A Pile of Ghosts (2021) is an artistic hybrid film in-between fiction and documentation created through the process of the art based research project Of Haunted Spaces. This research on Chinese ghost cities was a journey in exploring locations and looking for protagonists for the film, that would embody the urbanization processes surfaced as the phenomena of haunted cities by the spectral production of capitalism. As the process of filmmaking goes, settings and castings are staged to re-enact situations that have been observed during the field trips that were undertaken in many parts of China. The search for the unknown narrative keeps modifying and displacing the semantics of the film script. Therefore, in A Pile of Ghosts the line between documentary and fiction, a discursive space, is created in which facts, analyses and references are fused. This is not only to scrutinize the social reality and to render its discourse, but also to foster an aesthetic dimension from reexamining the convention of filmmaking and its representations. It is the method of a performative documentary to enact and re-enact situations and sites to reveal the contradictory characteristics of global urbanziation. The research process is transformed into the making of the film from field research to scriptwriting and casting. The protagonists are appearing in changing roles as construction workers, real estate agents, and investors to enact the realities of capitalism. On the threshold between the visible and the invisible, the haunting ghost of capitalism is materializing in the poiesis of the film, lurking in the limbo zone of fiction, reality and the performative.
{"title":"A Pile Of Ghosts: A Cinematic Heterotopia of Spectral Urbanization","authors":"Ella Raidel","doi":"10.24140/ijfma.v7.n1.01","DOIUrl":"https://doi.org/10.24140/ijfma.v7.n1.01","url":null,"abstract":"A Pile of Ghosts (2021) is an artistic hybrid film in-between fiction and documentation created through the process of the art based research project Of Haunted Spaces. This research on Chinese ghost cities was a journey in exploring locations and looking for protagonists for the film, that would embody the urbanization processes surfaced as the phenomena of haunted cities by the spectral production of capitalism. As the process of filmmaking goes, settings and castings are staged to re-enact situations that have been observed during the field trips that were undertaken in many parts of China. The search for the unknown narrative keeps modifying and displacing the semantics of the film script. Therefore, in A Pile of Ghosts the line between documentary and fiction, a discursive space, is created in which facts, analyses and references are fused. This is not only to scrutinize the social reality and to render its discourse, but also to foster an aesthetic dimension from reexamining the convention of filmmaking and its representations. It is the method of a performative documentary to enact and re-enact situations and sites to reveal the contradictory characteristics of global urbanziation. The research process is transformed into the making of the film from field research to scriptwriting and casting. The protagonists are appearing in changing roles as construction workers, real estate agents, and investors to enact the realities of capitalism. On the threshold between the visible and the invisible, the haunting ghost of capitalism is materializing in the poiesis of the film, lurking in the limbo zone of fiction, reality and the performative.","PeriodicalId":36220,"journal":{"name":"International Journal of Film and Media Arts","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-10-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46865899","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The Poetics of Poetry Film provides a comprehensive overview of a history of the form. By outlining models and methods it creates a taxonomy of defining characteristics for identification of a range of possible genres and terminologies. As an academic and a practitioner Sarah Tremlett, the author of this book, clearly enjoys the holistic experience of bringing deeper understanding to creative practice through theory and vice versa. She explores poetry in conjunction with film; how formal characteristics are extended, translated or re-visioned as a way of sharing both a subjective and political voice not only through form but as philosophical practice. Numerous references to her own oeuvre are threaded through the publication, which veers from formal academic analysis to highly subjective and pragmatic reflection on aspects of production. In Constructing Dynamic Spatio-Temporality she argues that the remediation of the page poem becomes theoretically interwoven with the sequential nature of the filmic narrative and the spatial construct of the artist’s and animator’s canvas, to create new ways of interpreting combined audio-visual aesthetics.
