Pub Date : 2022-01-01DOI: 10.1525/rep.2022.157.6.115
Debashree Mukherjee
This essay explores the aesthetic and material force of landscape in cinema, an entity that has long been considered an index of localized climates. I adopt a transmedial and triangulated approach to cinematic landscape as filmed image, as circulating imaginary, and as the physical ground of film production. I argue that cinema reveals, in the scene of production, a mutual exertion of spatial influence and the co-production of aesthetic-material meaning by multiple human and nonhuman actants. The polyphonous relationship of landscape and cinema allows me to complicate climate and Anthropocene abstractions with situated histories of desire, dispossession, circulation, and collaboration.
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Pub Date : 2022-01-01DOI: 10.1525/rep.2022.159.3.58
H. James
The image of Hamlet holding and beholding the skull in the graveyard scene of Hamlet is an icon of tragic endings that exceeds the moralizing dimensions of the standard memento mori or remembrance of death. This essay explores the significance of the image in the history of Shakespearean adaptation in the context of the art, science, and ethical philosophy of the American frontier. The focus of the essay is Herd on the Move, the most ambitious painting by artist and naturalist William Jacob Hays (1830–75). The large canvas presents the exodus of bison on the frontier to points further west and features a bison in the posture of Hamlet gazing in tragic shock and recognition at a bison skull to the side of the herd. The essay analyzes this painting to trace the theme of the extinction of species as it is embedded in the “translation of empire” and Manifest Destiny. I account for the combined resources of several histories—art, theater, nineteenth-century history and philosophy—to elucidate the ways in which Hays, as an artist and scientist, aimed to retrain the eyes of East Coast clientele so that they might see the ecological and ethical consequences of the White man’s perspective on the push west to native species, especially the bison and the Indigenous peoples with whom their existence was intimately entwined.
在《哈姆雷特》的墓地场景中，哈姆雷特手持骷髅头的形象是一个悲剧结局的象征，它超越了标准的死亡纪念的道德层面。本文探讨了在美国边疆艺术、科学和伦理哲学的背景下，这一形象在莎士比亚改编史上的意义。这篇文章的重点是艺术家和博物学家威廉·雅各布·海斯(William Jacob Hays, 1830-75)最雄心勃勃的画作《移动中的牛群》。这幅巨大的油画描绘了大批野牛从边境向更远的西部迁徙，并描绘了一头野牛以哈姆雷特的姿态悲剧性地震惊地凝视着牛群旁边的一头野牛的头骨。本文通过对这幅画的分析，追溯了物种灭绝的主题，因为它嵌入了“帝国的翻译”和“天定命运”。我解释了几个历史的综合资源-艺术，戏剧，19世纪的历史和哲学-以阐明海斯作为艺术家和科学家的方式，旨在重新训练东海岸客户的眼睛，以便他们可能看到白人对西部土著物种的观点的生态和伦理后果，特别是野牛和土著人民，他们的存在与他们密切相关。
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Pub Date : 2022-01-01DOI: 10.1525/rep.2022.159.4.90
Hsin-Yuan Peng
From the late 1920s to the early 1940s, meteorologist Abe Masanao (1891–1966) used time-lapse and stereoscopy to study clouds near Mount Fuji. Abe’s research connects cinema, clouds, and the stereoscope in a circuit of mediation, both literal and metaphorical. Analyzing Abe’s image-making practices alongside his discussion of tricks and magic, this case study proposes that meteorological visualization is an art of forgery.
{"title":"Intervals in Relief","authors":"Hsin-Yuan Peng","doi":"10.1525/rep.2022.159.4.90","DOIUrl":"https://doi.org/10.1525/rep.2022.159.4.90","url":null,"abstract":"From the late 1920s to the early 1940s, meteorologist Abe Masanao (1891–1966) used time-lapse and stereoscopy to study clouds near Mount Fuji. Abe’s research connects cinema, clouds, and the stereoscope in a circuit of mediation, both literal and metaphorical. Analyzing Abe’s image-making practices alongside his discussion of tricks and magic, this case study proposes that meteorological visualization is an art of forgery.","PeriodicalId":47353,"journal":{"name":"Representations","volume":"1 1","pages":""},"PeriodicalIF":0.4,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66929866","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 : 2022-01-01DOI: 10.1525/rep.2022.157.1.1
J. Cahill, Brian R. Jacobson, Weihong Bao
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Pub Date : 2022-01-01DOI: 10.1525/rep.2022.160.5.119
Austin Lillywhite
The term “raw feel” originates in twentieth-century psychology to name the inner, conscious properties of experience. This article redefines the raw feel as a phenomenology of feminine queer body experience that responds to instances of gaslighting. Reading Carmen Maria Machado’s Her Body and Other Parties (2017) to explore raw feeling’s relations to sex, numbness, and finding agency in unexpected places, I show that raw feeling challenges distinctions between surface and allegorical modes of reading.
“原始感觉”一词起源于20世纪的心理学，用来命名经验的内在意识属性。这篇文章将原始感觉重新定义为女性酷儿身体体验的现象学，这是对煤气灯实例的回应。阅读卡门·玛丽亚·马查多(Carmen Maria Machado)的《她的身体和其他派对》(2017)，探索原始感觉与性、麻木和在意想不到的地方寻找代理的关系，我表明原始感觉挑战了表面和寓言阅读模式之间的区别。
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Pub Date : 2022-01-01DOI: 10.1525/rep.2022.157.2.17
J. Peterson
This essay explores what I call an Anthropocene viewing condition, a contemporary spectator position in which images of nature, particularly moving images of natures past, resonate with present and future environmental loss. Analyzing natural disaster melodramas such as The Trail of ’98 (1928) and Deluge (1933) alongside popular science films about glaciers from the 1920s, I explore endangerment as both an explicit and latent structure of feeling in the Anthropocene.
{"title":"An Anthropocene Viewing Condition","authors":"J. Peterson","doi":"10.1525/rep.2022.157.2.17","DOIUrl":"https://doi.org/10.1525/rep.2022.157.2.17","url":null,"abstract":"This essay explores what I call an Anthropocene viewing condition, a contemporary spectator position in which images of nature, particularly moving images of natures past, resonate with present and future environmental loss. Analyzing natural disaster melodramas such as The Trail of ’98 (1928) and Deluge (1933) alongside popular science films about glaciers from the 1920s, I explore endangerment as both an explicit and latent structure of feeling in the Anthropocene.","PeriodicalId":47353,"journal":{"name":"Representations","volume":"11 1","pages":""},"PeriodicalIF":0.4,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66929925","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 : 2022-01-01DOI: 10.1525/rep.2022.157.4.68
Yuriko Furuhata
This article focuses on the animated Japanese film Weathering with You (2019) in order to think critically about the limits and merits of site-specific, local approaches to the anthropogenic climate crisis, and to the Anthropocene and its mythopoetic tendency. While the geological period of the Anthropocene is thoroughly historical and rooted in the modern scientific paradigm of Earth history, the mythologizing tendency in search of new cosmologies within the discourse of the Anthropocene complicates this linear trajectory of time. Anthropocene discourse invites its critics to revive and reinvent local myths. When these myths appear within the planetary scale of Anthropocene discourse, they take on a cosmological, if not universal, outlook. It is this spatial and temporal paradox of myths within the geological framework of the Anthropocene that this article investigates through the mediation of Weathering with You.
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