scholarly journals From the Editor

Projections ◽  
2019 ◽  
Vol 13 (1) ◽  
pp. v-vii
Author(s):  
Ted Nannicelli
Keyword(s):  
Human Existence ◽  
Short Film ◽  
Fractal Structures ◽  
Shot Duration ◽  
Complex Patterns ◽  
Formal Features

Welcome to the first issue of our first three-issue volume of Projections. We begin this issue with a truly exciting collaboration between a filmmaker (and scholar), Karen Pearlman, and a psychologist, James E. Cutting. Cutting and Pearlman analyze a number of formal features, including shot duration, across successive cuts of Pearlman’s 2016 short film, Woman with an Editing Bench. They find that the intuitive revisions that Pearlman made actually track a progression toward fractal structures – complex patterns that also happen to mark three central pulses of human existence (heartbeat, breathing, walking).

scholarly journals Dialogues with the Machine, or Ruins of Closure and Control in Interactive Digital Narratives

2021 ◽  
Author(s):  
Julia Hoydis
Keyword(s):  
Literary Studies ◽  
Short Film ◽  
Detection Technology ◽  
Gaze Detection ◽  
Digital Environments ◽  
Digital Narratives ◽  
Complex Patterns ◽  
Patterns And Processes ◽  
And Control

The interrelations between literary studies, and posthumanism deserve attention beyond the focus on the representation of posthuman identities on the story level. To explore these, this article looks at examples of interactive digital narratives (IDN): Bandersnatch (2018), a ‘choose-your-own-adventure’-type instalment of Netflix’s dystopian SF-anthology series Black Mirror, the short film The Angry River (2017), which employs gaze-detection technology to determine what viewers get to see, and the serious multi-platform videogame The Climate Trail (2019), specifically designed to move players ‘into action’. Straddling the border between ludology and narrative to varying degrees, all offer the chance of ‘do overs’ and the exploration of complex patterns and processes. They raise questions about the co-production of pre-scripted meanings, about authorial and reader agency, conceptions of control, closure, and narrative (un)reliability. Thus, this article argues, they challenge ideas about the potential of narratives in and beyond posthuman digital environments.

scholarly journals Arkivets pleroma

2016 ◽  
Vol 44 (121) ◽  
pp. 153-170
Author(s):  
Torsten Andreasen
Keyword(s):  
Vertical Axis ◽  
Vertical Movement ◽  
Human Existence ◽  
Foreign Affairs ◽  
Short Film ◽  
Reading Room ◽  
National Library ◽  
Alain Resnais ◽  
Institutional Power ◽  
The Face

In 1956, on a commission from the French Ministry of Foreign Affairs, Alain Resnais made a short film about the French national library called Toute la mémoire du monde. The film performs a vertical movement from indiscernible form and prevalent darkness upon the face of the deep in the library cellars to the summits of institutional power in its domed view of the well-ordered rows of tables and chairs in the Labrouste reading room. This vertical axis is established and maintained by the horizontal library operations that promise to transform the library objects from chaotic heap to collective happiness, or what this article has called the promised movement from plethora to pleroma. Resnais’ film intervenes in an ongoing discourse about the possibility of archival pleroma, thinking machines and the possible beneficial consequences for human existence. But the question is whether such persistent happy belief in the fall of the very last practical obstacles for pleroma does not overlook the view from Resnais’ domed shot: The view indicating that sinister fantasies of the pleroma of knowledge persist in relation to fantasies of political organisation and that the guardians of the archive will always patrol the aisles of the reading room.

