2017/1 – #True

Browsing 2017/1 – #True by Author "Hongisto, Ilona"

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  • Article
    Introduction: The ring of the true in contemporary media
    Hongisto, Ilona; Pape, Toni; Thain, Alanna (2017) , S. 61-75
    This introductory essay to the special section #True seeks to outline and activate the ring of the true in contemporary media. It moves beyond the sceptic and positivist stances relating to ‘post-truth’ by foregrounding the audiovisual methodologies with which the true comes to be and by affirming the potentials of ‘falsification’. The essay insists on a critical distinction between falsification and a lie, and thereby builds on the speculative and aesthetic modalities in producing ‘truth-effects’ in contemporary media. In this way, the essay address uncertainty and the temporalisation of truth, the creative nodes of difference involved in knowledge production and subjectivation, as well as the intermedial and ecological immanence of truth-effects.
  • Article
    Sweeping changes in Eastern Europe: The documentary frame in Gerd Kroske’s ‘Kehraus’ trilogy (1990-2006)
    Hongisto, Ilona (2017) , S. 125-144
    Seeking to expand established notions of documentary cinema, this essay suggests that the indexical, the evidentiary, and the representational are not enough to account for the work of documentary cinema in the real. Drawing on Gerd Kroske’s KEHRAUS trilogy (1990, 1997, 2006) on the lives of street sweepers in East Germany after the fall of the Berlin Wall, the essay proposes that documentary cinema be considered ‘an aesthetics of the frame’. The argument of the essay builds on the ways in which the three films relate the visible and the audible in the frame to what is left out. The outside of the frame becomes a defining element in how the documentaries capture and express the enfoldment of the Post-Wall transition period to the lives of the protagonists. Through analysing the technological, stylistic, and contextual qualities of the documentary frame in the three films, the essay draws attention to the frame’s embeddedness in the politics of recognition and in processes of actualisation. Instead of locating Kroske’s longitudinal project within the tradition of the indexical chronicle, the essay shows how the trilogy pushes reality to actualise.