A Cinema of Movement

Screen Bodies ◽  
2017 ◽  
Vol 2 (2) ◽  
pp. 45-63
Author(s):  
Michele Barker
Keyword(s):  
New Media ◽  
Slow Motion ◽  
New Approach ◽  
Moving Image ◽  
Media Arts ◽  
Moving Images ◽  
The Creation ◽  
The Aesthetic ◽  
The Relationship

In this article, I consider some of the aesthetic and temporal forces that give us the opportunity to rethink the relationship between movement and perception in cinema and new media practice. Following Bergson and Deleuze, I offer an idea of the moving image that considers how we can move with the image’s movement. Through a discussion of my own media arts practice, I suggest a new approach to the creation of images that create movement, one where we feel rather than see imperceptibility. Considered in relation to other artistic and scientific deployments of imperceptibility revealed in the use of slow motion in contemporary moving images, this “feeling” of movement summons a kind of time that is neither atemporal nor a subdivision of time but rather a time of moving with images.

scholarly journals Portrait of the artist as a philosopher

2021 ◽  
pp. 105971232199468
Author(s):  
Jeannette Pols
Keyword(s):  
Know How ◽  
The Past ◽  
Aesthetic Practice ◽  
The Creation ◽  
The Aesthetic ◽  
The Relationship

The response asks about the relationship between artist and audience in the RAAAF artworks. Is the artist an Autonomous Innovator who breaches the ties with the past and the environment? Or is the aesthetic practice located in the creation of relationships around these objects, hence expanding the artwork by using know-how, experiences and enthusiasm of the audience/users?

Telling refugees’ stories: Testimony and hospitality in graphic novel L’Odyssée d’Hakim by Fabien Toulmé

2021 ◽  
Vol 12 (1) ◽  
pp. 301-313
Author(s):  
Jennifer Boum Make
Keyword(s):  
Mediterranean Region ◽  
The Other ◽  
Graphic Novel ◽  
Bearing Witness ◽  
Visual Narratives ◽  
Ethical Implications ◽  
Testing Zone ◽  
The Creation ◽  
The Aesthetic ◽  
The Relationship

Following the increase in migratory flows since 2015, in the Euro-Mediterranean region, bandes dessinées are mobilized to stir up compassion and prompt engagement with marginalized biographies. It begins with the premise that aesthetic approaches of bandes dessinées reveal a testing zone to juxtapose modalities of representation and expression of refugees and ways to interact with otherness. To interrogate the relationship between aesthetic devices and the formation of solidarity, this article considers the first volume of Fabien Toulmé’s trilogy, L’Odyssée d’Hakim: De la Syrie à la Turquie (2018). How does Toulmé’s use of aesthetic devices make space for the other, in acts of dialogue and exchange? What are the ethical implications for the exercise of bearing witness to migrant and refugee narratives, especially in the transcription and translation in words and drawing of their biographies? This article argues that visual narratives can provide for the creation of a hospitable testimonial space for migrants and refugees’ voices. The article outlines the aesthetic methodology deployed in graphic storytelling, reflects on what it means for the perception of refugees, and questions the use and ethical appeal of visual narratives as a form to curate hospitality.

The Conquest of Death

2017 ◽  
Author(s):  
Matthew Lockwood
Keyword(s):  
Early Modern ◽  
State Formation ◽  
New Approach ◽  
Original Intent ◽  
History Of ◽  
Legislative Policy ◽  
History Of Violence ◽  
The Creation ◽  
State Growth ◽  
The Relationship

The Conquest of Death considers the concepts of violence and state power far more broadly and holistically than previous accounts of state growth by intertwining the national and the local, the formal and the informal to illustrate how the management of incidental acts of violence and justice was as important to the monopolization of violence as the creation of the machinery of warfare. It reveals how the creation and operation of everyday bureaucracy built systems of power far exceeding its original intent and allowed a greater centralized surveillance of daily life than ever before. In sum, this book forces us to think about state formation not in terms of the broad strokes of legislative policy and international competition, but rather as a process built by multiple tiny actions, interactions and encroachments which fundamentally redefined the nature of the state and the relationship between government and governed. The Conquest of Death thus provides a new approach to the history of state formation, the history of criminal justice and the history of violence in early modern England. By locating the creation of an effective, permanent monopoly of violence in England in the second-half of the sixteenth century, this book also provides a new chronology of the divide between medieval and modern while divorcing the history of state growth from a linear history of centralization.

scholarly journals From Caméra-Stylo to Photobook: On Chris Marker’s Staring Back

