In order to recognize and calibrate the two parts to its structure, self-sacrifice in zombie cinema will be examined in terms of survival-based and emotion-based motivational frameworks. The interaction of these frameworks will be unpacked and their properties, differences and similarities will be appraised and questioned. Examinations of this kind require three different analytical methods that therefore determine the structure of this article. The first section will outline how the survival and emotional-based motivational frameworks exist within the same sequence in Train to Busan (2016). The implications of this will be addressed in relation to the organization of modern neo-liberalism and what Paul Verhaeghe coins the neoliberal meritocracy. The second section examines the temporal projections of the characters in the sequence (specifically how the sequence depicts a character’s understanding of the future and how their present situation fits into that). These projections are cross-referenced with the specific example of the neo-liberal South Korean economic climate to add credence to the proposition that the need (or fetishization) of survival is a neo-liberal symptom and a hangover from the pressures that are ceaselessly exerted to keep its hierarchies in place. The final section of this article examines abjection and identity in relation to the chosen sequence in Train to Busan. It explores the generation of identity in relation to self-sacrifice and concludes that self-sacrifice is a necessary enforcer of a specifically neo-liberal competition.
{"title":"Self-sacrifice in Train to Busan (2016)","authors":"Will McKeown","doi":"10.1386/ncin_00005_1","DOIUrl":"https://doi.org/10.1386/ncin_00005_1","url":null,"abstract":"In order to recognize and calibrate the two parts to its structure, self-sacrifice in zombie cinema will be examined in terms of survival-based and emotion-based motivational frameworks. The interaction of these frameworks will be unpacked and their properties, differences and similarities\u0000 will be appraised and questioned. Examinations of this kind require three different analytical methods that therefore determine the structure of this article. The first section will outline how the survival and emotional-based motivational frameworks exist within the same sequence in Train\u0000 to Busan (2016). The implications of this will be addressed in relation to the organization of modern neo-liberalism and what Paul Verhaeghe coins the neoliberal meritocracy. The second section examines the temporal projections of the characters in the sequence (specifically how the sequence\u0000 depicts a character’s understanding of the future and how their present situation fits into that). These projections are cross-referenced with the specific example of the neo-liberal South Korean economic climate to add credence to the proposition that the need (or fetishization) of\u0000 survival is a neo-liberal symptom and a hangover from the pressures that are ceaselessly exerted to keep its hierarchies in place. The final section of this article examines abjection and identity in relation to the chosen sequence in Train to Busan. It explores the generation of identity\u0000 in relation to self-sacrifice and concludes that self-sacrifice is a necessary enforcer of a specifically neo-liberal competition.","PeriodicalId":38663,"journal":{"name":"New Cinemas","volume":"17 1","pages":"69-84"},"PeriodicalIF":0.0,"publicationDate":"2020-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43088799","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 article focuses on web documentaries as a form of interactive historiography by presenting a case study on Freedom’s Ring (2013), a multi-media-based animation of Martin Luther King’s speech ‘I have a Dream’ published in Vectors. Taking both the production and the reception side into account, the article addresses the constitution of knowledge – or rather aesthetic experience – through artistic research practices. In doing so, it reflects upon the concepts of authorship, copyright and participation. Due to its numerous sources, the navigation system, the artwork, its referentiality and variability, it is made the case that Freedom’s Ring challenges history as a ‘grand narrative’ by creating a subjective point of view and putting the user in the position of an activist. Web documentaries are regarded as part of an epistemic and sociopolitical development, in which artistic and academic methods merge. KEYWORDS
{"title":"Navigating history: Aesthetics and appropriation and the interactive web documentary Freedom’s Ring (2013)","authors":"Sarah-Mai Dang","doi":"10.1386/ncin_00002_1","DOIUrl":"https://doi.org/10.1386/ncin_00002_1","url":null,"abstract":"The article focuses on web documentaries as a form of interactive historiography by presenting a case study on Freedom’s Ring (2013), a multi-media-based animation of Martin Luther King’s speech ‘I have a Dream’ published in Vectors. Taking both the production and the reception side into account, the article addresses the constitution of knowledge – or rather aesthetic experience – through artistic research practices. In doing so, it reflects upon the concepts of authorship, copyright and participation. Due to its numerous sources, the navigation system, the artwork, its referentiality and variability, it is made the case that Freedom’s Ring challenges history as a ‘grand narrative’ by creating a subjective point of view and putting the user in the position of an activist. Web documentaries are regarded as part of an epistemic and sociopolitical development, in which artistic and academic methods