2017/2 – #Dress
Browsing 2017/2 – #Dress by Issue Date
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- ArticleTowards an alternative history of the video essay: Westdeutscher Rundfunk, ColognePantenburg, Volker (2017)Complementing more established genealogical accounts of the video essay, this dossier proposes to enlarge the scope of historical investigation to include the work of television. Focusing on Westdeutscher Rundfunk (WDR) based in Cologne and its programs from the mid-1970s, the article highlights essayistic programs by Werner Dütsch, Harun Farocki, and Rainer Gansera. Extrapolating from these examples, it implicitly argues for a European perspective on the contribution of public broadcasting and its film educational efforts to the field of videographic film studies.
- ArticleIntertextuality, cybersubculture, and the creation of an alternative public space: ‘Danmu’ and film viewing on the Bilibili.com website, a case studyYeqi, Zhu (2017)I will examine the film-viewing experience influenced by ‘Danmu’ (literally barrage), particularly popularised in China by the website Bilibili.com. As a combination of private and public film screening-viewing-transformation systems, Danmu allows the viewer to develop a ‘paracinematic’ reading. It is also used by the audience as a way of constructing a ‘public space’, making the website function as an alternative to limited offline screening and discussion spaces. I will argue that film viewing by appropriating the cybersubcultural platform creates a sphere where the ‘modern’ and ‘postmodern’ receptions of films join hands.
- ReviewMarx at the Movies / Cartographies of the AbsoluteBianchi, Pietro (2017)
- ArticleLA GRANDE BELLEZZA: Adventures in transindividualitydel Río, Elena (2017)This essay examines Paolo Sorrentino’s LA GRANDE BELLEZZA (THE GREAT BEAUTY, 2013) as a film where the conjunction of human and milieu maps the immanent links between individual and collective. I draw on Gilbert Simondon’s concept of transindividuality as simultaneously a spatial and temporal process of collective individuation. In making the city and its human inhabitant indiscernible, the film preserves the link between solitude and the collective. The collective arises in a preindividual zone of affects that inscribes a non-conscious form of intimacy among bodies in a shared milieu. I examine two major aspects of the film’s expressions of transindividuality: the artwork as a catalyst for the affirmation of disparate forces coalescing around the dynamic disparation of sacred and profane realities, classical and contemporary art; and the conjoined image of city and human crystallising as successive existential territories that are shown in paradoxical simultaneity. The city-human spectacle shows the body passing through endless processes of individuation. It is the dephasing of temporalities in the city-human body, rather than a judgmental opposition between sacred past and profane present, that energises the film in its ability to capture preindividual forces and affective singularities.
- ArticleRedressing perspectives: Mediation, embodiment, and materiality in digital fashion and smart textilesJoseph, Frances (2017)Digital technologies have not only introduced different ways of designing and producing textiles and garments and changed their systems of distribution, they have led to new fields of practice and inquiry including digital fashion, wearable technologies, and smart textiles. Bringing together disciplines as diverse as engineering, textile science, health science, design, and materials science, these new interdisciplinary fields have required collaboration and demand new perspectives extending beyond their initial scientific frameworks. While early research was dominated by functional and technical concerns, utilising scientific approaches, the area of smart wearable technologies warrants diverse theoretical and methodological frameworks to better support the development of these particular new forms that combine dress and device, material and digital, bodies and technologies. Curiously, the fields of fashion and dress theory, and of media studies, have been slow to engage with the emerging field of ‘wearables’. Established framings of fashion and dress have tended to focus on systems and symbolism, positioning fashion as an industry that manufactures and sells commodities, or a socio-cultural system of signification that can be ‘decoded’. The field of media studies has focused on culture and communication in relation to media technologies, but has tended to ignore their techno-material conditions. In this essay concepts of mediation, embodiment, and materiality, drawn from areas including media studies, fashion theory, embodied cognition, and new materialism are discussed in relation to digital fashion and smart textiles. These theories introduce new ontological perspectives that help articulate the particularity of these new fields, the ways they contest traditional subject/object relationships, and open up new methodological approaches. Three examples of recent practice-based research projects conducted at the Auckland University of Technology are discussed in relation to these new frameworks and associated design methodologies.
- ReviewUrban Now: City Life in CongoSinnige, Sanne (2017)
- ArticleThe journeys of a film phenomenologist: An interview with Vivian Sobchack on being and becomingHanich, Julian (2017)In this interview Vivian Sobchack, a leading film phenomenologist and Professor Emerita at UCLA, looks back at her career as a film and media scholar. She relates how she first wanted to become a novelist – as well as an astronomer – before academia and the study of film attracted her attention. She describes how she became interested in existential phenomenology, how her groundbreaking book THE ADDRESS OF THE EYE took shape, and how it has influenced film studies since its first publication 25 years ago. She also reflects on the value of phenomenology as a research method and responds to criticism of it as a philosophy that is too subjectivist and apolitical.
- Review
- ArticleTELEKRITIK: Über zwei Filme von Peter NestlerPantenburg, Volker (2017)
- ReviewFashion film festivals: Shifting perspectives on fashion in one of the world’s dirtiest industriesvan der Linden, Janneke (2017)
- ReviewMapping the fashion film festival landscape: Fashion, film, and the digital ageSeixas, Mariana Medeiros (2017)
- Review
- ReviewSocial Media – New Masses / Updating to Remain the SameZeeuw, Daniël de (2017)
- ArticleProviding evidence for a philosophical claim: The Act of Killing and the banality of evilWartenberg, Thomas E. (2017)This article extends the thesis that films can do philosophy from narrative fiction film to documentary, a film genre whose philosophical significance has been underappreciated. It argues that documentary films are capable of doing philosophy by providing empirical support for a philosophical thesis. Focusing on the innovative use of reenactment in THE ACT OF KILLING (2012), the argument is that the film confirms Hannah Arendt’s thesis concerning the banality of evil articulated in EICHMANN IN JERUSALEM (1964).
- ReviewPromenade through the theatre of illusion: Dioramas in Palais de TokyoChefranova, Oksana (2017)
- ArticleWomanliness as animal masqueradeFreda, Isabelle (2017)This essay examines the intersection of femininity as masquerade and the status of the animal through an investigation of two examples: the film DONKEY SKIN by Jacques Demy and the web series GREEN PORNO by Isabella Rossellini. In both instances the stars masquerade as both woman and animal, thereby providing an opportunity to critique the position of both as objectified ‘other’ within dominant culture and its philosophical and cultural norms.
- ArticleEditorial NecsusNECSUS Editorial Board (2017)
- ArticleThe ghost is just a metaphor: Guillermo del Toro’s Crimson Peak, nineteenth-century female gothic, and the slasherKindinger, Evangelia (2017)This article proposes a feminist reading of Guillermo del Toro’s horror-ghost film CRIMSON PEAK (2015) that is based on the film’s allusions to nineteenth-century female gothic writing and the slasher’s final girl trope. Del Toro utilises the ghost as a metaphor that mirrors the precarious position of women in patriarchal societies (in general) and in horror narratives (in particular). The film simultaneously sketches the development of the genre as such, from literary fiction to film. CRIMSON PEAK is thus a highly self-referential film that borrows from its predecessors and sheds light on the ghostliness of horror as such.
- ArticleTELEKRITIK: Über Song of CeylonPantenburg, Volker (2017)