Pub Date : 2021-04-01DOI: 10.1177/1470412921994603
A. Fisher
Safety Orange first emerged as a legal color standard in the US in the 1950s in technical manuals and federal regulations; today, it is most visible in the contexts of terror, pandemic, and environmental alarm systems; traffic control; work safety; and mass incarceration. The color is a marker of the extreme poles of state oversight and abandonment, of capitalist excess and dereliction. Its unprecedented saturation encodes the tracking of those bodies, neighborhoods, and infrastructures coded as worthy of care – and those deemed dangerous and expendable. This article uses the color orange as an interpretive key for theorizing the uneven distribution of safety and care in 21st-century US public life and to ponder what orange tells us about the relationship between phenomena often viewed as unrelated: information networks, climate data science, pandemic crisis, neoliberal policy, racist violence, and socially engaged art.
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Pub Date : 2021-04-01DOI: 10.1177/1470412921994617
A. Griffiths
This article examines the rich visual culture of the medieval period in order to better understand dreaming as a kind of visual thought experiment, one in which ideas associated with cinema, such as embodied viewing, narrative sequencing, projection, and sensory engagement, are palpable in a range of visual and literary works. The author explores the theoretical connections between the oneiric qualities of cinema and the visual culture of medieval dreams, dealing in turn with the following themes: (i) media and mediation; (ii) projection and premonition; (iii) virtual spatiality; and (iv) automata and other animated objects. The wide swath of medieval literary dream texts, with their mobile perspectives, sensory plentitude, and gnostic mission, resonate with the cinematic in the structuring of the gaze. Investigating the codes of medieval culture provides us with an unusually rich episteme for thinking about how the dreamscapes of the Middle Ages evoke media dispositifs. Opening up these thought lines across distinct eras can help us extrapolate similarities around ways of imagining objects, spaces, sensations of embodied viewing or immersion, reminding us that our contemporary cinematic and digital landscapes are not divorced from earlier ways of seeing and believing. Whether stoking religious fear and veneration or providing sensual pleasure as in Le Roman de la Rose, the dreamworlds of the Middle Ages have bequeathed us a number of an extraordinarily rich creative works that are the imaginative building blocks of media worlds-in-the-making, as speculative in many ways as current discourses around new media.
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Pub Date : 2021-04-01DOI: 10.1177/1470412921996294
Mark Antliff
As the introductory essay to Visualizing Fascism makes clear, the primary goal of this anthology is to alert scholars in the field of history to the role of aesthetics and visual culture in fascist movements, while simultaneously defining fascism as a global phenomenon. Edited by two eminent historians – one a scholar of 20th-century Japan, the other of Nazi Germany – the volume has much to offer due to the geographical scope of its case studies. In her opening essay, Julia Adeney Thomas argues that ‘the visual also helps liberate [historians] from mired national debates by revealing how easily aesthetic styles and modes of public communication slip across borders’ (p. 5). This specialized focus on historians as the anthology’s target audience is reinforced by its list of contributors: eight of the anthology’s eleven authors are historians, supplemented by essays by one art historian, one architectural historian, and one author from the composite field of German and Media Arts.
{"title":"Julia Adeney Thomas and Geoff Eley (eds), Visualizing Fascism: The Twentieth-Century Rise of the Global Right, reviewed by Mark Antliff","authors":"Mark Antliff","doi":"10.1177/1470412921996294","DOIUrl":"https://doi.org/10.1177/1470412921996294","url":null,"abstract":"As the introductory essay to Visualizing Fascism makes clear, the primary goal of this anthology is to alert scholars in the field of history to the role of aesthetics and visual culture in fascist movements, while simultaneously defining fascism as a global phenomenon. Edited by two eminent historians – one a scholar of 20th-century Japan, the other of Nazi Germany – the volume has much to offer due to the geographical scope of its case studies. In her opening essay, Julia Adeney Thomas argues that ‘the visual also helps liberate [historians] from mired national debates by revealing how easily aesthetic styles and modes of public communication slip across borders’ (p. 5). This specialized focus on historians as the anthology’s target audience is reinforced by its list of contributors: eight of the anthology’s eleven authors are historians, supplemented by essays by one art historian, one architectural historian, and one author from the composite field of German and Media Arts.","PeriodicalId":45373,"journal":{"name":"Journal of Visual Culture","volume":"20 1","pages":"113 - 116"},"PeriodicalIF":1.4,"publicationDate":"2021-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1177/1470412921996294","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"65413609","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-04-01DOI: 10.1177/1470412921999456
Xiomara Verenice Cervantes-Gómez
This article focuses on the presence of ‘Blackness’ in Latin America, and the role/location of ‘Blackness’ in the necropolitics of Mexico, in particular, as a visual mode of aestheticizing violence in the aftermath of the 2010 Tamaulipas massacre of 72 undocumented migrants. As an act of remembering the victims, Mexican journalists, writers, and activists created a digital altar: 72 Migrantes. Focusing on photography and narrative as visual frames of Blackness, this article analyzes the representation of Black bodies in the digital altar to conceptualize Blackness as: a constitutive part of violent landscapes; a symptom and supplement of that violence; and, conversely, the location itself from which to critique that violence. At stake is a call for Blackness to be read within hemispheric Latin Americanist visual studies as a locus for understanding antisociality and critical race theory by closely studying the role of the human, social death, and the aesthetics of remembrance. Over 10 years after the massacre, the arguments raised in this article both implicitly and explicitly underscore the need to conceptualize contemporary Blackness and death in the wake of the growing anti-racism activism, Black Lives Matter, and the disproportionate number of people of color who have died as a result of the COVID-19 pandemic.
