2016/1 – #Smalldata

Browsing 2016/1 – #Smalldata by Issue Date

Filter results by year or month
Now showing 1 - 20 of 24
  • Review
    Rediscovering Frantz Fanon at Scotland’s Africa in Motion film festival
    Sankanu, Prince Bubacarr Aminata (2016) , S. 265-272
  • Review
  • Article
    Pleasure | Obvious | Queer: A conversation with Richard Dyer
    Grant, Catherine; Kooijman, Jaap (2016) , S. 95-110
    On 13 April 2016, Catherine Grant and Jaap Kooijman held a conversation with film scholar Richard Dyer in front of a live audience. The conversation consists of three parts, each based on one particular theme that runs through Dyer’s work: pleasure, obvious, and queer. Each theme is introduced by a short video made particularly for this occasion, in which quotations taken from Dyer’s work are combined with fragments of case studies Dyer has done over the years. Part one addresses the significance of pleasure in entertainment as well in the way academic scholars select their objects of study. Part two addresses both the respecting and questioning of the obvious when studying culture, including the persistent need for textual analysis and the role of stereotypes. The third part addresses notions of queerness before and after the Gay Liberation Movement of the 1970s. Moreover, the conversation questions to what extent these themes remain relevant in film and media studies today.
  • Article
    Towards a ‘minor data’ manifesto
    Smolicki, Jacek; Frigo, Alberto (2016) , S. 199-214
    With this paper we aim to introduce a concept of minor data. In relation to debates around data that concentrate on utilitarian and security-related implications of data production, aggregation, and dissemination practices, we have identified a lack of attention toward the aesthetic and cultural value of personal data practices. Minor data as we discuss it here is intended to be seen not as a solution to problems related to big data. Similarly, minor data is not motivated to compete with the concept of big or small data; it is not an attempt to counter-act but rather to build a parallel narrative on how personal data practices can be conceptualised and performed differently; it is a reflective and critical contribution to the debate on the pervasiveness of data practices at large, performed from a particular, minor perspective constituted by a set of artistic practices. Through a performative, semi-structured conversation we discuss our aesthetics as concerned with crafting personal data practices to shed light on alternative forms of talking about and living with data and technologies concerned with data accumulation and dissemination. The paper consists of a brief introduction in which minor data is introduced in relation to other concepts that use data and a modifying adjective (big and small) that stresses the quantitative dimension and scale. After this introduction and a brief contextualisation we present the reader with a draft of a manifesto in which several important attributes of minor data are laid out. This manifesto is followed by a conversation that addresses the conceptualisation of the manifesto. The conversation is a retroactive step, moving back as to reveal the flux of thoughts and observations that led us to the more solidified points of the manifesto.
  • Article
    re_making
    Molero, Juan Daniel F. (2016) , S. 299-300
  • Article
    Warped Reflections: The Cinematic Identity of Helmut Berger
    Emmerzael, Hugo (2016) , S. 301-304
  • Article
    Live Streaming US
    Albuquerque, Paula (2016) , S. 297-298
  • Article
    Editorial Necsus
    NECSUS Editorial Board (2016) , S. 1-4
  • Article
    Remake: Chantal Akerman’s and John Smith’s plays on reality
    Scherffig, Clara Miranda (2016) , S. 19-39
    The essay explores Chantal Akerman’s NEWS FROM HOME (1976) and John Smith’s THE MAN PHONING MUM (2011) through the notion of the remake. Drawing on Svetlana Boym’s writing, the ideas of reflective nostalgia and restorative nostalgia are employed to outline the structure of both films, respectively situated within the framework of autoethnography and structural/materialist film. The role of soundscapes emerges then as a crucial challenger of the cinematic language, revealing formal aspects of both films. The article suggests that such formal awareness combined with the notion of the remake as well as the realistic core of both works trigger in the spectator an impression of hyperreality.