2012 ◽  
Vol 23 (1) ◽  
pp. 113-132
Author(s):  
Jan Baetens
Keyword(s):  
Film Studies ◽  
The Political ◽  
Close Reading ◽  
Still Images ◽  
Moving Image ◽  
Political Issues ◽  
Moving Images ◽  
Strong Emphasis ◽  
The Relationship

In this article, the author analyzes Chris Marker’s photography, in particular the project Staring Back (an exhibition and a book, published in 2007), which offers a synthesis in fixed images of the film career of this author who has always explored the blurred boundaries between the still and the moving image (for example in his 1962 cult movie La jetée, or in later photo-films such as Si j’avais quatre dromadaires, 1966, and Le souvenir d’un avenir, with Yannick Bellon, 2001). The author relies on Marker’s notion of the “superluminal” (which refers to a special way of selecting still images out of the flow of moving images) as well as on contemporary and historical discussions on intermediality (inside and outside the domain of film studies alone) and cinephilia (as a specific way of combining writing and filming), to propose a close reading of Staring Back. In this reading, the author places strong emphasis on the political issues around looking and the relationship between artist and model.

Mark making or making a mark? Perversion and sublimation in the work of Estela Welldon, Martin Frishman, and Aubrey Beardsley

2020 ◽  
Vol 2 (1) ◽  
pp. 26-41
Author(s):  
Jessica Collier
Keyword(s):  
Nineteenth Century ◽  
Sexual Difference ◽  
Acting Out ◽  
Sexual Offence ◽  
Short Article ◽  
Sexual Perversion ◽  
The Creation ◽  
The Aesthetic ◽  
The Relationship ◽  
The Way

This short article explores the relationship between sexual perversion, as defined by Estela Welldon and illustrated by the late architect and author, Martin Frishman, and the work of the nineteenth-century artist, Aubrey Beardsley. It primarily argues that in both the acting out of sexual perversion and the creation of illustrations considered perverse, there is a shared desire to transform the experience of shame into the experience of fame. In the perpetrating of a perverse sexual offence, the assault can be regarded as an uncontrollable compelling urge for immediate action. Despite knowing this action is wrong, the offender cannot resist the impulse. The action of the assault offers immediate relief from unbearable anxiety and ultimately transfigures shame, however briefly, into fame. In the creation of sexualised and scandalous drawings, it is argued that the feeling of shame is sublimated, and the desire for fame is achieved without the destructive and perverse use of violence. It contemplates how Beardsley’s provocative drawings, in particular his illustrations for Aristophanes’ play Lysistrata, may have influenced the aesthetic of Frishman’s images explaining perversion as a manic defence against depression. Lastly, it considers the way in which unconscious societal prejudice may lead to confusion between sexual perversion and sexual difference.

The Materiality of an Archive in The Early Tudor Welsh Marches

2020 ◽  
Vol 30 (2) ◽  
pp. 178-205
Author(s):  
Audrey M. Thorstad
Keyword(s):  
Material Culture ◽  
New Approach ◽  
The Creation ◽  
Estate Management ◽  
The Relationship

Edward stafford, third duke of Buckingham was one of the last of the powerful Welsh marcher lords. During his life he created hundreds of documents related to his Welsh lordships, including court rolls, tenant lists and records associated with his estate management. Many of these documents have been examined for their content, but this corpus of documents has yet to be studied as a unit. This article proposes a new approach to the exploration of lordship and archives. It investigates the relationship between Buckingham, his archive and his Welsh tenants by approaching the archive as material culture. The creation, storage and neglect of documents, it is revealed, played a key part in the ways in which Buckingham exerted control over his lands.

Camera as Object and Process: An Interview with Victor Burgin

2013 ◽  
Vol 30 (7-8) ◽  
pp. 199-219
Author(s):  
Ryan Bishop ◽  
Sean Cubitt
Keyword(s):  
Aesthetics And Politics ◽  
Global Village ◽  
Site Specific ◽  
Moving Image ◽  
Moving Images ◽  
The Status ◽  
Relationship Of ◽  
The Relationship ◽  
Visual Technologies

Using a number of his recent site-specific installations, conceptual artist and theorist Victor Burgin discusses the status and future of the camera from photography to moving image to computer-generated virtual works that combine both still and moving images. In the process he modifies Bazin’s question ‘What is cinema?’ to ask ‘What is a camera?’ These works extend and develop Burgin’s long-standing interest in the relationship of aesthetics and politics as rendered through visualization technologies, especially as it pertains to space. Burgin’s discussion constructs a genealogy of seeing, visualizing and image-making as technologically-determined and crafted. The ideology of vision and the ideological artefacts produced by and through visual technologies from perspectival painting to analog photography to computer imaging constitute, in Burgin’s argument, ‘the ideological chora of our spectacular global village’.