merge. KEYWORDS","PeriodicalId":38663,"journal":{"name":"New Cinemas","volume":"17 1","pages":"21-35"},"PeriodicalIF":0.0,"publicationDate":"2020-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45676995","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 intends to explore how interactivity and new technologies promote new spectatorship performances and subsequently affect the interactor’s subjectivity. Through the analysis of three interactive documentaries, I propose and describe a taxonomy for addressing the felt experience of interacting in digital environments. Each selected documentary corresponds to a different mode of interaction and, therefore, engages the audience in a particular way: Bear 71 (hyperlink mode), Fort McMoney (conversational mode) and A Journal of Insomnia (participative mode). Throughout the analysis, I consider the interactor and the digital object as two interrelated and dependent entities that influence and shape one another. I argue the objects of interaction affect the viewers by inducing bodily felt sensations and shaping their subjectivity. As so, the sensuous encounter between the interactor and the digital documentary provides a virtual gratification for the spectator’s performance. Delving into a phenomenological and post-phenomenological investigation, I focus my attention in the microperceptions, as structures of sensory perception in the bodily dimensions of experience, translated as senses. As fragmented, multilinear and dynamic forms, interactive documentaries provide the audience with the agency of manipulating and developing the narrative, while conversely engender in the interactors what I address as ways of affection. I propose or adapt eight digitally disrupted and induced sensations, or senses of, for describing how interactive documentary affects users during the interaction performance: sense of control, sense of presence, sense of Self, sense of place, sense of belonging, sense of almightiness, sense of endlessness, sense of incompleteness.
本文旨在探讨互动性和新技术如何促进新观众的表演，进而影响互动者的主体性。通过对三部互动纪录片的分析，我提出并描述了一种分类法，用于解决在数字环境中互动的感觉体验。每一部选定的纪录片都对应着不同的互动模式，因此以一种特定的方式吸引观众：Bear 71（超链接模式）、Fort McMoney（对话模式）和a Journal of Insomnia（参与模式）。在整个分析过程中，我认为交互体和数字对象是两个相互关联和相互依存的实体，它们相互影响和塑造。我认为互动的对象通过诱导身体感觉和塑造他们的主体性来影响观众。因此，互动者和数字纪录片之间的感官相遇为观众的表演提供了一种虚拟的满足。在进行现象学和后现象学研究时，我将注意力集中在微观感知上，作为体验身体维度中的感官感知结构，翻译为感官。作为碎片化、多语言化和动态化的形式，互动纪录片为观众提供了操纵和发展叙事的媒介，同时反过来在互动者中产生了我所说的情感方式。我提出或改编了八种数字干扰和诱导的感觉，或的感觉，来描述互动纪录片在互动表演中如何影响用户：控制感、存在感、自我感、位置感、归属感、接近感、无尽感、不完整感。
{"title":"Ways of affection: How interactive documentaries affect the interactor’s felt experience and performance","authors":"Patrícia Nogueira","doi":"10.1386/ncin_00004_1","DOIUrl":"https://doi.org/10.1386/ncin_00004_1","url":null,"abstract":"This article intends to explore how interactivity and new technologies promote new spectatorship performances and subsequently affect the interactor’s subjectivity. Through the analysis of three interactive documentaries, I propose and describe a taxonomy for addressing\u0000 the felt experience of interacting in digital environments. Each selected documentary corresponds to a different mode of interaction and, therefore, engages the audience in a particular way: Bear 71 (hyperlink mode), Fort McMoney (conversational mode) and A Journal of Insomnia\u0000 (participative mode). Throughout the analysis, I consider the interactor and the digital object as two interrelated and dependent entities that influence and shape one another. I argue the objects of interaction affect the viewers by inducing bodily felt sensations and shaping their\u0000 subjectivity. As so, the sensuous encounter between the interactor and the digital documentary provides a virtual gratification for the spectator’s performance. Delving into a phenomenological and post-phenomenological investigation, I focus my attention in the microperceptions, as structures\u0000 of sensory perception in the bodily dimensions of experience, translated as senses. As fragmented, multilinear and dynamic forms, interactive documentaries provide the audience with the agency of manipulating and developing the narrative, while conversely engender in the interactors what I\u0000 address as ways of affection. I propose or adapt eight digitally disrupted and induced sensations, or senses of, for describing how interactive documentary affects users during the interaction performance: sense of control, sense of presence, sense of Self, sense of place, sense of\u0000 belonging, sense of almightiness, sense of endlessness, sense of incompleteness.","PeriodicalId":38663,"journal":{"name":"New Cinemas","volume":"17 1","pages":"49-68"},"PeriodicalIF":0.0,"publicationDate":"2020-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1386/ncin_00004_1","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43677433","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: Cycles, Sequels, Spin-offs, Remakes, and Reboots: Multiplicities in Film and Television, Amanda Ann Klein and R. Barton Palmer (eds) (2016)Austin: University of Texas Press, 367 pp.,ISBN 978-1-47730-817-2, p/bk, $29.95
{"title":"Cycles, Sequels, Spin-offs, Remakes, and Reboots: Multiplicities in Film and Television, Amanda Ann Klein and R. Barton Palmer (eds) (2016)","authors":"Concepción Cascajosa","doi":"10.1386/ncin_00008_5","DOIUrl":"https://doi.org/10.1386/ncin_00008_5","url":null,"abstract":"Review of: Cycles, Sequels, Spin-offs, Remakes, and Reboots: Multiplicities in Film and Television, Amanda Ann Klein and R. Barton Palmer (eds) (2016)Austin: University of Texas Press, 367 pp.,ISBN 978-1-47730-817-2, p/bk, $29.95","PeriodicalId":38663,"journal":{"name":"New Cinemas","volume":"17 1","pages":"112-113"},"PeriodicalIF":0.0,"publicationDate":"2020-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42290887","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}
