{"title":"Journeys to the Journey to the Beginning of Time","authors":"Jakub Egermajer","doi":"10.58193/ilu.1762","DOIUrl":"https://doi.org/10.58193/ilu.1762","url":null,"abstract":"","PeriodicalId":38309,"journal":{"name":"Iluminace","volume":" 29","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-11-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135192391","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}
sound of a million insects, light of a thousand stars (2014) is a camera-less two-minute-long film directed by the Japanese experimental filmmaker Tomonari Nishikawa. He buried a 100-foot-long 35mm negative film under fallen leaves alongside a country road close to the Fukushima Daiichi Nuclear Power Station where it was exposed to the possible remains of radioactive materials. The film is a document of an intrusive past. It becomes an (eco) traumatic landscape and a local manifestation of a hyperobject called radiation. This article will employ the concept of diffraction as a new materialist concept whose qualities are quite underexplored in the field of film studies but may have important implications for questions that are frequently asked about the nature of ecological trauma and its representation. Through rethinking 1) how we think about culture/nature and our being in the world; 2) identity and difference; 3) and representationalism, this article will argue that when discussed in a new materialist context, possible to approach eco-trauma in new and fertile ways. With a case study of Nishikawa’s film, the study will also explore how ecologically engaged experimental films can capture the sense of eco-trauma experience by going against the idea of common-sense representationalism as a mode of knowledge-producing.
{"title":"Diffractive Way of Thinking and the Possibilities of Capturing Ecological Trauma in Tomonari Nishikawa's sound of a million insects, light of a thousand stars (2014)","authors":"Bori Máté","doi":"10.58193/ilu.1761","DOIUrl":"https://doi.org/10.58193/ilu.1761","url":null,"abstract":"sound of a million insects, light of a thousand stars (2014) is a camera-less two-minute-long film directed by the Japanese experimental filmmaker Tomonari Nishikawa. He buried a 100-foot-long 35mm negative film under fallen leaves alongside a country road close to the Fukushima Daiichi Nuclear Power Station where it was exposed to the possible remains of radioactive materials. The film is a document of an intrusive past. It becomes an (eco) traumatic landscape and a local manifestation of a hyperobject called radiation. This article will employ the concept of diffraction as a new materialist concept whose qualities are quite underexplored in the field of film studies but may have important implications for questions that are frequently asked about the nature of ecological trauma and its representation. Through rethinking 1) how we think about culture/nature and our being in the world; 2) identity and difference; 3) and representationalism, this article will argue that when discussed in a new materialist context, possible to approach eco-trauma in new and fertile ways. With a case study of Nishikawa’s film, the study will also explore how ecologically engaged experimental films can capture the sense of eco-trauma experience by going against the idea of common-sense representationalism as a mode of knowledge-producing.","PeriodicalId":38309,"journal":{"name":"Iluminace","volume":" 25","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-11-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135192395","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}
FĂŠlix Guattari, in his ecosophical work The Three Ecologies, urges us to contemplate and, most importantly, to live transversally with the entangled ecologies of nature and culture/society. Specifically, he states that “it is simply wrong to regard action on the psyche, the socius, and the environment as separate;” particularly, he adds, when it comes to the “simultaneous degradation of the three areas.” Guattari’s transversal process is more accurate than ever if we consider how human activity, in the context of the current geological epoch — the Anthropocene — has sent the Earth’s natural ecosystems into a tailspin; into a course of environmental, social, and psychical post- and pre-traumatic syndrome of entanglements of trauma(s). At this moment, what roles do documentaries play in penetrating the geological scars of the becoming-traumatized Earth? How can they convey our transversal and posthuman understanding of the entanglements of traumas? More specifically, how do we consider the ecological disasters that have already occurred and have yet to occur on Earth as entangled human and non-human traumas, respecting that also the Earth-others have been undergoing a process of traumatization? As the entanglements of the traumatic syndrome are an ongoing, impeding, and imminent processual (and imaginative) catastrophe that has not yet happened, thus proclaiming a condition here defined as “pre-trauma,” how do we re-think trauma through a temporal lens which incorporates the notion of pre-trauma? The proposition of this paper is to transversally think about the entanglements of trauma(s) by initiating a conversation between posthumanism, canonical trauma studies, and contemporary documentary ecologies in order to specifically disclose how it is necessary to radically question and renovate our perspectives on trauma and its temporal dimension(s), finally acknowledging the intermeshed amalgam of our terrestrial existence.
