1,720,959 research outputs found
Fire and Ice: Peter Wollen Selected Writings 1960-2004
No full textNamed after Wollen’s comparison of photography with the moving image, this volume brings together Wollen’s numerous experiments with counter-language. It places side-by-side, and on an equal footing, the formal politics of avant-garde film with the practical enactments of experimental writing and the experimental practices of applying semiotic and linguistic theory to photography, cinema and video, all of which aimed at the defamiliarisation of meanings of objects
Knight's Moves: Peter Wollen Selected Writings 1966-2003
No full textKnight's Moves gathers texts that exemplify Wollen’s deliberate disregard for received hierarchies between high art and mass culture, popular forms and the avant-garde. Taking up Victor Shklovsky’s notion of the ‘knight’s move’ on the chess board – the simultaneous step forward and to the side characteristic of art and history – Wollen advanced unexpected connections and repressed affinities between areas of art, culture and politics habitually kept far apart. By bringing together sections that include texts on the histories of dance and fashion with analyses of the form of music video and proposals for films and television programmes, Knight's Moves highlights Wollen’s preoccupation with the promises and the problems of cultures of crossover, interzone, intersection and independence under twentieth-century Euro-American capitalism
Laura Mulvey and Peter Wollen: Theory and Practice, Aesthetics and Politics, 1963-1983
Full text linkThis PhD is a genealogy and critical examination of the writings and films of Laura Mulvey and Peter Wollen, spanning the period from the early 1960s to 1980s. Despite the prominence of their texts, there has not been a book-length study of either body of writing, nor an overview of their overlap and mutual influence, in what was their most productive period. Nor has there been an extended account of the important connection between their theory and their practice as filmmakers. My thesis undertakes these tasks. I interpret and challenge existing scholarship, while simultaneously examining in detail for the first time lesser-known works, drawing on archives and interviews. Through close readings I elucidate Mulvey’s interrogation of the patriarchal fantasies structuring cinematic and artistic forms and her feminist appropriation of classical Hollywood melodrama; I map the related issues Wollen’s texts activate, of cinematic signification and materialism, the buried potentialities of the historical avant-gardes, and their connection to the avant-garde film contemporaneous with his writings. Their moving image works, I demonstrate through detailed analyses, bring these ideas into dialogue and work them through in a more open, exploratory vein. I trace key notions like ‘counter cinema’ across films and writings by both authors. Shifting between writings and films allows me to investigate authorship and collaboration, while their designation of their films as ‘theory films’ opens the question of the interconnection of theoretical and aesthetic discourse. I track their output through the era’s pivotal intellectual movements (semiotics, structuralism, psychoanalysis and Marxism) and political currents (the New Left, May ’68 and its aftereffects, the women’s movement). In doing so I also provide a picture of the radical, experimental film culture that thrived in Britain from the late 1960s to the early 1980s, and the broader left-wing counter-culture of which it was a part
Baby-G
No full textInhabiting the space between audio-essay and music-video, 'Baby-G' explores the figurative and spatial models of time embodied within the Baby-G (G-SHOCK) watch. Brought to market in 1994, the Baby-G was the first digital watch marketed to teenagers to include a quartz-controlled digital mechanism and world-time function, synchronising its user to a globally expanding, linear, capitalist ‘grid’. The Baby-G was equipped with the same “shock-resistant structure” as the all-terrain G-Shock watch, but with “feminine-friendly” appeal. A watch designed for a future where flexibility and preparedness would become crucial personal attributes.
Written by Nicolas Helm-Grovas, the work’s central text is voiced by Ash Reid and Judith von Orelli with musical collage and sound design by Anneke Kampman. Against this, video footage of Kampman’s friend, Valentina Fernandez Rodan exploring a local park is cut; video material stretched out in co-ordination with the layered structure of the soundtrack. The montage of pans, arcs and rotations which make up this audio-visual portrait recalling the dynamic structures of music itself.
Originally exhibited as part of 'An Endless Archive' at San Mei Gallery, London. (28 April – 10 June 2023
Going Beyond Counting First Authors in Author Co-citation Analysis
Full text linkThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Variations on the Author
Full text link“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
Appropriate Similarity Measures for Author Cocitation Analysis
Full text linkWe provide a number of new insights into the methodological discussion about author cocitation analysis. We first argue that the use of the Pearson correlation for measuring the similarity between authors’ cocitation profiles is not very satisfactory. We then discuss what kind of similarity measures may be used as an alternative to the Pearson correlation. We consider three similarity measures in particular. One is the well-known cosine. The other two similarity measures have not been used before in the bibliometric literature. Finally, we show by means of an example that our findings have a high practical relevance.information science;Pearson correlation;cosine;similarity measure;author cocitation analysis
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