Feelings of claustrophobia, numbing paralysis, endless loops of uncertainty, a crisis of care, the lack of any safety nets, governmental or otherwise. This coupled with a newfound stillness, staying local, making do with what is available, nearby and small scale. The pandemic has led us all to question what the practice is and how it can be sustainable when it relies so much on infrastructure and collaboration. What is left when you are stripped bare of the conditions of making, the support systems, the materials, the immediacy of being a body that interacts with and in the world and is now living in a state of suspended animation through a screen. It has tested our patience on all fronts. The restlessness of staying put in one place. The intolerable fixity of staring at a screen. The nightmarish tunnel-vision of an unimaginable future.
{"title":"A spike in the midst of a slow revolution","authors":"Aura Satz","doi":"10.1386/miraj_00038_1","DOIUrl":"https://doi.org/10.1386/miraj_00038_1","url":null,"abstract":"Feelings of claustrophobia, numbing paralysis, endless loops of uncertainty, a crisis of care, the lack of any safety nets, governmental or otherwise. This coupled with a newfound stillness, staying local, making do with what is available, nearby and small scale. The pandemic has led\u0000 us all to question what the practice is and how it can be sustainable when it relies so much on infrastructure and collaboration. What is left when you are stripped bare of the conditions of making, the support systems, the materials, the immediacy of being a body that interacts with and in\u0000 the world and is now living in a state of suspended animation through a screen. It has tested our patience on all fronts. The restlessness of staying put in one place. The intolerable fixity of staring at a screen. The nightmarish tunnel-vision of an unimaginable future.","PeriodicalId":36761,"journal":{"name":"Moving Image Review and Art Journal","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46826710","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}
‘Unpredictable Times’ could be a term to define the moment we are living in. It is also the name of a programme of audio-visual art curated by Unpredictable Series: Steve Beresford, Pierre Bouvier Patron and myself, conceived when the pandemic started and premiered online on Saturday, 27 June 2020.
{"title":"Unpredictable Times: In memoriam Carole Chant (or Finer) and John Russell","authors":"B. Regina","doi":"10.1386/miraj_00046_1","DOIUrl":"https://doi.org/10.1386/miraj_00046_1","url":null,"abstract":"‘Unpredictable Times’ could be a term to define the moment we are living in. It is also the name of a programme of audio-visual art curated by Unpredictable Series: Steve Beresford, Pierre Bouvier Patron and myself, conceived when the pandemic started and premiered online\u0000 on Saturday, 27 June 2020.","PeriodicalId":36761,"journal":{"name":"Moving Image Review and Art Journal","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45061625","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":"Planetary thinking: Re-encountering Nancy Holt’s and Robert Smithson’s Mono Lake (1968‐2004)","authors":"Maria Walsh","doi":"10.1386/miraj_00035_1","DOIUrl":"https://doi.org/10.1386/miraj_00035_1","url":null,"abstract":"","PeriodicalId":36761,"journal":{"name":"Moving Image Review and Art Journal","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45420750","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}
I am holding an object. It is tinted blue and shaped like a small book. On the cover, a young man holds both hands up to the sky as in a celestial salute. The image is a still from Kevin Jerome Everson’s 2017 film IFO. The object is the catalogue for the 2020 edition of the Courtisane Festival, where a retrospective of Everson’s work ought to have taken place in April 2020. I say ‘ought to’ because the Courtisane Festival ‐ like so many other events in 2020 ‐ was cancelled. The surviving catalogue is a strange object, both a record of something that was and was not.
{"title":"The festival that never was","authors":"M. Cruz","doi":"10.2307/j.ctvx5w9jz.62","DOIUrl":"https://doi.org/10.2307/j.ctvx5w9jz.62","url":null,"abstract":"I am holding an object. It is tinted blue and shaped like a small book. On the cover, a young man holds both hands up to the sky as in a celestial salute. The image is a still from Kevin Jerome Everson’s 2017 film IFO. The object is the catalogue for the 2020 edition of the Courtisane Festival, where a retrospective of Everson’s work ought to have taken place in April 2020. I say ‘ought to’ because the Courtisane Festival ‐ like so many other events in 2020 ‐ was cancelled. The surviving catalogue is a strange object, both a record of something that was and was not.","PeriodicalId":36761,"journal":{"name":"Moving Image Review and Art Journal","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-01-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43950172","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}
‘Disappearance’ in Chantal Akerman’s films means, in this essay, disappearance from a specific person. The attributes of the one who disappears are charged with special meaning for the one left behind, the one affected by the disappearance. It is not that someone used to be present and now they are not, but that one person is no longer there for another person. A dyad is involved, but its presence is felt from the perspective of half of that dyad. Whence the aptness of Barthes’s prologue to The Lover’s Discourse, that today that discourse is one of extreme loneliness.