{"title":"Becoming-Grains of Mercury: Documentary Ecologies, Posthumanism, and the Entanglements of Traumas","authors":"Erica Biolchini","doi":"10.58193/ilu.1759","DOIUrl":"https://doi.org/10.58193/ilu.1759","url":null,"abstract":"FĂŠlix Guattari, in his ecosophical work The Three Ecologies, urges us to contemplate and, most importantly, to live transversally with the entangled ecologies of nature and culture/society. Specifically, he states that “it is simply wrong to regard action on the psyche, the socius, and the environment as separate;” particularly, he adds, when it comes to the “simultaneous degradation of the three areas.” Guattari’s transversal process is more accurate than ever if we consider how human activity, in the context of the current geological epoch — the Anthropocene — has sent the Earth’s natural ecosystems into a tailspin; into a course of environmental, social, and psychical post- and pre-traumatic syndrome of entanglements of trauma(s). At this moment, what roles do documentaries play in penetrating the geological scars of the becoming-traumatized Earth? How can they convey our transversal and posthuman understanding of the entanglements of traumas? More specifically, how do we consider the ecological disasters that have already occurred and have yet to occur on Earth as entangled human and non-human traumas, respecting that also the Earth-others have been undergoing a process of traumatization? As the entanglements of the traumatic syndrome are an ongoing, impeding, and imminent processual (and imaginative) catastrophe that has not yet happened, thus proclaiming a condition here defined as “pre-trauma,” how do we re-think trauma through a temporal lens which incorporates the notion of pre-trauma? The proposition of this paper is to transversally think about the entanglements of trauma(s) by initiating a conversation between posthumanism, canonical trauma studies, and contemporary documentary ecologies in order to specifically disclose how it is necessary to radically question and renovate our perspectives on trauma and its temporal dimension(s), finally acknowledging the intermeshed amalgam of our terrestrial existence.","PeriodicalId":38309,"journal":{"name":"Iluminace","volume":" 27","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-11-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135192393","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":"To Save the Whole through Ambiguity","authors":"Benjamin Slavík","doi":"10.58193/ilu.1753","DOIUrl":"https://doi.org/10.58193/ilu.1753","url":null,"abstract":"","PeriodicalId":38309,"journal":{"name":"Iluminace","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-06-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41970489","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":"Ester Krumbachová's Phenomenon: Creator of Film Images","authors":"Jiří Voráč","doi":"10.58193/ilu.1751","DOIUrl":"https://doi.org/10.58193/ilu.1751","url":null,"abstract":"","PeriodicalId":38309,"journal":{"name":"Iluminace","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-06-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46400918","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":"Spanish TV Fiction in Times of Pandemic. Nuclear and Transversal Stories About COVID-19","authors":"T. Hidalgo-Marí, Patricia Palomares-Sánchez","doi":"10.58193/ilu.1748","DOIUrl":"https://doi.org/10.58193/ilu.1748","url":null,"abstract":"","PeriodicalId":38309,"journal":{"name":"Iluminace","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-06-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42698563","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":"#QuedateEnCasa: How did the Argentine and Spanish TV Industries React to the Outbreak of the Covid Pandemic in 2020?","authors":"Concepción Cascajosa Virino, Pablo Mendez Shiff","doi":"10.58193/ilu.1747","DOIUrl":"https://doi.org/10.58193/ilu.1747","url":null,"abstract":"","PeriodicalId":38309,"journal":{"name":"Iluminace","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-06-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45660522","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":"Pandemic Television Television Industries in the midst of COVID-19","authors":"Jana Jedličková","doi":"10.58193/ilu.1754","DOIUrl":"https://doi.org/10.58193/ilu.1754","url":null,"abstract":"","PeriodicalId":38309,"journal":{"name":"Iluminace","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-06-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48982346","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":"Ghosts On and Off Screen. An Interview with Helen Wheatley","authors":"Klára Feikusová","doi":"10.58193/ilu.1750","DOIUrl":"https://doi.org/10.58193/ilu.1750","url":null,"abstract":"","PeriodicalId":38309,"journal":{"name":"Iluminace","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-06-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44776869","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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