{"title":"The Poetics of Poetry Film by Sarah Tremlett - Book Review","authors":"Suzie Hanna","doi":"10.24140/ijfma.v7.n1.07","DOIUrl":"https://doi.org/10.24140/ijfma.v7.n1.07","url":null,"abstract":"The Poetics of Poetry Film provides a comprehensive overview of a history of the form. By outlining models and methods it creates a taxonomy of defining characteristics for identification of a range of possible genres and terminologies. As an academic and a practitioner Sarah Tremlett, the author of this book, clearly enjoys the holistic experience of bringing deeper understanding to creative practice through theory and vice versa. She explores poetry in conjunction with film; how formal characteristics are extended, translated or re-visioned as a way of sharing both a subjective and political voice not only through form but as philosophical practice. Numerous references to her own oeuvre are threaded through the publication, which veers from formal academic analysis to highly subjective and pragmatic reflection on aspects of production. In Constructing Dynamic Spatio-Temporality she argues that the remediation of the page poem becomes theoretically interwoven with the sequential nature of the filmic narrative and the spatial construct of the artist’s and animator’s canvas, to create new ways of interpreting combined audio-visual aesthetics.","PeriodicalId":36220,"journal":{"name":"International Journal of Film and Media Arts","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-10-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43668430","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article has as its main objective to reflect on the influences of the female defiant gaze in the early years of cinema history in order to prove its contemporary influence. From the analysis of three irreverent visual gags present in the early years of cinema, in which the woman breaks with the power of the camera by looking directly at the device - Subject for the Rogue ‘s Gallery (A.E. Weed, 1904), Mary Jane’s Mishap [Don’t Fool with the Paraffin] (George Albert Smith, 1903), and One Week (Buster Keaton, Edward F. Cline, 1920) -, we propose a theoretical reflection that allows us to define a concept that we call Comic Gaze. This is related to the concerns and proposals of the challenge imposed by the gaze of a woman directly at the camera. We base this problematization on Laura Mulvey’s proposal on the Male Gaze (1975) and bell hooks’ on the Oppositional Gaze (1992), which allow us to advance that this direct gaze of the woman to the cinematographic camera ends up destabilizing the authority of the male perspective on their bodies and works as a logic of visual resistance. Therefore, the central objective of this article is to investigate and contrast this irreverent gaze in order to finally understand if it is still present in contemporary performance Servitudes (Jesper Just), connecting these distinct works despite the temporal distance between them.
本文的主要目的是反思电影史早期女性反抗凝视的影响，以证明其当代影响。通过对电影早期出现的三个不敬的视觉噱头的分析，在这三个噱头中，女性通过直视设备来打破相机的力量——《流氓画廊的主题》（A.E.Weed，1904）、《玛丽·简的恶作剧》（George Albert Smith，1903）和《一周》（Buster Keaton，Edward F.Cline，1920）——，我们提出了一个理论反思，使我们能够定义一个我们称之为漫画凝视的概念。这与女性直视镜头所带来的挑战有关。我们将这种问题化建立在Laura Mulvey关于男性凝视（1975）和bell hooks关于对立凝视（1992）的建议之上，这使我们能够提出，女性对电影摄影机的这种直接凝视最终会破坏男性视角对其身体的权威，并成为视觉抵抗的逻辑。因此，本文的中心目标是调查和对比这种不敬的凝视，以便最终了解它是否仍然存在于当代表演《Servitudes》（Jesper Just）中，将这些不同的作品联系起来，尽管它们之间存在时间距离。
{"title":"Reflections Around Comic Gaze: From the Female Gaze in the early years of Cinema to the Performance Servitudes, By Jesper Just","authors":"Samantha da Silva Diefenthaeler, Carla Cerqueira","doi":"10.24140/ijfma.v7.n1.04","DOIUrl":"https://doi.org/10.24140/ijfma.v7.n1.04","url":null,"abstract":"This article has as its main objective to reflect on the influences of the female defiant gaze in the early years of cinema history in order to prove its contemporary influence. From the analysis of three irreverent visual gags present in the early years of cinema, in which the woman breaks with the power of the camera by looking directly at the device - Subject for the Rogue ‘s Gallery (A.E. Weed, 1904), Mary Jane’s Mishap [Don’t Fool with the Paraffin] (George Albert Smith, 1903), and One Week (Buster Keaton, Edward F. Cline, 1920) -, we propose a theoretical reflection that allows us to define a concept that we call Comic Gaze. This is related to the concerns and proposals of the challenge imposed by the gaze of a woman directly at the camera. We base this problematization on Laura Mulvey’s proposal on the Male Gaze (1975) and bell hooks’ on the Oppositional Gaze (1992), which allow us to advance that this direct gaze of the woman to the cinematographic camera ends up destabilizing the authority of the male perspective on their bodies and works as a logic of visual resistance. Therefore, the central objective of this article is to investigate and contrast this irreverent gaze in order to finally understand if it is still present in contemporary performance Servitudes (Jesper Just), connecting these distinct works despite the temporal distance between them.","PeriodicalId":36220,"journal":{"name":"International Journal of Film and Media Arts","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-10-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45738280","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-10-03DOI: 10.24140/ijfma.v7.n1.edit
Gesa Marten, Jyoti Mistry
