Pub Date : 2020-12-01DOI: 10.1177/1470412920964905
W. Strauven
This article proposes thinking of media archaeology as an operating table upon which historical, material and technological interconnections between fashion and film are made. By exploring how early cinema and digital film can be coupled to textile as technology, more specifically through the mechanisms of the sewing machine and the Jacquard loom, it extends the historical span from the mid-1890s, with the invention of cinema as projection, to the early 1800s, when computational thinking was successfully implemented as weaving technique. Instead of focusing on film and fashion as means of visual representation, the author relies on the concept of inscription for a better understanding of both cinema (as recording of light and movement) and textile (with its various thread techniques of weaving, stitching, knitting, etc.).
{"title":"Sewing machines and weaving looms: a media archaeological encounter between fashion and film","authors":"W. Strauven","doi":"10.1177/1470412920964905","DOIUrl":"https://doi.org/10.1177/1470412920964905","url":null,"abstract":"This article proposes thinking of media archaeology as an operating table upon which historical, material and technological interconnections between fashion and film are made. By exploring how early cinema and digital film can be coupled to textile as technology, more specifically through the mechanisms of the sewing machine and the Jacquard loom, it extends the historical span from the mid-1890s, with the invention of cinema as projection, to the early 1800s, when computational thinking was successfully implemented as weaving technique. Instead of focusing on film and fashion as means of visual representation, the author relies on the concept of inscription for a better understanding of both cinema (as recording of light and movement) and textile (with its various thread techniques of weaving, stitching, knitting, etc.).","PeriodicalId":45373,"journal":{"name":"Journal of Visual Culture","volume":"19 1","pages":"362 - 377"},"PeriodicalIF":1.4,"publicationDate":"2020-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1177/1470412920964905","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48962350","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: 10.1177/1470412920965129
Devapriya Sanyal
Frances Guerin’s book is a finely curated labour of love. For a book on visual culture, this is saying something since there are already so many books about this field. However, what distinguishes her book from the others is the fact that she is dealing with ‘not looking’ rather than ‘looking’. The book consists of 11 essays that are divided into 4 pertinent sections, covering diverse topics such as painting, a piece of film which was part of an investigation into homoeroticism in Ohio in the 1960s, sculpture and photography. Drawing on her own scholarship about images and the Holocaust, Guerin presents the motivation for this collection of essays by stating that ‘in light of the immense power given to images by destroying them, together with the weaving of images into political governance and everyday life, we need to find new ways of approaching images and icons’, new ways of ‘recasting notions of contemporary iconoclasm as well as expanding its conception, with the goal of further understanding its ramifications’ (pp. 2–3).
{"title":"Review: Frances Guerin (ed.), On Not Looking: The Paradox of Contemporary Visual Culture","authors":"Devapriya Sanyal","doi":"10.1177/1470412920965129","DOIUrl":"https://doi.org/10.1177/1470412920965129","url":null,"abstract":"Frances Guerin’s book is a finely curated labour of love. For a book on visual culture, this is saying something since there are already so many books about this field. However, what distinguishes her book from the others is the fact that she is dealing with ‘not looking’ rather than ‘looking’. The book consists of 11 essays that are divided into 4 pertinent sections, covering diverse topics such as painting, a piece of film which was part of an investigation into homoeroticism in Ohio in the 1960s, sculpture and photography. Drawing on her own scholarship about images and the Holocaust, Guerin presents the motivation for this collection of essays by stating that ‘in light of the immense power given to images by destroying them, together with the weaving of images into political governance and everyday life, we need to find new ways of approaching images and icons’, new ways of ‘recasting notions of contemporary iconoclasm as well as expanding its conception, with the goal of further understanding its ramifications’ (pp. 2–3).","PeriodicalId":45373,"journal":{"name":"Journal of Visual Culture","volume":"19 1","pages":"430 - 432"},"PeriodicalIF":1.4,"publicationDate":"2020-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1177/1470412920965129","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44306801","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: 10.1177/1470412920965126
Hannah Goodwin
When we look into the night sky, we look into the past. The light that reaches our eyes from stars has traveled for years, rendering everything we see a trace of how things were at some other point in time. This raises the question of how our own planetary past is preserved and cast outward, a question that has stirred excitement among science fiction writers, astronomers, and archaeologists alike. An entanglement of pastness and futurity is intrinsic to outer space; for while the night sky presents us visually with intermingling pasts, the idea of preservation entails a future into which these pasts are cast.
