an important role in shaping the present. This chapter offers a close reading of the first few lines of Capital and a new materialist theory of critique.

scholarly journals Names at the Tip of the Nose

2020 ◽  
Vol 41 (3) ◽  
Author(s):  
Simon Hajdini
Keyword(s):  
Singular Point ◽  
Point Of View ◽  
Philosophical Problem ◽  
New Materialism ◽  
The Core ◽  
Concept Of Truth

The problem of naming is not just any philosophical problem, but rather one that is central to classical ontology, the latter depending on the notion of names (onomata) as latching onto things (pragmata) in their essential being. As such, the name has traditionally been tied to the concept of truth as adequatio or correspondence between knowledge and being, intellect and thing, or proposition and reality. Accordingly, the problem of naming lies at the core of the issues of objectivity (truth) and fiction, as addressed in this issue of Filozofski vestnik. Probing and circumventing the double trap of “transcendentalism” and “new materialism,” I propose to cast a side-glance at this massive philosophical problem, approaching it from the singular point of view of smells and their striking relationship to language.

Advertising and the Apparatus : Cinema, Television, and Out-of-Home Screens

2021 ◽  
Author(s):  
Yvonne Zimmermann
Keyword(s):  
Conceptual Framework ◽  
Media Studies ◽  
Moving Image ◽  
Cinema Studies ◽  
Screen Media ◽  
Network Era

In this chapter, the notion of the dispositif serves as a conceptual framework to both theorize and analyse the programming of moving image advertising on three types of screens: cinema, network-era television, and digital out-of-home displays. The chapter shows how screen ads stitch together different forms of intermittent movements – of bodies, images, and objects – and thus help create flows. In bringing the programme in conversation with the dispositif, the chapter also draws attention to the programme, which in cinema studies, if not to the same extent also in media studies, is an extremely under-researched category despite its importance for production as well as for reception. Any study interested in the pragmatics of screen advertising as well as screen media cannot do without the programme.

The Entropic Envelope

Leonardo ◽  
2019 ◽  
Vol 52 (5) ◽  
pp. 455-460
Author(s):  
Hector Rodriguez
Keyword(s):  
Computational Model ◽  
Model Building ◽  
Image Sequences ◽  
Computation Model ◽  
Temporal Experience ◽  
Moving Image ◽  
Information Theoretic ◽  
Cinema Studies

This article introduces a computational model of the temporal experience of moving image sequences. The heart of the model, the concept of an entropic envelope, is based on information theoretic ideas. The concept is first described informally and then explained in a more mathematically precise manner. The article finally concludes with tentative reflections on the methodology of computation model building in cinema studies.

Practices of Enchantment: The Theatre of Zora Neale Hurston

2015 ◽  
Vol 59 (4) ◽  
pp. 67-82 ◽  
Author(s):  
Katherine Biers
Keyword(s):  
African American ◽  
Zora Neale Hurston ◽  
Racial Politics ◽  
Black Atlantic ◽  
New Materialism ◽  
Performance Practices ◽  
Materialist Theory ◽  
American Author ◽  
And Performance ◽  
Nonhuman Agency

Contemporary critical work in the field of new materialism, whose practitioners take seriously the concept of nonhuman agency, has largely neglected the genres of theatre and performance. African American author and folklorist Zora Neale Hurston’s folk revues of the 1930s offer an opportunity to examine the intersections between contemporary new materialist theory and the stage, revealing that black Atlantic performance practices have long explored concepts of nonhuman agency in the service of a cultural and racial politics.

Raymond Bellour

2018 ◽  
Author(s):  
Hilary Radner ◽  
Alistair Fox
Keyword(s):  
Twentieth Century ◽  
Digital Media ◽  
Installation Art ◽  
Video Art ◽  
The Body ◽  
Biographical Sketch ◽  
Art Theory ◽  
Film Analysis ◽  
Moving Image ◽  
Cinema Studies

This volume offers a succinct and clear account of the evolution of the work of noted French scholar Raymond Bellour (b. 1939) as expressed in his most important publications in the areas of cinema studies and art theory, published over the last four decades of the twentieth century and the first decades of the twenty-first. A film scholar and theorist, his interests ranged across film, literature, art and philosophy The book’s first four chapters (Part 1 of the volume) provide a synthetic account of Bellour’s thought on cinema and its relations to the development of moving-image installation art. Chapter one covers his perspectives on film analysis; chapter two continues with his views on the advent of digital media, including video; chapter three follows with his ideas about new forms of spectatorship, the body and classical cinema; chapter four concludes with his contribution to the debates about the end of cinema and the evolving dispositifs (situations or set-ups and their consequent viewing conventions) that have produced contemporary moving-image installation art. A recent interview with Raymond Bellour forms Part 2 of the book’s three sections. Divided into six chapters, it covers the following topics: his formative influences; film analysis and the symbolic; Thierry Kuntzel and the rise of video art; arrested images and “the between-images”; spectators, dispositifs, and the cinematic body; hypnosis, emotions and animality. Part 3 concludes the volume with a short biographical sketch and a select annotated bibliography of Bellour’s most important publications.

Is a Schizoanalysis of Cinema Possible?

2007 ◽  
Vol 16 (2-3) ◽  
pp. 116-145 ◽  
Author(s):  
Ian Buchanan
Keyword(s):  
The Body ◽  
Direct Link ◽  
Deleuze And Guattari ◽  
Abstract Machine ◽  
Cinema Studies ◽  
The Core ◽  
New Concepts ◽  
Royal Road ◽  
Body Without Organs ◽  
The Many

Abstract Is a schizoanalysis of cinema possible? This question arises from the observation that there is no apparent continuity between Deleuze’s two-volume collaboration with Guattari, Anti-Oedipus and A Thousand Plateaus, and the books he wrote afterwards, Cinema 1 and Cinema 2. It is also prompted by the observation that Anti-Oedipus and A Thousand Plateaus seem to rely a great deal on cinema in order to develop and exemplify the many new concepts these books introduce. This paper highlights three such instances in their work. The fact is, Deleuze and Guattari claim that the core schizoanalytic concepts of the body without organs, the abstract machine and assemblage can account for “all things”; as such, these concepts must account for cinema too. It is the sheer expansiveness of these concepts that makes them attractive to cinema studies. Not only that, they promise a way of engaging with cinema that isn’t reliant on the fictions of identification, recognition and fantasy. In this sense we are permitted to assume that to some degree Cinema 1 and Cinema 2 are already schizoanalytic, albeit in ways we have yet to properly understand. The author makes a direct link between cinema and schizoanalysis by highlighting the significance of delirium to both. This paper argues that the royal road to a schizoanalysis of cinema is via delirium rather than dream or fantasy. It goes on to show how Deleuze and Guattari’s formalisation of delirium as a “regime of signs” can be used to inaugurate a new kind of semiology of cinema.

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