Starting from the premises that documentary assemblages are networks in the sense that they are not given but need to be established and are in constant flux leads us to the assessment that any interactive documentary environment is a collaboratory but also precarious endeavour. In this context, bringing into dialogue network theories, namely ANT ‘and after’, the concept of ‘assemblage’ and discourses around participation and co-creation can lead to fresh perspectives on different strategies and tactics of participation in collaborative factual storytelling. Still, two aspects need to be revisited: the symmetric approach to networks and the notion of distributed agency. These concepts will be discussed in terms of their value to derive strategies and tactics of (shared) authorship, the striving for a documentary argument and documentary authority on the one hand and participation, interaction and plurivocality on the other hand. In this regard, ANT makes certainly inspiring points but also has its shortcomings. One solution can consist in relating the axiom of ANT as an analytic tool to actual documentary long-term strategies as well as to stand-up tactics as, e.g. interventionist media-making, open space documentary and context-provision. Thinking of emerging documentary configurations not only in terms of hybrid transdisciplinary, transprofessional networks but pragmatic worknets can lead to a better understanding of how to balance different agents within these networks|worknets ‐ always keeping in mind that we are dealing with an approach that calls for constant self-reflection as it presents a case of what Law describes as ‘uncertain method’. All theoretical reflections are accompanied by an analysis of a paradigmatic documentary networks|worknet, The Quipu Project (2015).
{"title":"From documentary networks to documentary worknets: Strategies of participation and co-creation in emerging practices of factual storytelling","authors":"Anna Wiehl","doi":"10.1386/ncin_00001_1","DOIUrl":"https://doi.org/10.1386/ncin_00001_1","url":null,"abstract":"Starting from the premises that documentary assemblages are networks in the sense that they are not given but need to be established and are in constant flux leads us to the assessment that any interactive documentary environment is a collaboratory but also precarious endeavour. In\u0000 this context, bringing into dialogue network theories, namely ANT ‘and after’, the concept of ‘assemblage’ and discourses around participation and co-creation can lead to fresh perspectives on different strategies and tactics of participation in collaborative factual\u0000 storytelling. Still, two aspects need to be revisited: the symmetric approach to networks and the notion of distributed agency. These concepts will be discussed in terms of their value to derive strategies and tactics of (shared) authorship, the striving for a documentary argument and documentary\u0000 authority on the one hand and participation, interaction and plurivocality on the other hand. In this regard, ANT makes certainly inspiring points but also has its shortcomings. One solution can consist in relating the axiom of ANT as an analytic tool to actual documentary long-term strategies\u0000 as well as to stand-up tactics as, e.g. interventionist media-making, open space documentary and context-provision. Thinking of emerging documentary configurations not only in terms of hybrid transdisciplinary, transprofessional networks but pragmatic worknets can lead to a better understanding\u0000 of how to balance different agents within these networks|worknets ‐ always keeping in mind that we are dealing with an approach that calls for constant self-reflection as it presents a case of what Law describes as ‘uncertain method’. All theoretical reflections are accompanied\u0000 by an analysis of a paradigmatic documentary networks|worknet, The Quipu Project (2015).","PeriodicalId":38663,"journal":{"name":"New Cinemas","volume":"17 1","pages":"3-19"},"PeriodicalIF":0.0,"publicationDate":"2020-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47779143","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}
P. Cooke, Ashim Shrestha, A. Arjyal, Romi Giri, Nichola Jones, R. King, Jessica Mitchell, Caroline L. Tait, Inés Soria Donlan, S. Baral
In this article, we discuss the role of participatory video (PV) as a tool for developing community-level solutions to ‘Antimicrobial Resistance’ (AMR) in Nepal. In recent years, PV has become an ever more popular tool in development contexts for supporting communities in low and middle income countries to raise awareness of issues that they do not feel are adequately represented in mainstream media. One area of growing interest in this regard is public health. However, PV has not, to date, been used to address AMR, currently considered to be one of the biggest public health issues we face globally. Placing our project within the wider context of ‘participatory documentary’ practice, we examine the world-view presented in the films this project generated, a dimension of such projects that is, somewhat curiously perhaps, often overlooked, with commentators tending to focus on the process of delivering PV, rather than the final products made. Here we are particularly interested in questions of power and how a close reading of the texts produced highlights the complexity of the power relationships at work in these films, which, in turn, can allow us to reflect in new ways on the processes at work in the project.