{"title":"Review: Alice Gorman, Dr Space Junk vs. the Universe: Archaeology and the Future","authors":"Hannah Goodwin","doi":"10.1177/1470412920965126","DOIUrl":"https://doi.org/10.1177/1470412920965126","url":null,"abstract":"When we look into the night sky, we look into the past. The light that reaches our eyes from stars has traveled for years, rendering everything we see a trace of how things were at some other point in time. This raises the question of how our own planetary past is preserved and cast outward, a question that has stirred excitement among science fiction writers, astronomers, and archaeologists alike. An entanglement of pastness and futurity is intrinsic to outer space; for while the night sky presents us visually with intermingling pasts, the idea of preservation entails a future into which these pasts are cast.","PeriodicalId":45373,"journal":{"name":"Journal of Visual Culture","volume":"19 1","pages":"422 - 425"},"PeriodicalIF":1.4,"publicationDate":"2020-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1177/1470412920965126","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46828118","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 : 2020-08-24DOI: 10.1177/1470412920941898
Sebastian De Line
{"title":"Decolonizing objecthood through 2SQ Indigenous art: Dayna Danger and Jeneen Frei Njootli’s performance, ‘Chases and Tacks’","authors":"Sebastian De Line","doi":"10.1177/1470412920941898","DOIUrl":"https://doi.org/10.1177/1470412920941898","url":null,"abstract":"","PeriodicalId":45373,"journal":{"name":"Journal of Visual Culture","volume":"19 1","pages":"225-231"},"PeriodicalIF":1.4,"publicationDate":"2020-08-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1177/1470412920941898","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"65412857","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 : 2020-08-01DOI: 10.1177/1470412920941897
S. Crasnow
This article examines the use of mythological hybrid figures in works by two non-binary queer contemporary artists of color. For these artists, the intersection of their ethnic/religious identities and their queer identities leads them to experience a hindrance to full belonging in each of these communities. This results in a feeling of liminality or ‘in-betweenness’. In considering this ‘in-betweenness’ as an intersectional liminality, the author argues that these artists utilize mythological hybrid figures in their work to articulate this experience as one of potential, rather than foreclosure. In so doing, this article seeks to challenge, and possibly transform, the notion of the hybrid as a composite of oftentimes irreconcilable parts one must navigate and move between into a site of creative promise. Rooting this re-evaluation of liminality and hybridity in the verbal and artistic articulations of queer non-binary artists of color centers these voices in the construction of new notions of hybridity and liminality.
{"title":"The diversity of the middle: mythology in intersectional trans representation","authors":"S. Crasnow","doi":"10.1177/1470412920941897","DOIUrl":"https://doi.org/10.1177/1470412920941897","url":null,"abstract":"This article examines the use of mythological hybrid figures in works by two non-binary queer contemporary artists of color. For these artists, the intersection of their ethnic/religious identities and their queer identities leads them to experience a hindrance to full belonging in each of these communities. This results in a feeling of liminality or ‘in-betweenness’. In considering this ‘in-betweenness’ as an intersectional liminality, the author argues that these artists utilize mythological hybrid figures in their work to articulate this experience as one of potential, rather than foreclosure. In so doing, this article seeks to challenge, and possibly transform, the notion of the hybrid as a composite of oftentimes irreconcilable parts one must navigate and move between into a site of creative promise. Rooting this re-evaluation of liminality and hybridity in the verbal and artistic articulations of queer non-binary artists of color centers these voices in the construction of new notions of hybridity and liminality.","PeriodicalId":45373,"journal":{"name":"Journal of Visual Culture","volume":"19 1","pages":"212 - 224"},"PeriodicalIF":1.4,"publicationDate":"2020-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1177/1470412920941897","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44853522","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 : 2020-08-01DOI: 10.1177/1470412920936581
Y. Howard
{"title":"Review: Dominic Johnson, Unlimited Action: The Performance of Extremity in the 1970s","authors":"Y. Howard","doi":"10.1177/1470412920936581","DOIUrl":"https://doi.org/10.1177/1470412920936581","url":null,"abstract":"","PeriodicalId":45373,"journal":{"name":"Journal of Visual Culture","volume":"19 1","pages":"304 - 307"},"PeriodicalIF":1.4,"publicationDate":"2020-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1177/1470412920936581","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49103791","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 : 2020-08-01DOI: 10.1177/1470412920936574
Hannah M. Stamler
In their 2011 edited volume Useful Cinema, Charles R Acland and Haidee Wasson argue that the majority of cinema scholarship misses an important feature of the medium by focusing on commercial public films. The 20th century, they note, witnessed not only the rise of entertainment cinema but also the creation of a vast universe of what the authors term ‘useful cinema’: educational and instructional films created by schools, public agencies, and private businesses. Such films – played on the walls of classrooms, exhibition halls, and offices – projected a different, yet equally important, vision of cinema’s place and purpose in modern life. Here, the medium was technology more than art: a tool for ‘making, persuading, instructing, demonstrating’ (Acland and Wasson, 2011: 6). To arrive at an accurate understanding of 20th-century film culture, they conclude, scholars must pivot away from theatrical releases and begin to consider film history’s entanglement with institutional history, exploring how cinema was ‘adapted to institutional directives, wielding influence outside of the multiplex and the art house’ (p. 13).
