Article: Realism as ontological unrest: Digital aesthetics and reparative dynamics in Mati Diop’s ‘Atlantics’
Abstract
Grounded in Dakar’s elemental properties as much as manifestations of immaterial and virtual presence, French-Senegalese director Mati Diop’s film Atlantics (2019) embodies what Thomas Elsaesser has described as a post-photographic realism of world cinema. In this article, I show how Atlantics collapses divisions between the evidentiary and the ghostly within the same realist impulse to create a reparative postcolonial aesthetic. Furthermore, as seen in the lucid depiction of Dakar’s clairvoyant nights, the ontological unrest of the film’s post-photographic realism also happens at the level of image aesthetics.
Preferred Citation
BibTex
Pesch, Katrin: Realism as ontological unrest: Digital aesthetics and reparative dynamics in Mati Diop’s ‘Atlantics’. In: NECSUS_European Journal of Media Studies, Jg. 11 (2022), Nr. 2, S. 175-200. DOI: http://dx.doi.org/10.25969/mediarep/19198.
@ARTICLE{Pesch2022,
author = {Pesch, Katrin},
title = {Realism as ontological unrest: Digital aesthetics and reparative dynamics in Mati Diop’s ‘Atlantics’},
year = 2022,
doi = "\url{http://dx.doi.org/10.25969/mediarep/19198}",
volume = 11,
journal = {NECSUS_European Journal of Media Studies},
number = 2,
pages = {175--200},
}
author = {Pesch, Katrin},
title = {Realism as ontological unrest: Digital aesthetics and reparative dynamics in Mati Diop’s ‘Atlantics’},
year = 2022,
doi = "\url{http://dx.doi.org/10.25969/mediarep/19198}",
volume = 11,
journal = {NECSUS_European Journal of Media Studies},
number = 2,
pages = {175--200},
}
As long as there is no further specification, the item is under the following license: Creative Commons - Namensnennung - Nicht kommerziell - Keine Bearbeitungen