{"title":"Editorial - Contextualising the Transversal Entanglement Conference and Contributions in this issue","authors":"Gesa Marten, Jyoti Mistry","doi":"10.24140/ijfma.v7.n1.edit","DOIUrl":"https://doi.org/10.24140/ijfma.v7.n1.edit","url":null,"abstract":"","PeriodicalId":36220,"journal":{"name":"International Journal of Film and Media Arts","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-10-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48237685","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In contemporary discussions of film and artistic research, the historical undercurrent of film as an intense research and development activity, does not seem to be widely discussed. In contrast, film history and media archaeology has since long re-evaluated the status of early moving image technologies, which do not any longer denote pre-cinematic curiosities that simply predate the institution of cinema and its narrative forms but is rather seen as containing socio-technical trajectories and aesthetic regimes that can be studied in their own right. This essay performs a further modulation of the legacies of film history, one in which moving image technology is not seen as primarily a vehicle for film as cinema, but a continuously evolving technological and aesthetic infrastructure for film as research. This then becomes the starting point from which to reflect on artistic research in film, which today is being institutionalized as a form of practice-based research, arguably with the risk of loosing sight of an already long-established tradition of film, not only as research but also as artistic research. With the aid of an accompanying desktop video essay, the article speculates on the changing contexts of film as research visà-vis film as artistic research, from early cinema and its connection to scientific discoveries and the advanced data-analysis of today’s streaming platforms. Inspired by “The New Film History” and Tom Gunning’s influential notion of “The Cinema of Attractions” which revised the view on early cinema and the development of a filmic avant-garde, the presentation eventually focuses on artistic responses to the contemporary “Cinema of Extractions”, as a datafied infrastructure that now conditions what is knowable and sayable through the moving image.
{"title":"The Cinema of Extractions: Film as Infrastructure for (Artistic?) Research","authors":"K. Gansing","doi":"10.24140/ijfma.v7.n1.05","DOIUrl":"https://doi.org/10.24140/ijfma.v7.n1.05","url":null,"abstract":"In contemporary discussions of film and artistic research, the historical undercurrent of film as an intense research and development activity, does not seem to be widely discussed. In contrast, film history and media archaeology has since long re-evaluated the status of early moving image technologies, which do not any longer denote pre-cinematic curiosities that simply predate the institution of cinema and its narrative forms but is rather seen as containing socio-technical trajectories and aesthetic regimes that can be studied in their own right. This essay performs a further modulation of the legacies of film history, one in which moving image technology is not seen as primarily a vehicle for film as cinema, but a continuously evolving technological and aesthetic infrastructure for film as research. This then becomes the starting point from which to reflect on artistic research in film, which today is being institutionalized as a form of practice-based research, arguably with the risk of loosing sight of an already long-established tradition of film, not only as research but also as artistic research. With the aid of an accompanying desktop video essay, the article speculates on the changing contexts of film as research visà-vis film as artistic research, from early cinema and its connection to scientific discoveries and the advanced data-analysis of today’s streaming platforms. Inspired by “The New Film History” and Tom Gunning’s influential notion of “The Cinema of Attractions” which revised the view on early cinema and the development of a filmic avant-garde, the presentation eventually focuses on artistic responses to the contemporary “Cinema of Extractions”, as a datafied infrastructure that now conditions what is knowable and sayable through the moving image.","PeriodicalId":36220,"journal":{"name":"International Journal of Film and Media Arts","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-10-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41417016","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The BLOD project aims to create multivocal cinematic experiences through embodied practices. The research explores relation- building through a feminist methodology of creating gaps and friction – between audience, story, time, matter, and co-creators. The project asks, how to tell multifaceted, non-exploitive stories of womb-related states of life and death, rarely depicted in cinema? And how to disturb film industry hierarchies through a collaborative practice that maintains individual artistic integrity and promotes collective authorship? The BLOD method is articulated as a Manifesto, written to accommodate a multitude of contents, forms, and modes of collaboration, while demanding cross-disciplinarity, honesty and risk-taking. The method is non-linear, looping, and embedded in the manifestations of the research: films, performances, presentations, etc. Through this paper, different aspects of the BLOD method are tossed around in relation to BLOD research activities; making cinematic building blocks that allow and induce multiplicity, improvisation, and fluidity of form; sharing personal experiences through fictionalized documentary processes; dealing with ethics in interpersonal and ecological relations. The paper proposes that critical reflection and vulnerability are integral to film production and offers this case study as an example for method development in other research projects or films – especially ones that sprawl, tangle, and defy categorization by field or discipline.