{"title":"What is ‘antimicrobial resistance’ and why should anyone make films about it? Using ‘participatory video’ to advocate for community-led change in public health","authors":"P. Cooke, Ashim Shrestha, A. Arjyal, Romi Giri, Nichola Jones, R. King, Jessica Mitchell, Caroline L. Tait, Inés Soria Donlan, S. Baral","doi":"10.1386/ncin_00006_1","DOIUrl":"https://doi.org/10.1386/ncin_00006_1","url":null,"abstract":"In this article, we discuss the role of participatory video (PV) as a tool for developing community-level solutions to ‘Antimicrobial Resistance’ (AMR) in Nepal. In recent years, PV has become an ever more popular tool in development contexts for supporting communities in\u0000 low and middle income countries to raise awareness of issues that they do not feel are adequately represented in mainstream media. One area of growing interest in this regard is public health. However, PV has not, to date, been used to address AMR, currently considered to be one of the biggest\u0000 public health issues we face globally. Placing our project within the wider context of ‘participatory documentary’ practice, we examine the world-view presented in the films this project generated, a dimension of such projects that is, somewhat curiously perhaps, often overlooked,\u0000 with commentators tending to focus on the process of delivering PV, rather than the final products made. Here we are particularly interested in questions of power and how a close reading of the texts produced highlights the complexity of the power relationships at work\u0000 in these films, which, in turn, can allow us to reflect in new ways on the processes at work in the project.","PeriodicalId":38663,"journal":{"name":"New Cinemas","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1386/ncin_00006_1","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46268223","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: Pixar with Lacan: The Hysteric’s Guide to Animation, Lilian Munk Rösing (2016)New York and London: Bloomsbury, 181 pp.,ISBN 978-1-62892-059-8, h/bk, £31.30
{"title":"Pixar with Lacan: The Hysteric’s Guide to Animation, Lilian Munk Rösing (2016)","authors":"E. King","doi":"10.1386/ncin_00011_5","DOIUrl":"https://doi.org/10.1386/ncin_00011_5","url":null,"abstract":"Review of: Pixar with Lacan: The Hysteric’s Guide to Animation, Lilian Munk Rösing (2016)New York and London: Bloomsbury, 181 pp.,ISBN 978-1-62892-059-8, h/bk, £31.30","PeriodicalId":38663,"journal":{"name":"New Cinemas","volume":"17 1","pages":"119-121"},"PeriodicalIF":0.0,"publicationDate":"2020-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45039924","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: In Permanent Crisis: Ethnicity in Contemporary European Media and Cinema, Ipek A. Celik (2015)Ann Arbor, MI: University of Michigan Press, 206 pp.,ISBN 978-0-47205-272-1, p/bk, $39.95
《在永久危机中:当代欧洲媒体和电影中的种族》，Ipek A. Celik(2015)，密歇根州安娜堡:密歇根大学出版社，206页，ISBN 978-0-47205-272-1, p/bk, 39.95美元
{"title":"In Permanent Crisis: Ethnicity in Contemporary European Media and Cinema, Ipek A. Celik (2015)","authors":"McGonagle Joseph","doi":"10.1386/ncin_00007_5","DOIUrl":"https://doi.org/10.1386/ncin_00007_5","url":null,"abstract":"Review of: In Permanent Crisis: Ethnicity in Contemporary European Media and Cinema, Ipek A. Celik (2015)Ann Arbor, MI: University of Michigan Press, 206 pp.,ISBN 978-0-47205-272-1, p/bk, $39.95","PeriodicalId":38663,"journal":{"name":"New Cinemas","volume":"17 1","pages":"109-111"},"PeriodicalIF":0.0,"publicationDate":"2020-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41725365","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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