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During the first decades of the 21st century, a critical re-assessment of the reenactment as a form of historical representation has taken place in the disciplines of history, art history and performance studies. Engagement with the reenactment in film and media studies has come almost entirely from the field of documentary studies and has focused almost exclusively on non-fiction, even though reenactments are being employed across fiction and non-fiction film and television genres. Working with an eclectic collection of case studies from Milk, Monster, Boys Don't Cry, and The Battle of Orgreave to CSI and the video of police assaulting Rodney King, this book examines the relationship between the status of theatricality in the reenactment and the ways in which its relationships to reference are performed. Carrigy shows that while the practice of reenactment predates technically reproducible media, and continues to exist in both live and mediated forms, it has been thoroughly transformed through its incorporation within forms of technical media.
"During the first decades of the 21st century, a critical re-assessment of the reenactment as a form of historical representation has taken place in the disciplines of history, art history and performance studies. Engagement with the reenactment in film and media studies has come almost entirely from the field of documentary studies and has focused almost exclusively on non-fiction, even though reenactments are being employed across fiction and non-fiction film and television genres. Working with an eclectic collection of case studies from Milk, Monster, Boys Don't Cry , and The Battle of Orgreave to CSI and the video of police assaulting Rodney King, this book examines the relationship between the status of theatricality in the reenactment and the ways in which its relationships to reference are performed. Carrigy shows that while the practice of reenactment predates technically reproducible media, and continues to exist in both live and mediated forms, it has been thoroughly transformed through its incorporation within forms of technical media."--
These days, the term "reenactment" usually refers to live reconstructions of historic events, often of a military nature, performed by hobbyists. Civil War reenactments are the most popular in the United States, while European enthusiasts most often engage in recreations from the Napoleonic era. Visual art has its own versions. Recent years have brought many reenactments of historic performances from the 1960s and 1970s, works which otherwise would exist only in photos, videos, and text descriptions. But what exactly is being reenacted, and what is the effect of the representation? What meaning is resurrected out of this "doubling"? In the exhibition Life, Once More, contemporary works and texts by Mike Bidlo, Bik Van der Pol, Rod Dickinson, Omer Fast, Andrea Fraser, Robert Longo, Eran Schaerf, Catherine Sullivan and Barbara Visser reflect on these timely (and timeless) questions.
Mind the Screen pays tribute to the work of the pioneering European film scholar Thomas Elsaesser, author of several volumes on media studies and cinema culture. Covering a full scope of issues arising from the author’s work—from melodrama and mediated memory to avant-garde practices, media archaeology, and the audiovisual archive—this collection elaborates and expands on Elsaesser’s original ideas along the topical lines of cinephilia, the historical imaginary, the contemporary European cinematic experience, YouTube, and images of terrorism and double occupancy, among other topics. Contributions from well-known artists and scholars such as Mieke Bal and Warren Buckland explore a range of media concepts and provide a mirror for the multi-faceted types of screens active in Elsaesser’s work, including the television set, video installation, the digital interface, the mobile phone display, and of course, the hallowed silver screen of our contemporary film culture.
This book provides a sustained engagement with contemporary Indian feature films from outside the mainstream, including Aaranaya Kaandam, I.D., Kaul, Chauthi Koot, Cosmic Sex, and Gaali Beeja, to undercut the dominance of Bollywood focused film studies. Gopalan assembles films from Bangalore, Chennai, Delhi, Kolkata, and Trivandrum, in addition to independent productions in Bombay cinema, as a way of privileging understudied works that deserve critical attention. The book uses close readings of films and a deep investigation of film style to draw attention to the advent of digital technologies while remaining fully cognizant of ‘the digital’ as a cryptic formulation for considering the sea change in the global circulation of film and finance. This dual focus on both the techno-material conditions of Indian cinema and the film narrative offers a fulsome picture of changing narratives and shifting genres and styles.
