1994 research outputs found
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Queer Post-Cinema:Reinventing Resistance
No full textThe pioneers of what has been labelled New Queer Cinema laid the foundation for a Queer Post-Cinema — a movement in which artists experiment with technology in innovative ways. Through original readings of Todd Haynes’s early films, Sharon Hayes and Yael Bartana’s videos and installations, Su Friedrich’s digital video Seeing Red, Charlie Prodgers’s iPhone film Bridgit, and Claire Denis’s science-fiction film Highlife, this monograph shows how artists are creating a new form of resistance in the time of the digital image and generative AI.AcknowledgmentsIntroduction | 1-26Autoimmunity and Sexual Difference in Todd Haynes’s Films Superstar: The Karen Carpenter Story, Poison, and Safe | 27-52Affective-Political Work with Documents: Sharon Hayes and Yael Bartana | 53-80Intense Play with Light and Sound: Reading Su Friedrich’s Seeing Red (2005) together with Walter Benjamin’s and Gilles Deleuze’s Philosophies of Technology | 81-114The iPhone as a Medium of Queer Aesthetics and Fluid Subjectivity: Charlie Prodger’s Bridgit | 115-148She Is Inseminating: Thanatopolitics and Reproduction in Claire Denis’s Science Fiction Film High Life (2018) | 149-179Coda | 181-185ReferencesInde
Flamboyant:Towards a Theory of Failed Passing
Full text linkThis discussion will explore formal experimentation as an index for evolving expressions of male homosexuality from literary modernism to contemporary cinema. In so doing, it will expose a tradition of flamingly failed passing that is itself a surreptitious mode of passing: the flaunting of gay style as an intentionally unconvincing cover for gay content. While the phenomenon of passing has been surprisingly understudied in queer theory, this book presentation and discussion will expand on foundational conceptualizations of performativity and the closet, suggesting that subjectivity emerges precisely in the margin of error between existing identity models and their imperfect embodiments. Touching on a corpus of queer creatives ranging from Jean Genet to Troye Sivan, this event will intervene in trenchant debates about queer agency and disidentification, wagering that it is precisely in instances of conflict between these auteurs and their inventions that narrative becomes a laboratory for testing the sovereignty and self-determination of queer identity. Ian Fleishman is the inaugural Chair of the Department of Cinema & Media Studies at the University of Pennsylvania, where he serves on the Executive Board of the Program in Gender, Sexuality & Women’s Studies. He also holds a secondary appointment as Associate Professor of Francophone, Italian & Germanic Studies and affiliations with the Program in Comparative Literature & Theory and the Penn Program in Environmental Humanities. He has published widely on subjects spanning from the Baroque to contemporary auteur cinema and on a diversity of media ranging from propaganda to video pornography. His first monograph, An Aesthetics of Injury: The Narrative Wound from Baudelaire to Tarantino (Northwestern University Press, 2017) was awarded the Northeast Modern Language Association’s annual book prize. More recently, with Iggy Cortez, he coedited a volume on Performative Opacity in the Work of Isabelle Huppert (Edinburgh, 2023). His second monograph, Flamboyant Fictions: The Failed Art of Passing, appeared in December 2024 (Northwestern University Press). Nicolas Helm-Grovas is a Postdoctoral Fellow at ICI Berlin. Previously he was Lecturer in Film Studies at King’s College London. His book Laura Mulvey and Peter Wollen: Towards Counter-cinema is forthcoming in the Historical Materialism book series published by Brill and Haymarket. His writing has appeared in publications such as Oxford Art Journal, Radical Philosophy, Trafic: Almanach de Cinéma, New Left Review: Sidecar, and in various edited collections. With Oliver Fuke he has organized several exhibitions related to Mulvey and Wollen’s work, most recently Intersections in Theory, Film and Art at Camera Austria in Graz in 2022. With Kodwo Eshun and Oliver Fuke he is currently editing a three-volume collection of writings by Peter Wollen. Annie Ring is Associate Professor of German and Film at University College London. She previously worked at Emmanuel College, Cambridge as Research Fellow in 2012–15 and Director of Studies in German in 2013–14. She is the author of the monographs After the Stasi (Bloomsbury, 2015), and The Lives of Others (BFI Film Classics, 2022) and co-editor of Architecture and Control (Brill, 2018), Uncertain Archives (The MIT Press, 2021) and Citational Media (Legenda Visual Culture, 2024). She has published widely on literature and film, and cultural theories of the ‘digital’, surveillance, subjectivity and technology in journals including Surveillance & Society, Seminar, German Life and Letters, Forum for Modern Language Studies, Oxford German Studies and Paragraph, as well as in edited volumes published in the US, UK, Denmark, and Germany. She sits on the steering group of the German Screen Studies Network and the editorial board of Paragraph: A Journal of Modern Critical Theory
To Be Given Names:Displaced Social Positionalities in Senegal and Angola
Full text linkDuring fieldwork, anthropologists are given many names that point to their intersectional placement regarding race, class, gender, nationality, and religion. Yet, careful consideration of vernacular forms of designation reveals that such generalizing categories do not always reflect the ways in which people are named and positioned in a given context. While acknowledging the relevance of intersectionality, this paper discusses the relationship between naming and social positionality through a comparative consideration of names employed to designate Dulley in Angola and Santos in Senegal. It explores how these designators, ascribed to the researchers by their interlocutors, contextually identify their positionality. Through concrete examples, it shows how this process of emplacement can both enable and restrict one’s possibilities of action and experience
Object: This Not-a-Paper ‘on’ the Andropobscenic University
Full text linkStarting from the editorial committee’s proposal concerning strategies for the recognition of Global South researches, in this letter I indicate a number of broader impasses related to neoliberal academia in a context in which ecological crisis emerges as a major crisis of capital. To do so, I resort to concepts drawn from feminist, decolonial, and post-structuralist literature and bring them into dialogue with a Marxist framework of analysis