{"title":"Disappearance in the films of Chantal Akerman","authors":"Janet Bergstrom","doi":"10.1386/miraj_00008_1","DOIUrl":"https://doi.org/10.1386/miraj_00008_1","url":null,"abstract":"‘Disappearance’ in Chantal Akerman’s films means, in this essay, disappearance from a specific person. The attributes of the one who disappears are charged with special meaning for the one left behind, the one affected by the disappearance. It is not that someone used\u0000 to be present and now they are not, but that one person is no longer there for another person. A dyad is involved, but its presence is felt from the perspective of half of that dyad. Whence the aptness of Barthes’s prologue to The Lover’s Discourse, that today that discourse is\u0000 one of extreme loneliness.","PeriodicalId":36761,"journal":{"name":"Moving Image Review and Art Journal","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2019-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48517474","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":"Alternative Film/Video Festival (13–17 December 2017) and the International Short Film Festival Oberhausen (3–8 May 2018): Film festivals as memory-work","authors":"Catherine Fowler","doi":"10.1386/miraj_00017_4","DOIUrl":"https://doi.org/10.1386/miraj_00017_4","url":null,"abstract":"","PeriodicalId":36761,"journal":{"name":"Moving Image Review and Art Journal","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2019-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47012903","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 offers the first scholarly study of Chantal Akerman’s installation Maniac Shadows (2013). It argues that the deviating sensory strategies at work in this installation form part of a process of ‘queering’ that allows for the expression of queer forms of embodiment and pleasure. These queer tactics include sonic excess and spatial disintegration, skewed framing, haptic auditory perception and an emphasis on indeterminacy and ambiguity, primarily through the figure of the shadow. Drawing on Sara Ahmed’s phenomenological approach to queerness, the article explores the sensuous queer effects arising from instances of audio-visual disorientation in Akerman’s installation. It suggests that the centrality of shadows, combined with the amorphous soundscape and the presence of opaque images and oblique angles, produce jarring moments of strangeness that undermine notions of a stable unified subject and disrupt heteronormative space. Offering an alternative perspective on the autobiographical accounts of the installation that have emerged so far, the article suggests that Akerman’s experimentation with spatial ambiguity is tied to a queerly inflected unravelling that pervades Maniac Shadows, as the artist fashions a less constricting and more subversive relational space for herself and her audience to grow into.
{"title":"Sensory experience, sound and queerness in Chantal Akerman’s Maniac Shadows (2013)","authors":"Albertine Fox","doi":"10.1386/miraj_00006_1","DOIUrl":"https://doi.org/10.1386/miraj_00006_1","url":null,"abstract":"This article offers the first scholarly study of Chantal Akerman’s installation Maniac Shadows (2013). It argues that the deviating sensory strategies at work in this installation form part of a process of ‘queering’ that allows for the expression of queer forms of\u0000 embodiment and pleasure. These queer tactics include sonic excess and spatial disintegration, skewed framing, haptic auditory perception and an emphasis on indeterminacy and ambiguity, primarily through the figure of the shadow. Drawing on Sara Ahmed’s phenomenological approach to queerness,\u0000 the article explores the sensuous queer effects arising from instances of audio-visual disorientation in Akerman’s installation. It suggests that the centrality of shadows, combined with the amorphous soundscape and the presence of opaque images and oblique angles, produce jarring moments\u0000 of strangeness that undermine notions of a stable unified subject and disrupt heteronormative space. Offering an alternative perspective on the autobiographical accounts of the installation that have emerged so far, the article suggests that Akerman’s experimentation with spatial ambiguity\u0000 is tied to a queerly inflected unravelling that pervades Maniac Shadows, as the artist fashions a less constricting and more subversive relational space for herself and her audience to grow into.","PeriodicalId":36761,"journal":{"name":"Moving Image Review and Art Journal","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2019-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48172544","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 revisits Jeanne Dielman, 23 quai du commerce, 1080 Bruxelles (1975), seeking to map its nomadic trajectories through different media. I elaborate on Akerman’s notion of a ‘cinéma de ressassement’, a cinema of mulling over or chipping away. Rather than focusing on the film itself, I concentrate on two lesserknown works that explicitly return to Jeanne Dielman, functioning both as works in their own right and as paratexts, revealing the film’s processes in different but corresponding ways: the installation Woman Sitting After Killing, made for the 2001 Venice Biennale, and Autour de Jeanne Dielman, a making-of documentary shot on Portapak by Sami Frey in 1975, edited by Akerman and Agnès Ravez in 2004, and released as a special feature on the Criterion Collection DVD edition of the film. The article contends that these two ‘returns’ to Jeanne Dielman rework the complex temporalities of the film in addition to revisiting its political concerns. Autour de Jeanne Dielman places Jeanne Dielman squarely within a feminist framework through its central positioning of Delphine Seyrig’s feminist discourse. I map the ways in which ressassement exposes the processes of a feminist filmmaking concerned with disrupting ‘chrononormative’ (Elizabeth Freeman) narratives. Building on B. Ruby Rich’s characterization of Akerman’s work as a ‘cinema of correspondence’, ultimately the article asks what counts as productive labour, suggesting that Akerman’s returns to Jeanne Dielman highlight its commitment to feminist and queer failure as a productive working method.