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Pub Date : 2020-12-01DOI: 10.1177/1470412920966012
M. Baronian
Focusing on a one-minute ‘fashion film’ by the Dutch fashion designer Alexander van Slobbe for the retrospective exhibition on his work in Utrecht’s Centraal Museum in 2010, this article investigates the interconnectedness of film and fashion through their mutual concern with the processes of crafting and dressing. A close reading of Van Slobbe’s film highlights a current return to a minimal design aesthetic in both fashion and film that shows fashion as a process or as a ‘manual’ operation. This film goes beyond the portrait of a fashion designer, becoming a meditation on the material practice of designing, crafting and viewing. That practice involves an intimacy with materiality constituting the fashion garment as a material, crafted and dynamic sartorial object that requires an axial positionality stemming from horizontal closeness. Ultimately, this article presents horizontality as being part of the experience of both moving images and fashion as a material object. The aim is thus to reflect on what is termed ubiquitous ‘screenic fashion’ (as a peculiar affinity between fashion and screen) by considering an alignment of horizontality and materiality as related to a current and vivid concern in the field of fashion and clothes-making.
2010年，荷兰时装设计师亚历山大·范·斯洛布（Alexander van Slobbe）在乌得勒支中央博物馆（Utrecht’s Central Museum）举办的作品回顾展上拍摄了一部一分钟的“时尚电影”，本文通过电影与时尚在工艺和穿着过程中的相互关注，探讨了电影与时尚的相互联系。仔细阅读Van Slobbe的电影，可以发现当前时尚和电影都回归了最低限度的设计美学，将时尚视为一种过程或“手动”操作。这部电影超越了时装设计师的肖像，成为对设计、制作和观看的物质实践的思考。这种做法涉及到与物质性的亲密关系，这种亲密关系构成了时尚服装作为一种材料、精心制作和动态的服装对象，需要源自水平亲密的轴向位置。最终，本文将横向性作为运动图像体验的一部分，并将时尚作为实物。因此，其目的是通过考虑与时尚和服装制造领域当前的生动关注相关的水平性和实质性的一致性，来反思所谓无处不在的“屏幕时尚”（作为时尚和屏幕之间的一种特殊亲和力）。
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Pub Date : 2020-12-01DOI: 10.1177/1470412920964907
Nick Rees-Roberts
Luxury and designer fashion brands today produce as much digital content and branded entertainment as they do design and product. Online video is a key part of that production. In this article, the author questions whether the use of the generic term ‘fashion film’ is still relevant to discussions of the moving image in the digital age. He does this by examining a range of promotional uses of the moving image by the fashion industry – by brands such as Gucci, Burberry and Louis Vuitton – on the social media platforms Instagram, YouTube and Snapchat, which blend design with media. This article seeks to engage critically with the branded dominance of ‘fashion film’ as a commercial phenomenon in contemporary visual culture by positioning it as a shape-shifting form of ‘content’ through the dissemination of moving images on social media, on mobile image-sharing platforms, in which the visual dynamic of the feed (of marketing and data) is now, in part, superseding the aesthetic framework of cinema (of narrative and drama). Rather than situating it primarily as part of film history, here the author situates the contemporary fashion-moving image at the intersection of digital interactivity, fashion branding and celebrity influence.
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Pub Date : 2020-12-01DOI: 10.1177/1470412920964915
Marketa Uhlirova
In the emerging ‘video-first world’ of the last decade, global fashion brands have made the moving image an integral component of their digital marketing strategies. As a result, both the industry and popular perceptions of fashion film have been increasingly colonized by the notions of branding and promotion. Recent scholarship on fashion film too has put the fashion brand at the centre of analysis. This article argues against any such premature fixing of fashion film’s identity. Instead, it proposes shifting the existing perspective by reframing fashion film as not only a product of the fashion industry and associated media but also one of the cinema industry and culture. Drawing on media archaeological models of ‘excavation’ and ‘parallax historiography’, the article examines contemporary digital fashion film in parallel with fashion film of the early 20th century – a juxtaposition that helps to recapture the phenomenon’s remarkable diversity and open possibility in both periods.
