When the world went into lockdown in March 2020, we compressed and uploaded much of our lives onto screens and into networked technologies. Mediated modes of interaction once regarded as exceptions—from telehealth to online learning to mail-in voting—became the rule. Teachers suddenly became production designers, cinematographers, and video editors.1 Chefs learned to style their culinary creations for social media and cultivated new Instagram-based networks of local distribution.2 Dancers, comedians, and musicians adapted their performances for bedroom audiences engaged
{"title":"In Focus Introduction: Media Study beyond Media Studies: Pandemic Lessons for an Evolving Field","authors":"Shannon Mattern","doi":"10.1353/cj.2023.a904631","DOIUrl":"https://doi.org/10.1353/cj.2023.a904631","url":null,"abstract":"When the world went into lockdown in March 2020, we compressed and uploaded much of our lives onto screens and into networked technologies. Mediated modes of interaction once regarded as exceptions—from telehealth to online learning to mail-in voting—became the rule. Teachers suddenly became production designers, cinematographers, and video editors.1 Chefs learned to style their culinary creations for social media and cultivated new Instagram-based networks of local distribution.2 Dancers, comedians, and musicians adapted their performances for bedroom audiences engaged","PeriodicalId":55936,"journal":{"name":"JCMS-Journal of Cinema and Media Studies","volume":null,"pages":null},"PeriodicalIF":0.5,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76270534","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
abstract:Call Me by Your Name (Luca Guadagnino, 2017) exemplifies a transnational mode of filmmaking that aspires toward a universal form of legibility, one that seems to dilute both historical and spatial specificity. This article interrogates the relation between the present that Call Me by Your Name has been called on to represent by some critics and the past from which the film would seem to have moved away. At stake in discussing Call Me by Your Name as an exemplary film about the present is the opportunity to question the value of a progress narrative about queer film history.
{"title":"Universality, Difference, and Spectrality in Call Me by Your Name","authors":"Sergio Rigoletto","doi":"10.1353/cj.2023.a904627","DOIUrl":"https://doi.org/10.1353/cj.2023.a904627","url":null,"abstract":"abstract:Call Me by Your Name (Luca Guadagnino, 2017) exemplifies a transnational mode of filmmaking that aspires toward a universal form of legibility, one that seems to dilute both historical and spatial specificity. This article interrogates the relation between the present that Call Me by Your Name has been called on to represent by some critics and the past from which the film would seem to have moved away. At stake in discussing Call Me by Your Name as an exemplary film about the present is the opportunity to question the value of a progress narrative about queer film history.","PeriodicalId":55936,"journal":{"name":"JCMS-Journal of Cinema and Media Studies","volume":null,"pages":null},"PeriodicalIF":0.5,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75821518","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Cinemas of the Mozambican Revolution: Anti-Colonialism, Independence and Internationalism in Filmmaking, 1968–1991 by Ros Gray (review)","authors":"Maria do Carmo Piçarra, N. Couret","doi":"10.1353/cj.2023.a904642","DOIUrl":"https://doi.org/10.1353/cj.2023.a904642","url":null,"abstract":"","PeriodicalId":55936,"journal":{"name":"JCMS-Journal of Cinema and Media Studies","volume":null,"pages":null},"PeriodicalIF":0.5,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90525637","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
What is contour? A PhD candidate in robotics and an assistant professor of queer information studies each asked me this question over Zoom; the fi rst in February 2021 and the second in May 2021. Across two universities, four months apart, two scholars cut into my performance of what I had presumed were commonsense literacies in beauty applicators—namely those related to the use of contour sticks. On both occasions, I looked up from my mirror and into the web browser, where guests were voting on how to paint my cheekbones. I paused. In IRL circumstances, it might be considered rude for another scholar to interrupt my performance. Yet on Zoom—the video conference application that dominated imaginaries of pandemic teaching— interruption is infrastructure. Look at any university calendar from 2020. Look at any Zoom bomb. These parallel pauses were my felix culpa into what Donna Haraway terms “the god trick”: the perilous belief in universal truths passively waiting to be uncovered in our given research fi elds.1 To Haraway, philosophical approaches to the faculty of vision have been especially culpable in fl attening
