{"title":"Questions of imagination and process: The potential of film practice pedagogy to challenge existing modes of production in the context of the climate emergency","authors":"A. Vallance, R. Hardcastle","doi":"10.1386/miraj_00065_1","DOIUrl":"https://doi.org/10.1386/miraj_00065_1","url":null,"abstract":"","PeriodicalId":36761,"journal":{"name":"Moving Image Review and Art Journal","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74544498","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 analyses single-channel videos by the Turner Prize-winning artist Charlotte Prodger (b.1974), identifying in these works very particular forms of territoriality. As part of the broader drive towards accumulation found in Prodger’s autobiographical filmmaking, these videos continually collect new territories: characterized by a restless spatial mobility, they move repeatedly from location to location, amassing huge amounts of spatial information. This information is arranged in an ever-expanding matrix – a grid-like structure that allows Prodger to bring the very different spaces she assembles into active conversation, amongst themselves and with her. As she fosters deeply subjective dialogues and connections between these spaces, Prodger marks them, leaving traces behind in ways that deliberately mimic recognizably animal territorial practices and patterns of behaviour. Merging human and non-human behaviours, Prodger investigates the disruptive possibilities of what Jack Halberstam has presented as a queer form of ‘wildness’, and unsettles categories of gender and sexuality along with the spatialized mechanisms of sexual difference that support them. By marking territory in such ‘wild’ ways, Prodger proposes other modes of knowing and understanding, found at the meeting point of the subjective, the social and the environmental. In so doing, Prodger challenges the rules dictating which bodies, lives and behaviours belong where, as well as who is allowed to occupy and lay claim to certain spaces.
{"title":"‘Behaviour: Marking’: Charlotte Prodger’s territoriality","authors":"Tom Cuthbertson","doi":"10.1386/miraj_00061_1","DOIUrl":"https://doi.org/10.1386/miraj_00061_1","url":null,"abstract":"This article analyses single-channel videos by the Turner Prize-winning artist Charlotte Prodger (b.1974), identifying in these works very particular forms of territoriality. As part of the broader drive towards accumulation found in Prodger’s autobiographical filmmaking, these videos continually collect new territories: characterized by a restless spatial mobility, they move repeatedly from location to location, amassing huge amounts of spatial information. This information is arranged in an ever-expanding matrix – a grid-like structure that allows Prodger to bring the very different spaces she assembles into active conversation, amongst themselves and with her. As she fosters deeply subjective dialogues and connections between these spaces, Prodger marks them, leaving traces behind in ways that deliberately mimic recognizably animal territorial practices and patterns of behaviour. Merging human and non-human behaviours, Prodger investigates the disruptive possibilities of what Jack Halberstam has presented as a queer form of ‘wildness’, and unsettles categories of gender and sexuality along with the spatialized mechanisms of sexual difference that support them. By marking territory in such ‘wild’ ways, Prodger proposes other modes of knowing and understanding, found at the meeting point of the subjective, the social and the environmental. In so doing, Prodger challenges the rules dictating which bodies, lives and behaviours belong where, as well as who is allowed to occupy and lay claim to certain spaces.","PeriodicalId":36761,"journal":{"name":"Moving Image Review and Art Journal","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80528594","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}
{"title":"Experimental Film and Photochemical Practices, Kim Knowles (2020)","authors":"J. Snazell","doi":"10.1386/miraj_00077_5","DOIUrl":"https://doi.org/10.1386/miraj_00077_5","url":null,"abstract":"Review of: Experimental Film and Photochemical Practices, Kim Knowles (2020)\u0000London: Palgrave Macmillan, 270 pp.,\u0000ISBN 978-3-03044-309-2, h/bk, £69.99","PeriodicalId":36761,"journal":{"name":"Moving Image Review and Art Journal","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76231482","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}
Review of: Beyond the World’s End: Arts of Living at the Crossing, T. J. Demos (2020) Durham and London: Duke University Press, 272 pp., ISBN 978-1-47800-957-3, p/bk, £20.90
评论:超越世界的尽头:生活在十字路口的艺术，T. J. Demos(2020)达勒姆和伦敦:杜克大学出版社，272页，ISBN 978-1-47800-957-3, p/bk，£20.90
{"title":"Beyond the World’s End: Arts of Living at the Crossing, T. J. Demos (2020)","authors":"Matthias Kispert","doi":"10.1386/miraj_00075_5","DOIUrl":"https://doi.org/10.1386/miraj_00075_5","url":null,"abstract":"Review of: Beyond the World’s End: Arts of Living at the Crossing, T. J. Demos (2020)\u0000Durham and London: Duke University Press, 272 pp.,\u0000ISBN 978-1-47800-957-3, p/bk, £20.90","PeriodicalId":36761,"journal":{"name":"Moving Image Review and Art Journal","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83681211","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}