Charles R Acland和Haidee Wasson在他们2011年编辑的《有用的电影》一书中认为，大多数电影学术关注商业公共电影，错过了媒体的一个重要特征。他们指出，20世纪不仅见证了娱乐电影的兴起，还创造了一个被作者称为“有用电影”的广阔宇宙：由学校、公共机构和私营企业创作的教育和教学电影。这些电影在教室、展厅和办公室的墙上播放，投射出一种不同但同样重要的对电影在现代生活中的地位和目的的愿景。在这里，媒介是技术而不是艺术：一种“制造、说服、指导、展示”的工具（Acland和Wasson，2011:6）。他们得出结论，为了准确理解20世纪的电影文化，学者们必须从影院上映转向电影史与制度史的纠缠，探索电影是如何“适应制度指令，在多元化和艺术之外发挥影响力”的（第13页）。
{"title":"Review: Tom Rice, Films for the Colonies: Cinema and the Preservation of the British Empire","authors":"Hannah M. Stamler","doi":"10.1177/1470412920936574","DOIUrl":"https://doi.org/10.1177/1470412920936574","url":null,"abstract":"In their 2011 edited volume Useful Cinema, Charles R Acland and Haidee Wasson argue that the majority of cinema scholarship misses an important feature of the medium by focusing on commercial public films. The 20th century, they note, witnessed not only the rise of entertainment cinema but also the creation of a vast universe of what the authors term ‘useful cinema’: educational and instructional films created by schools, public agencies, and private businesses. Such films – played on the walls of classrooms, exhibition halls, and offices – projected a different, yet equally important, vision of cinema’s place and purpose in modern life. Here, the medium was technology more than art: a tool for ‘making, persuading, instructing, demonstrating’ (Acland and Wasson, 2011: 6). To arrive at an accurate understanding of 20th-century film culture, they conclude, scholars must pivot away from theatrical releases and begin to consider film history’s entanglement with institutional history, exploring how cinema was ‘adapted to institutional directives, wielding influence outside of the multiplex and the art house’ (p. 13).","PeriodicalId":45373,"journal":{"name":"Journal of Visual Culture","volume":"19 1","pages":"312 - 315"},"PeriodicalIF":1.4,"publicationDate":"2020-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1177/1470412920936574","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41596322","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 : 2020-08-01DOI: 10.1177/1470412920944501
KJ Cerankowski
The archive consists of memories, documents, and images waiting to be curated into a story. In this article, the author collates archival object encounters into a transgender ‘ghost story’ that marks the impossibility of a straightforward history of the subject, relying instead on embodied encounters with archive objects, or the remnants (ghostly and tangible) of archival subjects. Following the materials of Charley Parkhurst and Reed Erickson, the author makes connections where none previously existed, asking: How do we put life back into the materials of the dead? What do the traces and memories of these ghosts offer the living? What do archive objects activate in the eyes that see them, the ears that listen, and the hearts that race or slow with each haptic encounter? Following these questions, this article pieces together a different kind of narrative history and transition story through the unexpected encounters with the archive and its ghosts.
{"title":"Chasing Charley, finding Reed: reaching toward the ghosts of the archive","authors":"KJ Cerankowski","doi":"10.1177/1470412920944501","DOIUrl":"https://doi.org/10.1177/1470412920944501","url":null,"abstract":"The archive consists of memories, documents, and images waiting to be curated into a story. In this article, the author collates archival object encounters into a transgender ‘ghost story’ that marks the impossibility of a straightforward history of the subject, relying instead on embodied encounters with archive objects, or the remnants (ghostly and tangible) of archival subjects. Following the materials of Charley Parkhurst and Reed Erickson, the author makes connections where none previously existed, asking: How do we put life back into the materials of the dead? What do the traces and memories of these ghosts offer the living? What do archive objects activate in the eyes that see them, the ears that listen, and the hearts that race or slow with each haptic encounter? Following these questions, this article pieces together a different kind of narrative history and transition story through the unexpected encounters with the archive and its ghosts.","PeriodicalId":45373,"journal":{"name":"Journal of Visual Culture","volume":"19 1","pages":"293 - 303"},"PeriodicalIF":1.4,"publicationDate":"2020-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1177/1470412920944501","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49355755","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 : 2020-08-01DOI: 10.1177/1470412920944480
Eliza Steinbock
This article endeavors to describe the impact of ‘visual essentialism’ as an approach towards trans visual culture, including the violence it enacts and the mistrust it fosters towards self-defining language for gender identities. It borrows Susan Stryker’s insight in her introduction to her Transgender Studies Reader (2006, edited with Stephen Whittle) that trans phenomena move to the foreground when set against an ambient background consisting of gender normative conditions. It extrapolates this visual metaphor for understanding trans in contrast to non-trans into a method to analyze trans visual culture. The author argues that, by focusing on how the figure and ground relate in alignment, or not, the analyst can better examine how the components of visuality are working together to position one’s value-laden perspective on visible transgender and non/trans things. This elaboration along three proposed categories of value, namely political, symbolic and commercial, is offered to better understand and parse the noted problem of trans visibility increasing alongside transphobic violence.