{"title":"Making up over Zoom: An Autoethnography of Streaming in/as Media Scholarship","authors":"Christine H. Tran","doi":"10.1353/cj.2023.a904633","DOIUrl":"https://doi.org/10.1353/cj.2023.a904633","url":null,"abstract":"What is contour? A PhD candidate in robotics and an assistant professor of queer information studies each asked me this question over Zoom; the fi rst in February 2021 and the second in May 2021. Across two universities, four months apart, two scholars cut into my performance of what I had presumed were commonsense literacies in beauty applicators—namely those related to the use of contour sticks. On both occasions, I looked up from my mirror and into the web browser, where guests were voting on how to paint my cheekbones. I paused. In IRL circumstances, it might be considered rude for another scholar to interrupt my performance. Yet on Zoom—the video conference application that dominated imaginaries of pandemic teaching— interruption is infrastructure. Look at any university calendar from 2020. Look at any Zoom bomb. These parallel pauses were my felix culpa into what Donna Haraway terms “the god trick”: the perilous belief in universal truths passively waiting to be uncovered in our given research fi elds.1 To Haraway, philosophical approaches to the faculty of vision have been especially culpable in fl attening","PeriodicalId":55936,"journal":{"name":"JCMS-Journal of Cinema and Media Studies","volume":null,"pages":null},"PeriodicalIF":0.5,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76763946","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In February and March 2021, as psychoanalysts and their patients shifted from consulting rooms and couches to Zoom invites, Doxy meetings, and calls taken in small private corners of the home or outdoors, many clinicians felt as if their entire playbook had evaporated into thin air. Traditionally, forms of distance treatment have been met with suspicion, seen as contaminative in their mediation or technologization of the therapeutic speech that has been fi gured as pure when in person.1 Distance treatment has often been derided as a lesser form of therapy because it robs the analyst of non-verbal clues as to the state of their patients while deritualizing or unframing the psychoanalytic encounter. Yet teletherapy during the COVID-19 pandemic was (and remains) a lifeline for the continuation of the practice in a time of crisis—and not for the fi rst time. From the London Blitz to a suicide epidemic in San Francisco, from the war for liberation in Algeria to the generation of new institutes where previously psychoanalysis was suppressed, teletherapy has served this function many times throughout the twentieth century. Suddenly, this supposedly denigrated shadow form of care became the dominant way patients and their analysts could continue their work. But this shock and demand to move to telewas partially so diffi cult for analysts because, while many of them had done the occasional phone session, very few had previously run full tele-clinics. Many analysts felt that they
{"title":"The Medium Inside: Psychoanalysts' Media Theory of Everyday Life","authors":"Hannah Zeavin","doi":"10.1353/cj.2023.a904632","DOIUrl":"https://doi.org/10.1353/cj.2023.a904632","url":null,"abstract":"In February and March 2021, as psychoanalysts and their patients shifted from consulting rooms and couches to Zoom invites, Doxy meetings, and calls taken in small private corners of the home or outdoors, many clinicians felt as if their entire playbook had evaporated into thin air. Traditionally, forms of distance treatment have been met with suspicion, seen as contaminative in their mediation or technologization of the therapeutic speech that has been fi gured as pure when in person.1 Distance treatment has often been derided as a lesser form of therapy because it robs the analyst of non-verbal clues as to the state of their patients while deritualizing or unframing the psychoanalytic encounter. Yet teletherapy during the COVID-19 pandemic was (and remains) a lifeline for the continuation of the practice in a time of crisis—and not for the fi rst time. From the London Blitz to a suicide epidemic in San Francisco, from the war for liberation in Algeria to the generation of new institutes where previously psychoanalysis was suppressed, teletherapy has served this function many times throughout the twentieth century. Suddenly, this supposedly denigrated shadow form of care became the dominant way patients and their analysts could continue their work. But this shock and demand to move to telewas partially so diffi cult for analysts because, while many of them had done the occasional phone session, very few had previously run full tele-clinics. Many analysts felt that they","PeriodicalId":55936,"journal":{"name":"JCMS-Journal of Cinema and Media Studies","volume":null,"pages":null},"PeriodicalIF":0.5,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86409815","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
abstract:This article examines the untold history of video art in New York City nightclubs of the 1980s. Shaped by communal practice, fueled by narcotics, and backed by the mob, clubs provided a radically different milieu than the art world for the making, exhibition, and reception of video art.
