Cinematographic Indeterminacy According to Peter Tscherkassky: Coming Attractions

2017 ◽  
Author(s):  
Christa Blümlinger
Keyword(s):  
John Cage ◽  
Found Footage ◽  
Musical Event

Avant-gardes have been interested, ever since the 1920s, in the leftovers – that which is usually kept out of representation because it is considered too blurry, lacking in focus, ‘faulty’. Starting from an analysis of Peter Tscherkassky’s Coming Attractions (2010), this essay assesses the value of that which is, in the cinema, deemed too blurry, while also pointing to the import that certain aesthetic theories (from Jean-François Lyotard to Tom Gunning) have granted it. How and why does Tscherkassky, in his use of found footage, seek to reveal the formless as well the photographic code (the black and the white)? In doing so, he draws near to what John Cage called ‘silencing’: not silence, but the withdrawal of some of the sounds attributed to the musical event

‘More, I prithee, more’: Melancholy, Musical Appetite and Medical Discourse in Shakespeare’s Twelfth Night

2018 ◽  
Author(s):  
Pierre Iselin
Keyword(s):  
Early Modern ◽  
Early Modern England ◽  
Medical Discourse ◽  
Modern Music ◽  
Twelfth Night ◽  
The Tempest ◽  
Dramatic Text ◽  
Musical Event ◽  
The Subject ◽  
The Many

Pierre Iselin broaches the subject of early modern music and aims at contextualising Twelfth Night, one of Shakespeare’s most musical comedies, within the polyphony of discourses—medical, political, poetic, religious and otherwise—on appetite, music and melancholy, which circulated in early modern England. Iselin examines how these discourses interact with what the play says on music in the many commentaries contained in the dramatic text, and what music itself says in terms of the play’s poetics. Its abundant music is considered not only as ‘incidental,’ but as a sort of meta-commentary on the drama and the limits of comedy. Pinned against contemporary contexts, Twelfth Night is therefore regarded as experimenting with an aural perspective and as a play in which the genre and mode of the song, the identity and status of the addressee, and the more or less ironical distance that separates them, constantly interfere. Eventually, the author sees in this dark comedy framed by an initial and a final musical event a dramatic piece punctuated, orchestrated and eroticized by music, whose complex effects work both on the onstage and the offstage audiences. This reflection on listening and reception seems to herald an acoustic aesthetics close to that of The Tempest.

Un/re/production of Old Age inThe Taking of Deborah Logan

Somatechnics ◽  
2018 ◽  
Vol 8 (2) ◽  
pp. 178-194
Author(s):  
Agnieszka Kotwasińska
Keyword(s):  
Alzheimer’S Disease ◽  
Old Age ◽  
Horror Film ◽  
Close Reading ◽  
Loss Of Control ◽  
Found Footage ◽  
Progressive Loss ◽  
The Face ◽  
Female Embodiment ◽  
Main Protagonist

The article offers a re-examination of abjected femininity and old age through a close reading of The Taking of Deborah Logan (2015), a found footage horror movie centered on spectral possession. While to a large extent the movie replicates an infamous monstrous old woman trope, it also effectively questions typical Alzheimer's disease (AD) narratives, which tend to portray life with AD as a story of unmitigated loss and debility. In The Taking of Deborah Logan, potentially destabilizing moments occur when in the face of progressive loss of control, memory, and bodily functions, the main protagonist is momentarily experienced as resisting the dehumanisation and loss of agency conventionally associated with AD and possession alike. The aim of this article is thus three-fold. The first part sketches the processes through which possession narratives generate a highly ambivalent space for aging femininity in horror film, and how aging, disability, and AD intersect both in popular understanding and in film. In the second part, the author examines how The Taking of Deborah Logan, as a found footage horror, shapes a discussion about selfhood, agency, and monstrous embodiment. Finally, the author argues that it is through the concept of transaging that one can find ways to destabilise traditional understandings of old age, female embodiment, and AD, and offer new narratives that highlight monstrous, if ambivalent, agency.

Os Jovens Baumann e o cinema de horror brasileiro contemporâneo: singularidades e diálogos

2020 ◽  
Vol 14 (3) ◽  
pp. 163
Author(s):  
Laura Loguercio Canepa
Keyword(s):  
Found Footage

Este artigo tem como objetivo discutir o filme paulista Os Jovens Baumann, de Bruna Carvalho Almeida. Em meio a um número significativo de filmes de fantasia e horror lançados no Brasil em 2019, nossa escolha deriva do fato de que Os jovens Baumann foi o único a optar pelo estilo conhecido como found footage [filme encontrado]. Além disso, Os Jovens Baumann tem outras singularidades que nos interessam: o fato de tratar-se (em parte) de um filme “de época”, passado durante a década de 1990; o caráter enigmático e fragmentário das imagens em VHS que compõem o núcleo da trama; a narração, em voice over, em primeira pessoa. Buscaremos investigar essas opções temáticas e estilísticas do filme, baseando-nos em observações relativas ao chamado found footage de ficção e ao cinema de horror brasileiro.

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