本文回顾了Jeanne Dielman，23 quai du commerce，1080 Bruxelles（1975），试图通过不同的媒介绘制其游牧轨迹。我详细阐述了阿克曼关于“cinéma de ressassement”的概念，这是一部深思熟虑或逐渐消失的电影。我没有关注电影本身，而是专注于两部鲜为人知的作品，它们明确地回归到珍妮·迪尔曼身上，既有作品本身的功能，也有副文本的功能，以不同但相应的方式揭示了电影的过程：为2001年威尼斯双年展制作的装置作品《杀戮后的女人》，由Sami Frey于1975年在Portapak拍摄的纪录片，由Akerman和Agnès Ravez于2004年编辑，并在电影的Criterion Collection DVD版中作为特辑发行。文章认为，珍妮·迪尔曼的这两次“回归”除了重新审视电影的政治关切外，还重新审视了电影复杂的时间性。《让·迪尔曼自传》通过对德尔芬·塞里格女权主义话语的中心定位，将让·迪尔曼直接置于女权主义框架内。我描绘了重新评估揭露女权主义电影制作过程的方式，这些过程涉及破坏“时间规范”（伊丽莎白·弗里曼饰）的叙事。在B.Ruby Rich将阿克曼的作品描述为“通信电影”的基础上，文章最终提出了什么是生产劳动，这表明阿克曼对珍妮·迪尔曼的回归突出了其对女权主义和酷儿失败的承诺，将其作为一种生产性的工作方法。
{"title":"Revisiting Jeanne Dielman: Autour de Jeanne Dielman (2004), Woman Sitting After Killing (2001) and Akerman’s ‘cinéma de ressassement’","authors":"R. Murray","doi":"10.1386/MIRAJ_00005_1","DOIUrl":"https://doi.org/10.1386/MIRAJ_00005_1","url":null,"abstract":"This article revisits Jeanne Dielman, 23 quai du commerce, 1080 Bruxelles (1975), seeking to map its nomadic trajectories through different media. I elaborate on Akerman’s notion of a ‘cinéma de ressassement’, a cinema of mulling over or chipping away. Rather\u0000 than focusing on the film itself, I concentrate on two lesserknown works that explicitly return to Jeanne Dielman, functioning both as works in their own right and as paratexts, revealing the film’s processes in different but corresponding ways: the installation Woman Sitting After Killing,\u0000 made for the 2001 Venice Biennale, and Autour de Jeanne Dielman, a making-of documentary shot on Portapak by Sami Frey in 1975, edited by Akerman and Agnès Ravez in 2004, and released as a special feature on the Criterion Collection DVD edition of the film. The article contends that\u0000 these two ‘returns’ to Jeanne Dielman rework the complex temporalities of the film in addition to revisiting its political concerns. Autour de Jeanne Dielman places Jeanne Dielman squarely within a feminist framework through its central positioning of Delphine Seyrig’s feminist\u0000 discourse. I map the ways in which ressassement exposes the processes of a feminist filmmaking concerned with disrupting ‘chrononormative’ (Elizabeth Freeman) narratives. Building on B. Ruby Rich’s characterization of Akerman’s work as a ‘cinema of correspondence’,\u0000 ultimately the article asks what counts as productive labour, suggesting that Akerman’s returns to Jeanne Dielman highlight its commitment to feminist and queer failure as a productive working method.","PeriodicalId":36761,"journal":{"name":"Moving Image Review and Art Journal","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2019-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47863557","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":"From the Other Side at Documenta 11 (2002)","authors":"Alison Rowley","doi":"10.1386/miraj_00014_1","DOIUrl":"https://doi.org/10.1386/miraj_00014_1","url":null,"abstract":"","PeriodicalId":36761,"journal":{"name":"Moving Image Review and Art Journal","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2019-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41691881","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":"Ephemeral, elusive, impossible: Chantal Akerman and the concept of ‘home’","authors":"Sandy Flitterman-Lewis","doi":"10.1386/miraj_00009_1","DOIUrl":"https://doi.org/10.1386/miraj_00009_1","url":null,"abstract":"","PeriodicalId":36761,"journal":{"name":"Moving Image Review and Art Journal","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2019-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42703813","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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