{"title":"Fugitive Video: Art in 1980s New York Nightclubs","authors":"G. Zinman","doi":"10.1353/cj.2023.a904629","DOIUrl":"https://doi.org/10.1353/cj.2023.a904629","url":null,"abstract":"abstract:This article examines the untold history of video art in New York City nightclubs of the 1980s. Shaped by communal practice, fueled by narcotics, and backed by the mob, clubs provided a radically different milieu than the art world for the making, exhibition, and reception of video art.","PeriodicalId":55936,"journal":{"name":"JCMS-Journal of Cinema and Media Studies","volume":null,"pages":null},"PeriodicalIF":0.5,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79683586","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
interplay of geopolitical forces, infrastructural conditions, market forces
地缘政治力量、基础设施条件和市场力量的相互作用
{"title":"Hollywood's Embassies: How Movie Theaters Projected American Power Around the World by Ross Melnick (review)","authors":"S. Enzerink","doi":"10.1353/cj.2023.a904639","DOIUrl":"https://doi.org/10.1353/cj.2023.a904639","url":null,"abstract":"interplay of geopolitical forces, infrastructural conditions, market forces","PeriodicalId":55936,"journal":{"name":"JCMS-Journal of Cinema and Media Studies","volume":null,"pages":null},"PeriodicalIF":0.5,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76491682","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
abstract:Using the film Diciembres (Decembers, Enrique Castro Ríos, 2018) as its case study, this article details the historical link between the Panama Canal—from its construction to ensuing struggles for its control—and the early development of cinema. The article moreover interrogates the zoning practices that inform the logics of both the canal and cinema in general. The argument puts film theory and decolonial thought into conversation with Diciembres, which narrativizes the 1989 US invasion of Panamá, as the formal operation of this film demonstrates yet transgresses the notion of a "contact zone" within de/colonial imaginaries.
{"title":"Re-documenting the US Invasion of Panamá amid the Contact Zone in Diciembres","authors":"Stephen Woo","doi":"10.1353/cj.2023.a904628","DOIUrl":"https://doi.org/10.1353/cj.2023.a904628","url":null,"abstract":"abstract:Using the film Diciembres (Decembers, Enrique Castro Ríos, 2018) as its case study, this article details the historical link between the Panama Canal—from its construction to ensuing struggles for its control—and the early development of cinema. The article moreover interrogates the zoning practices that inform the logics of both the canal and cinema in general. The argument puts film theory and decolonial thought into conversation with Diciembres, which narrativizes the 1989 US invasion of Panamá, as the formal operation of this film demonstrates yet transgresses the notion of a \"contact zone\" within de/colonial imaginaries.","PeriodicalId":55936,"journal":{"name":"JCMS-Journal of Cinema and Media Studies","volume":null,"pages":null},"PeriodicalIF":0.5,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76851001","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Spotlight:Diana Flores Ruíz Juan Llamas-Rodriguez Diana Flores Ruíz is an assistant professor in cinema and media studies at the University of Washington, Seattle, where her writing and teaching focus on race and media in the United States. She is at work on "Apprehension through Representation: Image Capture of the US-Mexico Border," which analyzes the historical role of optical border technologies in projects of anti-immigrant violence. The project focuses on how militarized visual regimes play out in popular visual culture and the ways in which Latinx, Indigenous, Black, and Asian American moving image artists mobilize representation to create experiences and blueprints of borderless worlds. She received her PhD in film and media and was a Mellon Mays Dissertation Fellow at the University of California, Berkeley. Juan Llamas-Rodriguez: Your current book project analyzes a variety of media forms (photography, cinema, and surveillance technology) about the US-Mexico border to investigate how visual cultures constitute differential racial regimes of mobility and political subjectivities. What do you see as the promise and pitfalls of focusing on this site to ground discussions of visual sovereignty, surveillance, and the mediation of citizenship and race in the North American context? Diana Flores Ruíz: I've asked myself this question because the US-Mexico border has become a privileged site of border analysis across the globe, but it is one of many sites that crystallizes how racialized visual regimes displace and immobilize people. In my work, I study how the machinery of the US-Mexico border conveys itself as the border par excellence according to different sociohistorical rubrics. I came to this research topic because of my own experiences with the militarized visuality of the US-Mexico border—popular political fantasies of the wall informed how my family and [End Page 5] I navigated institutions and social life even though we were living thousands of miles away from the border. Once I learned frameworks that accounted for the political capacities of the image, I began to see my experiences as textbook symptoms of militarized border visuality and how structurally ingrained this phenomenon is throughout many contested zones of exclusion and expulsion. A key driver in the techno-utopian fascination with the US-Mexico border has to do with how vast and varied its topography is. Anduril Industries, Inc. cites this in the development of their surveillance technologies invented specifically for the US-Mexico border and deployed elsewhere. The racialized social histories and cultural mythologies of the southwestern frontier also impact the very quantification and qualitative impression of how vast and varied its lands and waters are. So even though this border works in concert with larger systems and other borders, I still think that studies of its visual construction yield unique, practical insights about racially discriminatory design and the comp
