Pub Date : 2022-08-01DOI: 10.1353/crt.2022.a899723
Oishani Sengupta
Abstract:This article posits that John Lockwood Kipling's Beast and Man in India (1891), the illustrated compendium on animals that mixes discussions of colonial cross-species entanglements with personal reflections on transforming local arts and crafts in India in the service of imperial power, is a multiauthored book. Centering the presence of Indian illustrators as central to Beast and Man's texture, this essay uses the term "imperial citation" to highlight the range of strategies Kipling uses to overtly and covertly appropriate the labor of Indigenous creators within the fabric of this volume. By placing the material text within the context of colonial print culture and Kipling's extensive involvement with art pedagogy in India, the author close reads Kipling's animal ethnography alongside elements of layout and illustration to analyze his metaphoric use of "animal training" as a method of suppressing the cultural agency of Indian artists working under him. A critique of Kipling's concept of animal training is a starting point for doing colonial bibliography reparatively, suggesting the need to overcome existing paradigms of inequitable description as essential to generating an anticolonial bibliographic practice.
{"title":"Beast and Man in India: Undoing John Lockwood Kipling's Imperial Citation","authors":"Oishani Sengupta","doi":"10.1353/crt.2022.a899723","DOIUrl":"https://doi.org/10.1353/crt.2022.a899723","url":null,"abstract":"Abstract:This article posits that John Lockwood Kipling's Beast and Man in India (1891), the illustrated compendium on animals that mixes discussions of colonial cross-species entanglements with personal reflections on transforming local arts and crafts in India in the service of imperial power, is a multiauthored book. Centering the presence of Indian illustrators as central to Beast and Man's texture, this essay uses the term \"imperial citation\" to highlight the range of strategies Kipling uses to overtly and covertly appropriate the labor of Indigenous creators within the fabric of this volume. By placing the material text within the context of colonial print culture and Kipling's extensive involvement with art pedagogy in India, the author close reads Kipling's animal ethnography alongside elements of layout and illustration to analyze his metaphoric use of \"animal training\" as a method of suppressing the cultural agency of Indian artists working under him. A critique of Kipling's concept of animal training is a starting point for doing colonial bibliography reparatively, suggesting the need to overcome existing paradigms of inequitable description as essential to generating an anticolonial bibliographic practice.","PeriodicalId":42834,"journal":{"name":"FILM CRITICISM","volume":"4615 2 1","pages":"333 - 350"},"PeriodicalIF":0.0,"publicationDate":"2022-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84995647","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-08-01DOI: 10.1353/crt.2022.a899733
Shelby Johnson
Abstract:This article argues that Bamewawagezhikaquay, or Jane Johnston Schoolcraft, offers vital citations of Anishinaabe cosmologies, including lineages of human and nonhuman teachers and perspectives on animate archives that should inflect new approaches to textual studies. Bamewawagezhikaquay's writings express a citational cosmopolitics, a practice where Bamewawagezhikaquay invokes, and occasionally translates into English, human and more-than-human agents in the cocreation of Anishinaabe knowledge. In her descriptions of Anishinaabe plants and geographies, she models a citational praxis that intersects with resurgent frameworks on orienting to Anishinaabe writings, including birchbark maps and cliff paintings, not as inert objects but as dynamic nodal points in shared and ongoing acts of communication.
{"title":"Listening to Bamewawagezhikaquay's Teachers: Jane Johnston Schoolcraft's Citational Cosmopolitics","authors":"Shelby Johnson","doi":"10.1353/crt.2022.a899733","DOIUrl":"https://doi.org/10.1353/crt.2022.a899733","url":null,"abstract":"Abstract:This article argues that Bamewawagezhikaquay, or Jane Johnston Schoolcraft, offers vital citations of Anishinaabe cosmologies, including lineages of human and nonhuman teachers and perspectives on animate archives that should inflect new approaches to textual studies. Bamewawagezhikaquay's writings express a citational cosmopolitics, a practice where Bamewawagezhikaquay invokes, and occasionally translates into English, human and more-than-human agents in the cocreation of Anishinaabe knowledge. In her descriptions of Anishinaabe plants and geographies, she models a citational praxis that intersects with resurgent frameworks on orienting to Anishinaabe writings, including birchbark maps and cliff paintings, not as inert objects but as dynamic nodal points in shared and ongoing acts of communication.","PeriodicalId":42834,"journal":{"name":"FILM CRITICISM","volume":"1 1","pages":"503 - 519"},"PeriodicalIF":0.0,"publicationDate":"2022-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89681272","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"From Silence to Story, through Listening and Healing: Following the Cinematic Arc of the Returning Combat Veteran in The Yellow Birds","authors":"David T. Johnson","doi":"10.3998/fc.2712","DOIUrl":"https://doi.org/10.3998/fc.2712","url":null,"abstract":"","PeriodicalId":42834,"journal":{"name":"FILM CRITICISM","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-06-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42564027","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Daisuke Miyao, Japonisme and the Birth of Cinema (Duke University Press, 2020)","authors":"Ruoyi Bian","doi":"10.3998/fc.2716","DOIUrl":"https://doi.org/10.3998/fc.2716","url":null,"abstract":"","PeriodicalId":42834,"journal":{"name":"FILM CRITICISM","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-06-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42020928","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"High-Rise Visions: Surveillance, Architecture, and the Lacanian Gaze in Andrea Arnold’s Red Road","authors":"Sierra Komar","doi":"10.3998/fc.2714","DOIUrl":"https://doi.org/10.3998/fc.2714","url":null,"abstract":"","PeriodicalId":42834,"journal":{"name":"FILM CRITICISM","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-06-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42988407","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"The Sound of Glass Shattering: From the Modern Cityscape of Playtime to the Virtual Office of 2020","authors":"Simone Hine","doi":"10.3998/fc.2711","DOIUrl":"https://doi.org/10.3998/fc.2711","url":null,"abstract":"","PeriodicalId":42834,"journal":{"name":"FILM CRITICISM","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-06-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44054926","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"The Tethered Shadow: Jordan Peele and Stanley Kubrick","authors":"J. McEntee","doi":"10.3998/fc.2715","DOIUrl":"https://doi.org/10.3998/fc.2715","url":null,"abstract":"","PeriodicalId":42834,"journal":{"name":"FILM CRITICISM","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-06-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47427625","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Necessarily Problematic: Archival Looking in Arthur Jafa’s 'Love Is The Message, The Message Is Death'","authors":"Zach Anderson","doi":"10.3998/fc.2708","DOIUrl":"https://doi.org/10.3998/fc.2708","url":null,"abstract":"","PeriodicalId":42834,"journal":{"name":"FILM CRITICISM","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-06-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42122040","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Ariel Rogers, On the Screen: Displaying the Moving Image, 1926-1942 (Columbia University Press, 2019)","authors":"S. Oliver","doi":"10.3998/fc.2719","DOIUrl":"https://doi.org/10.3998/fc.2719","url":null,"abstract":"","PeriodicalId":42834,"journal":{"name":"FILM CRITICISM","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-06-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47225939","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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