2014/2 – #War

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Smells like Armageddon day – Dreamlike settings and magnified trash
Lammer, Laura (2014) , S. 261-262
The images of Gregg Araki’s “Teen apocalypse trilogy” seem to scream at you. For my audiovisual essay I decided to look at the environment the characters of his movies inhabit. Namely: signs and Tv screens in the background and unreal looking rooms. In the second part I decided to “come closer” and take a look at the (almost fetishized) objects that are presented to the viewer in close-ups. A lot of screen time is devoted to junk food, cigarettes or toys. A theme which connects all three movies as well as my essay is the idea that the world is going to end. The characters who are often lethargic and bored, talk about aids, the destruction of the planet and the apocalypse in general. All three movies are like a time capsule for 90’s aesthetics. Araki’s style got more extreme over the years.
Photographed by the Earth: War and media in light of nuclear events
Pringle, Thomas (2014) , S. 131-154
This article charts a media historical relation between radiation and celluloid film, ranging from the downwind 1956 production of The Conqueror to early scientific imaging practices, war photography, war documentaries, military industrial film, and contemporary artists working on radiation aesthetics. Posing the collection as a diagnostic media ecology, this article argues that the valuable evidence provided by the environmental metadata stored in celluloid film is the product of ecological warfare and violence. By turning to the material sciences for a better understanding of how nuclear weapons affect media on large spatial and temporal scales we gain a parallax view to how photographic practices – defined as the aesthetic exchange of light and energy – occur autonomously within our ecology, although some of these forces are mobilised in deadly and imperceptible ways. By demonstrating that non-human agencies released by Cold War energy policies have contaminated military industrial and commercial film archives alike, this article asserts that nuclear testing and warfare have contributed to a global condition of test-subjectivity that can be evidenced by diagnostic media ecology.
The light of God: Notes on the visual economy of drones
Väliaho, Pasi (2014) , S. 99-111
This article charts the contemporary aerial military technology of Unmanned Aerial Vehicles or drones, which are used for both surveillance and combat in current ‘overseas contingency operations’. It focuses on the form of techno-visual power that UAVs represent. Drone control screens facilitate the accumulation of data of the patterns of life of populations so as to detect potential future threats, whilst simultaneously acting as key players in pre-emptive strikes. This article explores the striving for spatio-temporal omniscience and omnipotency that animates this particular technology of vision – the drone as a technology of the ‘light of God’.
Progressive spaces and lines of battle: Bristol Radical Film Festival 2014
Newton, James (2014) , S. 225-230
Introduction to the audiovisual essay: A child of two mothers
Martin, Adrian; Álvarez López, Cristina (2014) , S. 81-87
Editorial Necsus
NECSUS Editorial Board (2014) , S. 1-4
Cinema, postmedia, and resolutions
Valente, Donatella (2014) , S. 207-215
Female celebrity and ageing in the limelight and under the microscope
Wright, Julie Lobalzo (2014) , S. 195-202
Found found found
de Bruyn, Dirk (2014) , S. 259-260
Through time-lapse and pixilated animation, recorded on the run through Serbia, Europe, international air travel through Australasia, and including recordings at the 2013 Christmas Markets in Dusseldorf, this short roaming personal narrative contemplates our current pre-occupation with mobile technologies and the concomitant reshaping of everyday life and public space. It features one extreme response to technological and political change: Alex Jones’ Infowars radio program. The film suggests surveillance, metamorphosed from avant-garde and minimalist cinema, as the ‘new norm’, and witnesses the new stasis that hypermobility institutes globally and the florid thinking it elicits.
Shell shock cinema: A discussion with Anton Kaes
Pitassio, Francesco (2014) , S. 177-188
River-to-River Florence Indian Film Festival: The Italian response to Bollywood cinema
Acciari, Monia (2014) , S. 231-237
Serious games
Farocki, Harun (2014) , S. 89-97
Laughter and collective awareness: The cinema auditorium as public space
Hanich, Julian (2014) , S. 43-62
This article looks at how the collective experience of laughter in the movie theater is related to the idea of the cinema as a public space. Through the non-verbal expression of laughter the audience ‘constructs’ a public space the viewers may not have been aware of to the same degree prior to the collective public expression. Moreover, the public space created through laughter allows for an expedient type of monitoring: inappropriate laughter may be exposed in front of others. With viewers who laugh approvingly about racist violence or misogynist jokes, we can easily lay bare the ethical implications.
Reconfiguring film studies through software cinema and procedural spectatorship
Hassapopoulou, Marina (2014) , S. 21-42
The increasing use of software and database aesthetics in film and video production has created hybrid modes of spectatorship by altering the dynamic between media production and reception. Software-generated narratives (pre-programmed databases that create films through random selection and combination of discrete audio, visual, and/or textual tracks) remove the viewer from the actual algorithmic process, drawing his/her attention instead on interactions between hardware and software. Here, the element of unpredictability that is part of cinematic pleasure lies in the recombination of discrete elements (audio, visuals, subtitles, and so on) and the unexpected ways in which the software stitches those elements together. The subsequent reduction in the degree and compass of authorial control invites us to reconsider existing frameworks of spectatorship and narration within new contexts of mobility, performance, and databases. In this article I consider Soft Cinema films (Lev Manovich, Andreas Kratky, et al., 2003) as prototypical software-driven examples of this shift in viewing conditions and reception contexts. I argue that, despite its emerging and changing techniques and aesthetics, software-generated cinema retains one of the primitive socio-pedagogical functions of the cinema: training audiences to receive and buffer contemporary medial sensations. Just as early cinema prepared audiences and worked as a buffer for shocks of technological and industrial modernity, software cinema trains the viewer in new modes of film spectatorship and new modes of narrative and affective subjectivity that correspond to the hypertextual ways in which we interact with digital technologies. These viewing modes create a new form of procedural spectatorship that has been evident since the first pioneering experiments in generative cinema and a form that is, nonetheless, not entirely detached from existing theoretical paradigms of cinematic spectatorship and the development of the cinematic medium.
Film festival management and programming
de Cuir Jr, Greg (2014) , S. 202-207
Minds, bodies, and hearts: Flare London LGBT Film Festival 2014
Galt, Rosalind; Schoonover, Karl (2014) , S. 217-224
Appropriation / Collaboration: Christian Marclay / Harrell Fletcher and Miranda July at the University of Michigan Museum of Art
Hu, Tung-Hui (2014) , S. 239-244
A spiritual journey in Bill Viola’s art
Marcheschi, Elena (2014) , S. 245-251
LEVIATHAN: From sensory ethnography to gallery film
Wahlberg, Malin (2014) , S. 251-258
Disputing Rossellini: Three French perspectives
Harvey-Davitt, James (2014) , S. 63-80
In his burgeoning body of film theoretical work the French philosopher Jacques Rancière repeatedly turns to some canonical films by Neorealist pioneer Roberto Rossellini. Not simply retreading tired motifs of Neorealism, Rancière’s comments offer some profound new insights, revolutionising prior perspectives on Rossellini. In this article I shall put Rancière’s perspective into dialogue with two of the most significant of these perspectives: André Bazin’s and Gilles Deleuze’s. In doing so I shall claim that Rancière’s approach departs radically from the canonised, standardised Neorealist conception of Rossellini. Instead, I wish to claim that he describes a modernist artist primarily concerned with aesthetic clashes. In doing so I shall contemplate how the meaning of these films has evolved since the era of their contemporary reception, demonstrating the congruence and disparity between these three disparate approaches.

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