2017/1 – #True

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The case of the speculative detective: Aesthetic truths and the television ‘crime board’
Coley, Rob (2017) , S. 77-104
In its central concern with questions of epistemology and problems of knowing, detective fiction has always ‘theorised itself’. Over and above any particular crime, the practice of investigation has always supported a broader inquiry into how the world might be interpreted, into how different types of evidence might render the truth of this world knowable, and where the limits of certainty about this knowledge might lie. The current ubiquity of the television ‘crime board’, also known variously as the ‘case board’ or ‘murder board’, offers evidence for a shift in this tendency. Surveying a range of examples from contemporary television drama, this article considers how crime boards both express and perform conditions in which human knowledge of the world is in crisis. Crime boards, and the television shows in which they feature, increasingly problematise rather than uphold the representational authority of ‘truth’ – they serve to investigate phenomena that exceed human powers of detection, but also provoke a more speculative practice, a mode of detection in which the world might still remain aesthetically knowable.
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.
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.

Browsing 2017/1 – #True by Subject "Ästhetik"

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