{"title":"The Blod Method: Case Study of an Artistic Research Project in Film","authors":"Kersti Grunditz Brennan, Annika Boholm","doi":"10.24140/ijfma.v7.n1.03","DOIUrl":"https://doi.org/10.24140/ijfma.v7.n1.03","url":null,"abstract":"The BLOD project aims to create multivocal cinematic experiences through embodied practices. The research explores relation- building through a feminist methodology of creating gaps and friction – between audience, story, time, matter, and co-creators. The project asks, how to tell multifaceted, non-exploitive stories of womb-related states of life and death, rarely depicted in cinema? And how to disturb film industry hierarchies through a collaborative practice that maintains individual artistic integrity and promotes collective authorship? The BLOD method is articulated as a Manifesto, written to accommodate a multitude of contents, forms, and modes of collaboration, while demanding cross-disciplinarity, honesty and risk-taking. The method is non-linear, looping, and embedded in the manifestations of the research: films, performances, presentations, etc. Through this paper, different aspects of the BLOD method are tossed around in relation to BLOD research activities; making cinematic building blocks that allow and induce multiplicity, improvisation, and fluidity of form; sharing personal experiences through fictionalized documentary processes; dealing with ethics in interpersonal and ecological relations. The paper proposes that critical reflection and vulnerability are integral to film production and offers this case study as an example for method development in other research projects or films – especially ones that sprawl, tangle, and defy categorization by field or discipline.","PeriodicalId":36220,"journal":{"name":"International Journal of Film and Media Arts","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-10-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45480040","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Shades of Invisibility is an ongoing experimental artist’s documentation of my practice in making Chernobyl Journey, an activist film that I have been working on for twelve years. In Chernobyl Journey live action tells the story of my four trips to the Chernobyl Exclusion Zone between 2009 and 2015 in search of rare Przewalski Horses, while animation is used to subversively unravel this apparently straightforward and chronological story backwards, tracing my fascination for the Exclusion Zone back to memories of an acute and life-changing illness in my own timeline from May to August 1986. In the film, animation is used not only to portray my inner private world of sensations, emotions and memories, but also to trace the slow process of arriving at self-knowledge through unravelling invisibilities of a very external and political nature. However, it is not the animation itself that makes the film experimental and subversive, but the way in which the animation is intimately woven into the live action footage. Through methods of compositing and blending, a counter historical narrative is inscribed into the fabric and the forbidden spaces of the two landscapes my auto-ethnographic story inhabits. As well as providing an outlet for my counter historical auto-ethnographic story, Chernobyl Journey also debunks the myth that nature will spring back like a lightly trodden on blade of grass, even after the worst excesses of human exploitation, extraction and environmental disaster. Shades of Invisibility is informed and inspired by my reading of New Materialist texts, in particular Jane Bennett’s ‘Vibrant Matter’. In the text I attempt to explore the efficacy of agencies other than my own will upon my art, using invisibility as a linking theme to create a network of interlocking pathways into subject matter that is dense, multi-layered, interdisciplinary, complex and sometimes politically taboo. My approach to documentation is activist in itself, as it questions the hylomorphic and anthropocentric world view that underpins auteur theory. I argue that this model of creativity based on the unrestrained and unaccountable power of the human individual’s will mirrors the neo-liberal model of unrestrained extractive capitalism that is contributing so much to our present reality of climate crisis, loss of species diversity and global injustice.