{"title":"The wavering line of foreground and background: a proposal for the schematic analysis of trans visual culture","authors":"Eliza Steinbock","doi":"10.1177/1470412920944480","DOIUrl":"https://doi.org/10.1177/1470412920944480","url":null,"abstract":"This article endeavors to describe the impact of ‘visual essentialism’ as an approach towards trans visual culture, including the violence it enacts and the mistrust it fosters towards self-defining language for gender identities. It borrows Susan Stryker’s insight in her introduction to her Transgender Studies Reader (2006, edited with Stephen Whittle) that trans phenomena move to the foreground when set against an ambient background consisting of gender normative conditions. It extrapolates this visual metaphor for understanding trans in contrast to non-trans into a method to analyze trans visual culture. The author argues that, by focusing on how the figure and ground relate in alignment, or not, the analyst can better examine how the components of visuality are working together to position one’s value-laden perspective on visible transgender and non/trans things. This elaboration along three proposed categories of value, namely political, symbolic and commercial, is offered to better understand and parse the noted problem of trans visibility increasing alongside transphobic violence.","PeriodicalId":45373,"journal":{"name":"Journal of Visual Culture","volume":"19 1","pages":"171 - 183"},"PeriodicalIF":1.4,"publicationDate":"2020-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1177/1470412920944480","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47530822","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 : 2020-08-01DOI: 10.1177/1470412920946827
Chris Straayer
This article examines trans commercial production of penile prosthetics, the efficacy of such products in personal and sex-segregated spaces, and their negative valence in the public sphere. Responding to his own experience of gender dysphoria, Transthetics founder Alex designs and produces products for the reparative and enabling embodiment of trans men. Penile prosthetics reflect the longstanding tension between aesthetics and function in the history of prosthetic limbs. The author posits ‘stealth aesthetics’ as a function-injected realism that pushes into reality via utilization of prosthetics in the performance of real life. For some trans men, the phenomenologically incorporated prosthetic is tantamount to a corporeal penis. Cisnormativity, however, outlaws this equivalence. Recent prosecutions of penile prosthetic embodiment as ‘gender fraud’ punitively restrict trans men’s claim on reality, instead exposing their private bodies to public judgment, where genitals produce gender. By contrast, the author advocates the authorization of gender to produce genitals.
{"title":"Trans men’s stealth aesthetics: navigating penile prosthetics and ‘gender fraud’","authors":"Chris Straayer","doi":"10.1177/1470412920946827","DOIUrl":"https://doi.org/10.1177/1470412920946827","url":null,"abstract":"This article examines trans commercial production of penile prosthetics, the efficacy of such products in personal and sex-segregated spaces, and their negative valence in the public sphere. Responding to his own experience of gender dysphoria, Transthetics founder Alex designs and produces products for the reparative and enabling embodiment of trans men. Penile prosthetics reflect the longstanding tension between aesthetics and function in the history of prosthetic limbs. The author posits ‘stealth aesthetics’ as a function-injected realism that pushes into reality via utilization of prosthetics in the performance of real life. For some trans men, the phenomenologically incorporated prosthetic is tantamount to a corporeal penis. Cisnormativity, however, outlaws this equivalence. Recent prosecutions of penile prosthetic embodiment as ‘gender fraud’ punitively restrict trans men’s claim on reality, instead exposing their private bodies to public judgment, where genitals produce gender. By contrast, the author advocates the authorization of gender to produce genitals.","PeriodicalId":45373,"journal":{"name":"Journal of Visual Culture","volume":"19 1","pages":"255 - 271"},"PeriodicalIF":1.4,"publicationDate":"2020-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1177/1470412920946827","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43040082","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}
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