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Pub Date : 2020-12-01DOI: 10.1177/1470412920936578
Ian Verstegen
Art historians have long reflected on space – how does an image fit into a book or altarpiece from which it’s been detached? But time has also not been neglected. Heinrich Wölfflin (1941), for example, argued it was incorrect to imagine Renaissance sculptures reflecting a single moment in time. Indeed, the reconstruction of space and time would be standard dual aims of historicist art history. Nevertheless, a ‘temporal turn’ has been advocated within art history in order to bring time and its theoretical conflicts (anachronism, heterochronism) to the fore. The edited book under review reflects this trend, which is closely related to the ‘materialist’ turn of affective, networked reality as a model for understanding art historiographic scholarship in the contemporary moment.
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Pub Date : 2020-12-01DOI: 10.1177/1470412920965128
Jae Emerling
This book is an odd collection of Deleuze ephemera: letters, some ink drawings, reviews, interviews, and a few writings from early (1940s–1950s) in his academic career. These materials are epiphenomena: archival remnants that present us with a certain ambivalence. On one hand, these remnants will entertain Deleuze scholars, whose scholia will value Deleuze’s exam and course preparation materials on David Hume as well as the 15 letters to Félix Guattari collected here wherein we discover the first mention of a work of art as an ‘abstract machine’ (p. 43). On the other hand, Deleuze lived and worked so that there would be no need for an archive. Deleuze was no archivist. We know this not only because he destroyed his correspondence with Alain Badiou in late 1994, but also because Deleuze’s work tells us as much time and again. In the letters presented here we read: ‘Don’t think that I am a compulsive letter writer or that I have a sense of dialogue, I hate it’ (p. 72). Even the editor David Lapoujade writes that ‘there are no letters from these correspondents because Deleuze did not keep any mail’: ‘he differed in this way from other authors who considered their letters to be extensions of their work’ (p. 7). The ephemera presented here must be complemented with the more significant posthumous volumes of Deleuze’s work that we have in English, namely Desert Islands and Other Texts 1953–1974 (2004) and Two Regimes of Madness: Texts and Interviews 1975–1995 (2006). But this only helps if these texts intensify our relation to the work published by Deleuze, to the sheer inexhaustibility of the concepts presented there: multiplicity as a substantive repetition as opposed to reproduction, duration and immanence.
{"title":"Review: Gilles Deleuze, Letters and Other Texts, David Lapoujade (ed.), trans. Ames Hodges","authors":"Jae Emerling","doi":"10.1177/1470412920965128","DOIUrl":"https://doi.org/10.1177/1470412920965128","url":null,"abstract":"This book is an odd collection of Deleuze ephemera: letters, some ink drawings, reviews, interviews, and a few writings from early (1940s–1950s) in his academic career. These materials are epiphenomena: archival remnants that present us with a certain ambivalence. On one hand, these remnants will entertain Deleuze scholars, whose scholia will value Deleuze’s exam and course preparation materials on David Hume as well as the 15 letters to Félix Guattari collected here wherein we discover the first mention of a work of art as an ‘abstract machine’ (p. 43). On the other hand, Deleuze lived and worked so that there would be no need for an archive. Deleuze was no archivist. We know this not only because he destroyed his correspondence with Alain Badiou in late 1994, but also because Deleuze’s work tells us as much time and again. In the letters presented here we read: ‘Don’t think that I am a compulsive letter writer or that I have a sense of dialogue, I hate it’ (p. 72). Even the editor David Lapoujade writes that ‘there are no letters from these correspondents because Deleuze did not keep any mail’: ‘he differed in this way from other authors who considered their letters to be extensions of their work’ (p. 7). The ephemera presented here must be complemented with the more significant posthumous volumes of Deleuze’s work that we have in English, namely Desert Islands and Other Texts 1953–1974 (2004) and Two Regimes of Madness: Texts and Interviews 1975–1995 (2006). But this only helps if these texts intensify our relation to the work published by Deleuze, to the sheer inexhaustibility of the concepts presented there: multiplicity as a substantive repetition as opposed to reproduction, duration and immanence.","PeriodicalId":45373,"journal":{"name":"Journal of Visual Culture","volume":"19 1","pages":"433 - 436"},"PeriodicalIF":1.4,"publicationDate":"2020-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1177/1470412920965128","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48970669","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-12-01DOI: 10.1177/1470412920966015
C. Evans, J. Parikka
This article functions as the introduction to the Themed Issue on Archaeologies of Fashion Film. The text introduces fashion film as a genre and as an historically dynamic form of audiovisual expression that we approach through fashion history, media archaeology and new film history. While introducing key concepts and approaches, the authors propose a form of ‘parallax historiography’, a term emerging from Thomas Elsaesser’s work, that links different time periods from early cinema to recent digital platforms, even ‘post-cinema’. The introduction makes references to the contributions in this issue that address historical conditions of emergence, marginal voices in the historical record and unexcavated archival materials; and the issue shows how they all contain feedback loops or recursive traits that resonate in contemporary practice where infrastructures of platforms and data frame the moving image.
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