{"title":"Shades of Invisibility","authors":"S. Pearce","doi":"10.24140/ijfma.v6.n3.08","DOIUrl":"https://doi.org/10.24140/ijfma.v6.n3.08","url":null,"abstract":"Shades of Invisibility is an ongoing experimental artist’s documentation of my practice in making Chernobyl Journey, an activist film that I have been working on for twelve years. In Chernobyl Journey live action tells the story of my four trips to the Chernobyl Exclusion Zone between 2009 and 2015 in search of rare Przewalski Horses, while animation is used to subversively unravel this apparently straightforward and chronological story backwards, tracing my fascination for the Exclusion Zone back to memories of an acute and life-changing illness in my own timeline from May to August 1986. In the film, animation is used not only to portray my inner private world of sensations, emotions and memories, but also to trace the slow process of arriving at self-knowledge through unravelling invisibilities of a very external and political nature. However, it is not the animation itself that makes the film experimental and subversive, but the way in which the animation is intimately woven into the live action footage. Through methods of compositing and blending, a counter historical narrative is inscribed into the fabric and the forbidden spaces of the two landscapes my auto-ethnographic story inhabits. As well as providing an outlet for my counter historical auto-ethnographic story, Chernobyl Journey also debunks the myth that nature will spring back like a lightly trodden on blade of grass, even after the worst excesses of human exploitation, extraction and environmental disaster. Shades of Invisibility is informed and inspired by my reading of New Materialist texts, in particular Jane Bennett’s ‘Vibrant Matter’. In the text I attempt to explore the efficacy of agencies other than my own will upon my art, using invisibility as a linking theme to create a network of interlocking pathways into subject matter that is dense, multi-layered, interdisciplinary, complex and sometimes politically taboo. My approach to documentation is activist in itself, as it questions the hylomorphic and anthropocentric world view that underpins auteur theory. I argue that this model of creativity based on the unrestrained and unaccountable power of the human individual’s will mirrors the neo-liberal model of unrestrained extractive capitalism that is contributing so much to our present reality of climate crisis, loss of species diversity and global injustice.","PeriodicalId":36220,"journal":{"name":"International Journal of Film and Media Arts","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49572738","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
(...) Since then, the academic world has undergone some radical changes, and the process is not near its conclusion. Academia is a very close-knit environment, proud of its conditions and requirements, methods, and procedures. Still, the impact of the Covid-19 pandemic is providing unexpected possibilities to develop, question and reform central elements of it.
{"title":"The same as It ever was ….? A Chance for Creating New Qualities in our Exchanges","authors":"Holger Lang","doi":"10.24140/ijfma.v6.n3.01","DOIUrl":"https://doi.org/10.24140/ijfma.v6.n3.01","url":null,"abstract":"(...) Since then, the academic world has undergone some radical changes, and the process is not near its conclusion. Academia is a very close-knit environment, proud of its conditions and requirements, methods, and procedures. Still, the impact of the Covid-19 pandemic is providing unexpected possibilities to develop, question and reform central elements of it.","PeriodicalId":36220,"journal":{"name":"International Journal of Film and Media Arts","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47777552","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Animation and motherhood are parallel acts. There are striking overlaps between animation practices and the maternal time of maintenance and caregiving: repetitive acts and gestures, interruption, incremental and elongated time, the embodied experience of slow mundane practices, the durational drag of staying alongside something or someone. The pooled time of caregiving and maintenance, and the pooled time of animation production have a lot in common. In this paper, I want to pull apart some of the ways that an expanded animation practice-as-research shows how animation’s formal self-reflexiveness and media specific histories can start to reveal where value is placed (and not placed) on the time of their shared invisible labours. Possibilities emerge from thinking these invisible labours together, revealing the problematics of what constitutes a rightful subject or object of mothering, and what can be said to constitute animation. * Mierle Laderman Ukeles. Maintenance Manifesto, 1969! Proposal for an exhibition “CARE,” 1969.