Photography as Rhythm: On Prairie

2019 ◽  
pp. 393-412
Author(s):  
Domietta Torlasco
Keyword(s):  
The Political ◽  
Sergei Eisenstein ◽  
The Past ◽  
Moving Images ◽  
Zero Degree ◽  
The Aesthetic ◽  
The Relationship

This chapter explores Victor Burgin's Prairie through rhythm and the aesthetic conditions for constituting politically viable engagements with the image. The chapter posits rhythm as something simultaneously organising the relationship between the political and the aesthetic and as a principle that can undo that organisation. In this manner, the argument draws on Barthes' concept of 'zero degree' to render the contradictory and ultimately irreconcilable concerns of Burgin's projection pieces evoked and embodied by their rhythms. Drawing on writings by Sergei Eisenstein and many others, the chapter asks the following questions in relation to still and moving images: can we envision a rhythm that, at a juncture between the aesthetic and the political, does not operate as a principle of systematic organisation? What image of the past and of the collective would this other rhythm engender?

scholarly journals Fashion as an Institutional System

Pólemos ◽  
2016 ◽  
Vol 10 (1) ◽  
pp. 13-38
Author(s):  
Paolo Heritier
Keyword(s):  
Theoretical Analysis ◽  
Collective Identity ◽  
The Body ◽  
The Political ◽  
Modern State ◽  
New Approach ◽  
Political Body ◽  
Institutional System ◽  
The Aesthetic ◽  
The Relationship

Abstract The analysis of the relationship between fashion and institutions could represent a new approach in the theoretical analysis of fashion. This article is an attempt to show how, from an analysis of Simmel, Lotman, Volli and Legendre and a semiotic-juridical perspective, the topic of fashion can be linked to an anthropological-juridical perspective and a juridical conception of fashion as a normative institution. Juridical knowledge appears to be essential for the anthropological understanding of the phenomenon of fashion and too many studies have forgotten the contribution of the juridical sciences to the theoretical configuration of the question. From a complex historical-juridical analysis of the notion of Corpus Iuris (Kantorowicz) emerges the value of the medieval notion of corpus mysticum as a fictional body, referring to a political context that is both liturgical and ritual. The reference to this idea thus passes from the Corpus Iuris Civilis of medieval canonical law to the modern aesthetic signification (fictional and iconic) of the notion of the political body, referring to the modern state, which is still to be found on the well-known frontispiece of Hobbes’ book the Leviathan and then to the fictional and stylised bodies of the models in a fashion show. Following the theories of Legendre, the conclusion of this article suggests to reintroduce the secularised juridical and theological lexis for the aesthetic relationship between the natural body and the fictitious body, seen as a mystical and political body, considered present in the practices of dressing and twentieth-century fashion. Fashion is one of the forms through which, in mobilising desire, the human being constructs that “second body”, fictitious, represented, parallel to the real body, which is constitutive of the subjective and collective identity of a society. This body is fashioned under the ritualised and institutionalised form of the garment that hides the body, concealing its animality, which gives access to a collective fictitious reality, of which, we could add, all the products of the semiosphere, including the juridical institutions, are formed.

After fashion film: social video and brand content in the influencer economy

2020 ◽  
Vol 19 (3) ◽  
pp. 405-421
Author(s):  
Nick Rees-Roberts
Keyword(s):  
Social Media ◽  
Film History ◽  
Fashion Industry ◽  
Moving Image ◽  
Image Sharing ◽  
Moving Images ◽  
Generic Term ◽  
The Social ◽  
Social Media Platforms ◽  
The Aesthetic

Luxury and designer fashion brands today produce as much digital content and branded entertainment as they do design and product. Online video is a key part of that production. In this article, the author questions whether the use of the generic term ‘fashion film’ is still relevant to discussions of the moving image in the digital age. He does this by examining a range of promotional uses of the moving image by the fashion industry – by brands such as Gucci, Burberry and Louis Vuitton – on the social media platforms Instagram, YouTube and Snapchat, which blend design with media. This article seeks to engage critically with the branded dominance of ‘fashion film’ as a commercial phenomenon in contemporary visual culture by positioning it as a shape-shifting form of ‘content’ through the dissemination of moving images on social media, on mobile image-sharing platforms, in which the visual dynamic of the feed (of marketing and data) is now, in part, superseding the aesthetic framework of cinema (of narrative and drama). Rather than situating it primarily as part of film history, here the author situates the contemporary fashion-moving image at the intersection of digital interactivity, fashion branding and celebrity influence.

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