With hair slicked back and shirt collar framing her young patrician face, Katherine Hepburn's image in the 1935 film Sylvia Scarlett was seen by many as a lesbian representation. Yet, Amy Villarejo argues, there is no final ground upon which to explain why that image of Hepburn signifies lesbian or why such a cross-dressing Hollywood fantasy edges into collective consciousness as a lesbian narrative. Investigating what allows viewers to perceive an image or narrative as "lesbian," Villarejo presents a theoretical exploration of lesbian visibility. Focusing on images of lesbians in film, she analyzes what these representations contain and their limits. She combines Marxist theories of value with poststructuralist insights to argue that lesbian visibility operates simultaneously as an achievement and a ruse, a possibility for building a new visual politics and away of rendering static and contained what lesbian might mean. Integrating cinema studies, queer and feminist theory, and cultural studies, Villarejo illuminates the contexts within which the lesbian is rendered visible. Toward that end, she analyzes key portrayals of lesbians in public culture, particularly in documentary film. She considers a range of films—from documentaries about Cuba and lesbian pulp fiction to Exile Shanghai and The Brandon Teena Story—and, in doing so, brings to light a nuanced economy of value and desire.
By developing the concept of the "digital effects emblem," Kristen Whissel contributes a new analytic rubric to cinema studies. An "effects emblem" is a spectacular, computer-generated visual effect that gives stunning expression to a film's key themes. Although they elicit feelings of astonishment and wonder, effects emblems do not interrupt narrative, but are continuous with story and characterization and highlight the narrative stakes of a film. Focusing on spectacular digital visual effects in live-action films made between 1989 and 2011, Whissel identifies and examines four effects emblems: the illusion of gravity-defying vertical movement, massive digital multitudes or "swarms," photorealistic digital creatures, and morphing "plasmatic" figures. Across films such as Avatar, The Matrix, the Lord of the Rings trilogy, Jurassic Park, Titanic, and Crouching Tiger, Hidden Dragon, these effects emblems heighten the narrative drama by contrasting power with powerlessness, life with death, freedom with constraint, and the individual with the collective.
An astonishing untold story from the nineteenth century—a “riveting…engrossing…‘American Epic’” (The Wall Street Journal) and necessary work of history that reads like Gone with the Wind for the Cherokee. “A vigorous, well-written book that distills a complex history to a clash between two men without oversimplifying” (Kirkus Reviews), Blood Moon is the story of the feud between two rival Cherokee chiefs from the early years of the United States through the infamous Trail of Tears and into the Civil War. Their enmity would lead to war, forced removal from their homeland, and the devastation of a once-proud nation. One of the men, known as The Ridge—short for He Who Walks on Mountaintops—is a fearsome warrior who speaks no English, but whose exploits on the battlefield are legendary. The other, John Ross, is descended from Scottish traders and looks like one: a pale, unimposing half-pint who wears modern clothes and speaks not a word of Cherokee. At first, the two men are friends and allies who negotiate with almost every American president from George Washington through Abraham Lincoln. But as the threat to their land and their people grows more dire, they break with each other on the subject of removal. In Blood Moon, John Sedgwick restores the Cherokee to their rightful place in American history in a dramatic saga that informs much of the country’s mythic past today. Fueled by meticulous research in contemporary diaries and journals, newspaper reports, and eyewitness accounts—and Sedgwick’s own extensive travels within Cherokee lands from the Southeast to Oklahoma—it is “a wild ride of a book—fascinating, chilling, and enlightening—that explains the removal of the Cherokee as one of the central dramas of our country” (Ian Frazier). Populated with heroes and scoundrels of all varieties, this is a richly evocative portrait of the Cherokee that is destined to become the defining book on this extraordinary people.
Over 6000 different languages are used in the world today, but the conventions of 'media speak' are far from universal and the complexities of translation are rarely acknowledged by the industry, audiences or scholars. Redressing this neglect, Speaking in Subtitles argues that the specific contingencies of translation are vital to screen media's global storytelling. Looking at a range of examples, from silent era intertitling to contemporary crowdsourced subtitling, and from avant-garde dubbing to the increasing practice of 'fansubbing', Tessa Dwyer proposes that screen media itself is a fundamentally 'translational' field.