{"title":"The animate, cosmopolitics and global displacement in Artavazd Pelechian’s films, from The Inhabitants to La Nature","authors":"A. Doyle","doi":"10.1386/miraj_00071_1","DOIUrl":"https://doi.org/10.1386/miraj_00071_1","url":null,"abstract":"","PeriodicalId":36761,"journal":{"name":"Moving Image Review and Art Journal","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80760017","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}
Review of: Radical Mainstream: Independent Film, Video and Television in Britain, 1974–1990, Colin Perry (2020) Bristol: Intellect Books, 190 pp., ISBN 978-1-78938-192-4, h/bk, £90.00
{"title":"Radical Mainstream: Independent Film, Video and Television in Britain, 1974–1990, Colin Perry (2020)","authors":"M. Connolly","doi":"10.1386/miraj_00073_5","DOIUrl":"https://doi.org/10.1386/miraj_00073_5","url":null,"abstract":"Review of: Radical Mainstream: Independent Film, Video and Television in Britain, 1974–1990, Colin Perry (2020)\u0000Bristol: Intellect Books, 190 pp.,\u0000ISBN 978-1-78938-192-4, h/bk, £90.00","PeriodicalId":36761,"journal":{"name":"Moving Image Review and Art Journal","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76121031","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}
{"title":"Shezad Dawood in conversation with Lucy Reynolds","authors":"L. Reynolds","doi":"10.1386/miraj_00064_7","DOIUrl":"https://doi.org/10.1386/miraj_00064_7","url":null,"abstract":"","PeriodicalId":36761,"journal":{"name":"Moving Image Review and Art Journal","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79033271","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}
{"title":"Our petrified present: Pablo Weber’s Homage to the Work of Philip Henry Gosse","authors":"Federico Windhausen","doi":"10.1386/miraj_00066_1","DOIUrl":"https://doi.org/10.1386/miraj_00066_1","url":null,"abstract":"","PeriodicalId":36761,"journal":{"name":"Moving Image Review and Art Journal","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74270770","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}
Diann Bauer, Olaf Grawert, Stefanie Hessler, Bahar Noorizadeh, L. Rogers, Natalia Zuluaga
{"title":"Propositional futurisms: A roundtable discussion","authors":"Diann Bauer, Olaf Grawert, Stefanie Hessler, Bahar Noorizadeh, L. Rogers, Natalia Zuluaga","doi":"10.1386/miraj_00069_1","DOIUrl":"https://doi.org/10.1386/miraj_00069_1","url":null,"abstract":"","PeriodicalId":36761,"journal":{"name":"Moving Image Review and Art Journal","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78535618","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 considers the value of the leftist filmmaking collective Ogawa Productions’ interdisciplinary practice, which combined filmmaking and farming as an activist project of advocacy for social and environmental justice in 1980s Japan. It argues that Ogawa Pro, as the collective was known, integrated agriculture and film culture to construct a radically inclusive ecosystemic understanding of humans, plants, animals and the climate. Viewed today, their approach exemplifies an early model of ecological thinking that speaks to the recent multispecies turn in the arts, humanities and social sciences. But Ogawa Pro’s turn to the land is also riddled with ambivalence: the films harbour agrarian romanticism bordering on a politics of nostalgia and ethnic environmentalism. Torn between what we might today call progressive and reactionary traditionalist politics, Ogawa Pro’s enmeshed filming and farming practices constitute an important example of what I call Land Cinema – that is, film entangled in territorial, ecological and aesthetic aspects of land. Though the collective’s earlier and more militant films have received critical acclaim in recent years, its later land-based work merits further attention for the way it exposes political tensions over how to cultivate, represent and share space responsibly.
{"title":"Field work: Ogawa Productions as farmer–filmmakers","authors":"Becca Voelcker","doi":"10.1386/miraj_00063_1","DOIUrl":"https://doi.org/10.1386/miraj_00063_1","url":null,"abstract":"This article considers the value of the leftist filmmaking collective Ogawa Productions’ interdisciplinary practice, which combined filmmaking and farming as an activist project of advocacy for social and environmental justice in 1980s Japan. It argues that Ogawa Pro, as the collective was known, integrated agriculture and film culture to construct a radically inclusive ecosystemic understanding of humans, plants, animals and the climate. Viewed today, their approach exemplifies an early model of ecological thinking that speaks to the recent multispecies turn in the arts, humanities and social sciences. But Ogawa Pro’s turn to the land is also riddled with ambivalence: the films harbour agrarian romanticism bordering on a politics of nostalgia and ethnic environmentalism. Torn between what we might today call progressive and reactionary traditionalist politics, Ogawa Pro’s enmeshed filming and farming practices constitute an important example of what I call Land Cinema – that is, film entangled in territorial, ecological and aesthetic aspects of land. Though the collective’s earlier and more militant films have received critical acclaim in recent years, its later land-based work merits further attention for the way it exposes political tensions over how to cultivate, represent and share space responsibly.","PeriodicalId":36761,"journal":{"name":"Moving Image Review and Art Journal","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83650480","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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