{"title":"Spotlight: Diana Flores Ruíz","authors":"Juan Llamas-Rodriguez","doi":"10.1353/cj.2023.a904624","DOIUrl":"https://doi.org/10.1353/cj.2023.a904624","url":null,"abstract":"Spotlight:Diana Flores Ruíz Juan Llamas-Rodriguez Diana Flores Ruíz is an assistant professor in cinema and media studies at the University of Washington, Seattle, where her writing and teaching focus on race and media in the United States. She is at work on \"Apprehension through Representation: Image Capture of the US-Mexico Border,\" which analyzes the historical role of optical border technologies in projects of anti-immigrant violence. The project focuses on how militarized visual regimes play out in popular visual culture and the ways in which Latinx, Indigenous, Black, and Asian American moving image artists mobilize representation to create experiences and blueprints of borderless worlds. She received her PhD in film and media and was a Mellon Mays Dissertation Fellow at the University of California, Berkeley. Juan Llamas-Rodriguez: Your current book project analyzes a variety of media forms (photography, cinema, and surveillance technology) about the US-Mexico border to investigate how visual cultures constitute differential racial regimes of mobility and political subjectivities. What do you see as the promise and pitfalls of focusing on this site to ground discussions of visual sovereignty, surveillance, and the mediation of citizenship and race in the North American context? Diana Flores Ruíz: I've asked myself this question because the US-Mexico border has become a privileged site of border analysis across the globe, but it is one of many sites that crystallizes how racialized visual regimes displace and immobilize people. In my work, I study how the machinery of the US-Mexico border conveys itself as the border par excellence according to different sociohistorical rubrics. I came to this research topic because of my own experiences with the militarized visuality of the US-Mexico border—popular political fantasies of the wall informed how my family and [End Page 5] I navigated institutions and social life even though we were living thousands of miles away from the border. Once I learned frameworks that accounted for the political capacities of the image, I began to see my experiences as textbook symptoms of militarized border visuality and how structurally ingrained this phenomenon is throughout many contested zones of exclusion and expulsion. A key driver in the techno-utopian fascination with the US-Mexico border has to do with how vast and varied its topography is. Anduril Industries, Inc. cites this in the development of their surveillance technologies invented specifically for the US-Mexico border and deployed elsewhere. The racialized social histories and cultural mythologies of the southwestern frontier also impact the very quantification and qualitative impression of how vast and varied its lands and waters are. So even though this border works in concert with larger systems and other borders, I still think that studies of its visual construction yield unique, practical insights about racially discriminatory design and the comp","PeriodicalId":55936,"journal":{"name":"JCMS-Journal of Cinema and Media Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135096022","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
abstract:This article explores how the paradigm of operative media participates in the politics of state secrecy. Studying a failed military operation conducted by the Israel Defense Forces in inland Lebanon in 1997, it analyzes investigative journalism reports of the event together with reflections offered by the event's operators. Drone footage and footage taken from aerial, thermal, and body cameras are brought as evidence in an attempt to expose what compromised the event while fueling a public desire for a candid disclosure. Operative media, this article argues, are sociotechnical constructions, catering to a dialectic of knowing and knowing not to know.
{"title":"A NonReport: The Operative Image and the Politics of the Public Secret","authors":"Laliv Melamed","doi":"10.1353/cj.2023.a904626","DOIUrl":"https://doi.org/10.1353/cj.2023.a904626","url":null,"abstract":"abstract:This article explores how the paradigm of operative media participates in the politics of state secrecy. Studying a failed military operation conducted by the Israel Defense Forces in inland Lebanon in 1997, it analyzes investigative journalism reports of the event together with reflections offered by the event's operators. Drone footage and footage taken from aerial, thermal, and body cameras are brought as evidence in an attempt to expose what compromised the event while fueling a public desire for a candid disclosure. Operative media, this article argues, are sociotechnical constructions, catering to a dialectic of knowing and knowing not to know.","PeriodicalId":55936,"journal":{"name":"JCMS-Journal of Cinema and Media Studies","volume":null,"pages":null},"PeriodicalIF":0.5,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75794848","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：