  • Article
    Forms of binding: On data and not ‘fitting in’
    Gupta-Nigam, Anirban (2016) , S. 111-130
    Small data is often invoked as an antidote to the aggregative logic of big data which binds the world into a whole through the combination of discrete bits of information. This essay suggests that small and big data actually complement each other, particularly since the former refines (rather than challenges) the logic of the latter. If data binds individuals and the social into a relational whole, how can we begin to comprehend the desire to break free of such a relation? At a time when relation has become common sense – we are told to be social, network, and connect – is there any hope of locating a space away from the informational bind of relation? The essay historicises these questions by conceptualising moments when the relational bind of data frays ever so slightly to allow some relief from the landscape of big and small data. In so doing it engages Nigel Thrift’s concept of qualculation, Georges Canguilhem’s work on abnormality, and Ian Hacking’s examination of the taming of chance.
  • Article
    From Saul Bass to participatory culture: Opening title sequences in contemporary television series
    Re, Valentina (2016) , S. 149-175
    In the contemporary media landscape the opening title sequence continues to provide its traditional, paratextual function by introducing a storyworld, orienting the spectator, and managing expectations. Moreover, it consolidates other functions while nevertheless assuming new ones. As well as branding content, thus expressing its visual identity and putting it in relation to an audience, main titles connect viewers and contribute to creating ‘networked communities’ or ‘brand communities’ based on a shared passion for media content. This article discusses this renewed, double role of main titles – branding content, branding communities – with special regard to the television shows MAD MEN, THE WIRE, GAME OF THRONES, and SUPERNATURAL.
  • Review
    Of calendars and industries: IDFA and CPH:DOX
    Vallejo, Aida (2016) , S. 245-254
  • Review
  • Review
    Complex series and struggling cable guys
    Wabeke, Anne Gre (2016) , S. 273-282
  • Article
    Photobiographies: The ‘Derrida’ documentaries as film-philosophy
    Sinnerbrink, Robert (2016) , S. 59-76
    Kirby Dick and Amy Kofman’s philosophical documentary DERRIDA (2002) generated ambivalent responses among critics. David Roden criticised the film’s failure to engage in ‘philosophical discussion and analysis’, hence he dismissed the film for being ‘insufficiently philosophical’. By contrast Safaa Fathy’s D'AILLEURS, DERRIDA (DERRIDA'S ELSEWHERE, 1999) was praised for capturing its subject on screen while finding cinematic ways of presenting essential elements of Derrida’s thinking. These two Derrida documentaries raise an important question: how does a philosophical documentary (one taking a living philosopher as its subject) achieve a cinematic articulation of his or her thought? Rather than judging them according to traditional critical discourses I will consider how these documentaries ‘perform’ philosophy through film, examining their contrasting attempts to present ‘the life of the philosopher’ while ‘screening’ philosophical (indeed deconstructive) thinking by way of cinematic presentation. The alleged ‘failure’ of DERRIDA as philosophy along with D’AILLEURS, DERRIDA’s apparent success offer us a way of thinking through the relationship between film and philosophy as a cinematic performance of thought. I suggest that while both documentaries can be described as ‘performative’ Dick and Kofman’s DERRIDA enacts a deconstructive ‘performativity’ that is closer in spirit to Derrida’s deconstructive mode of thought.
  • Review
  • Article
  • Review
    Ryoji Ikeda at ZKM
    Lee, Joo Yun (2016) , S. 215-223
  • Article
    Database aesthetics, modular storytelling, and the intimate small worlds of Korsakow documentaries
    Wiehl, Anna (2016) , S. 177-197
    Within the context of digitalisation and networked media new documentary configurations keep emerging. This contribution explores the epistemological potential of an alternative to ‘the call of Big Data’ in current media ecologies through KORSAKOW documentaries, a special form of autopoietic, non-linear, interactive database storytelling. Adopting Bergson’s thoughts on the interval and the living image, Deleuze’s specifications on cinematic movement-images, and Adrian Miles’ notion of ‘affective assemblage’, I argue that the formal and dramaturgic minimalism in KORSAKOW allow both authors and users to rethink structures and practices of perception, memory, emotional engagement, and the complexity and correlations of existence.
  • Article
    A philosophy of weaving the web: An interview with media theorist Sebastian Giessmann
    Lovink, Geert (2016) , S. 5-18
    In this email interview Dutch media theorist Geert Lovink talks with German media theorist Sebastian Giessmann about his latest book (in German) called THE CONNECTEDNESS OF THINGS, A CULTURAL HISTORY OF NETWORKS (Kulturverlag Kadmos, Berlin 2014) and the future of network theory in the age of platform capitalism.