{"title":"C: (Maintenance) Animation is a Drag: It takes all the f****** time*","authors":"Orla Mc Hardy","doi":"10.24140/ijfma.v6.n3.06","DOIUrl":"https://doi.org/10.24140/ijfma.v6.n3.06","url":null,"abstract":"Animation and motherhood are parallel acts. There are striking overlaps between animation practices and the maternal time of maintenance and caregiving: repetitive acts and gestures, interruption, incremental and elongated time, the embodied experience of slow mundane practices, the durational drag of staying alongside something or someone. The pooled time of caregiving and maintenance, and the pooled time of animation production have a lot in common. In this paper, I want to pull apart some of the ways that an expanded animation practice-as-research shows how animation’s formal self-reflexiveness and media specific histories can start to reveal where value is placed (and not placed) on the time of their shared invisible labours. Possibilities emerge from thinking these invisible labours together, revealing the problematics of what constitutes a rightful subject or object of mothering, and what can be said to constitute animation. * Mierle Laderman Ukeles. Maintenance Manifesto, 1969! Proposal for an exhibition “CARE,” 1969.","PeriodicalId":36220,"journal":{"name":"International Journal of Film and Media Arts","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43730674","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Coinciding with the one-year anniversary of the Grenfell tragedy, local artistic practitioners Oliver M. Gingrich, of media art platform ART IN FLUX, and artist researcher Sara Choudhrey, curated a series of workshops and events as part of the project AYAH – Sign. Significantly, the project places collaboration at all stages of its conception, implementation, and its outcome. Members of the local community and the wider general public were invited to explore new forms of artistic practice with a focus on Islamic pattern-making. These practice-based community-focused activities contributed towards a collaborative digital artwork, publicly displayed as a site-specific installation opposite the Grenfell Tower site. The participatory activity and artwork were designed to bring the community together in a time of need, to provide mutual support through joint creative engagement. Social connectedness, i.e. the experience of belonging, and relatedness between people (Van Bel et al 2009), is becoming an increasingly important concept in the discussion of social benefits of media including participatory art practices (Bennington et al. 2016). This paper reflects on the potential for art to bring communities together, to contribute to wellbeing and social-connectedness and providing a more inclusive experience for a range of community members. The project was conceived within the context of deeper research into participatory art and its potential to contribute to mental wellbeing, providing social cohesion for communities and acting as a creative support strategy in times of need. Collaborative art practices, such as AYAH - Sign, not only inspires further creativity among local residents through collaborative engagement, but also encourages community members to reconnect both physically and emotionally with one another.
在格伦费尔惨案一周年之际，媒体艺术平台art IN FLUX的当地艺术从业者Oliver M.Gingrich和艺术家研究员Sara Choudhrey策划了一系列研讨会和活动，作为AYAH–Sign项目的一部分。值得注意的是，该项目在构思、实施和结果的各个阶段都进行了合作。邀请当地社区成员和广大公众探索新的艺术实践形式，重点是伊斯兰图案制作。这些以实践为基础的以社区为中心的活动有助于合作的数字艺术品，作为格伦费尔塔遗址对面的特定地点装置公开展示。参与性活动和艺术品旨在在需要的时候将社区聚集在一起，通过共同的创造性参与提供相互支持。社会联系，即归属感和人与人之间的关系（Van Bel等人，2009年），在讨论媒体的社会效益（包括参与性艺术实践）时，正成为一个越来越重要的概念（Bennington等人，2016）。这篇论文反思了艺术将社区团结在一起，为福祉和社会联系做出贡献，并为一系列社区成员提供更具包容性的体验的潜力。该项目是在对参与式艺术及其促进心理健康的潜力进行深入研究的背景下构思的，为社区提供社会凝聚力，并在需要时作为一种创造性的支持策略。合作艺术实践，如AYAH-Sign，不仅通过合作激发了当地居民的进一步创造力，还鼓励社区成员在身体和情感上相互联系。
{"title":"AYAH - Sign: Collaborative Digital Art With The Grenfell Communities","authors":"Oliver Mag Gingrich, Sara Choudhrey","doi":"10.24140/ijfma.v6.n3.04","DOIUrl":"https://doi.org/10.24140/ijfma.v6.n3.04","url":null,"abstract":"Coinciding with the one-year anniversary of the Grenfell tragedy, local artistic practitioners Oliver M. Gingrich, of media art platform ART IN FLUX, and artist researcher Sara Choudhrey, curated a series of workshops and events as part of the project AYAH – Sign. Significantly, the project places collaboration at all stages of its conception, implementation, and its outcome. Members of the local community and the wider general public were invited to explore new forms of artistic practice with a focus on Islamic pattern-making. These practice-based community-focused activities contributed towards a collaborative digital artwork, publicly displayed as a site-specific installation opposite the Grenfell Tower site. The participatory activity and artwork were designed to bring the community together in a time of need, to provide mutual support through joint creative engagement. Social connectedness, i.e. the experience of belonging, and relatedness between people (Van Bel et al 2009), is becoming an increasingly important concept in the discussion of social benefits of media including participatory art practices (Bennington et al. 2016). This paper reflects on the potential for art to bring communities together, to contribute to wellbeing and social-connectedness and providing a more inclusive experience for a range of community members. The project was conceived within the context of deeper research into participatory art and its potential to contribute to mental wellbeing, providing social cohesion for communities and acting as a creative support strategy in times of need. Collaborative art practices, such as AYAH - Sign, not only inspires further creativity among local residents through collaborative engagement, but also encourages community members to reconnect both physically and emotionally with one another.","PeriodicalId":36220,"journal":{"name":"International Journal of Film and Media Arts","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42431367","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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