Cognitive Processing of Film Cuts Among 4- to 8-Year-Old Children

2012 ◽  
Vol 17 (4) ◽  
pp. 257-265 ◽  
Author(s):  
Carmen Munk ◽  
Günter Daniel Rey ◽  
Anna Katharina Diergarten ◽  
Gerhild Nieding ◽  
Wolfgang Schneider ◽  
...  
Keyword(s):  
Eye Movements ◽  
Cognitive Processing ◽  
Media Literacy ◽  
Age Groups ◽  
Reaction Times ◽  
Time Span ◽  
Short Film ◽  
Calculation Formula ◽  
Eye Tracker ◽  
Chronological Sequence

An eye tracker experiment investigated 4-, 6-, and 8-year old children’s cognitive processing of film cuts. Nine short film sequences with or without editing errors were presented to 79 children. Eye movements up to 400 ms after the targeted film cuts were measured and analyzed using a new calculation formula based on Manhattan Metrics. No age effects were found for jump cuts (i.e., small movement discontinuities in a film). However, disturbances resulting from reversed-angle shots (i.e., a switch of the left-right position of actors in successive shots) led to increased reaction times between 6- and 8-year old children, whereas children of all age groups had difficulties coping with narrative discontinuity (i.e., the canonical chronological sequence of film actions is disrupted). Furthermore, 4-year old children showed a greater number of overall eye movements than 6- and 8-year old children. This indicates that some viewing skills are developed between 4 and 6 years of age. The results of the study provide evidence of a crucial time span of knowledge acquisition for television-based media literacy between 4 and 8 years.

Sampling Dependence of EEG Nonlinear and Fractal Structures in Healthy Subjects and Alzheimer Patients

2003 ◽  
Author(s):  
F. Aporti ◽  
F. Ferro-Milone ◽  
A. Cananzi ◽  
T. A. Minelli ◽  
V. Nofrate ◽  
...  
Keyword(s):  
Healthy Subjects ◽  
Fractal Structures

The Darwin-God dilemma: A totemic approach to the meaning of life and human existence.

2020 ◽  
Vol 14 (4) ◽  
pp. 355-361
Author(s):  
Yueh-Ting Lee ◽  
Matt Jamnik ◽  
Kortney Maedge ◽  
Wenting Chen
Keyword(s):  
Meaning Of Life ◽  
Human Existence

Interrelation of Architectural Concepts and Principles of Artificial Lighting in the Moscow Concert Hall Zaryadye

2019 ◽  
pp. 4-13
Author(s):  
Maria M. Ilyevskaya
Keyword(s):  
Concert Hall ◽  
Distinctive Features ◽  
Artificial Lighting ◽  
Building Type ◽  
Concert Halls ◽  
Architectural Language ◽  
The Creation ◽  
Architectural Planning ◽  
The Individual ◽  
Formal Features

The article is focused on the analysis of the Zaryadye Concert Hall building in Moscow in terms of the significance of artificial lighting for the creation of the imagery and perception of this facility within the typology of entertainment music-oriented buildings. Through the example of modern places of entertainment, the author reveals a number of formal features (typological attributes), which, being common to buildings of this function, constitute the basis of their image and become obvious due to the realized lighting concept. The interpretation of these attributes in the interaction of architectural planning and lighting concepts in the Zaryadye Concert Hall is traced. In conclusion, the distinctive features of the building under consideration are determined. At the same time, they reflect a new understanding of concert halls as a building type, the changes related to the overall development of architecture, as well as the elements of the individual architectural language.

Surviving The Jungle Book: Trans-temporal Ventriloquism in Ian Iqbal Rashid's Surviving Sabu

2018 ◽  
Vol 15 (4) ◽  
pp. 532-552 ◽  
Author(s):  
Ana Cristina Mendes
Keyword(s):  
Short Stories ◽  
Cultural Studies ◽  
First Century ◽  
Short Film ◽  
Source Text ◽  
Temporal Ventriloquism ◽  
The Past ◽  
Film Maker ◽  
Global Power ◽  
Political Intervention

The process of screen adaptation is an act of ventriloquism insofar as it gives voice to contemporary anxieties and desires through its trans-temporal use of a source text. Screen adaptations that propose to negotiate meanings about the past, particularly a conflicted past, are acts of ‘trans-temporal ventriloquism’: they adapt and reinscribe pre-existing source texts to animate contemporary concerns and anxieties. I focus on the acts of trans-temporal ventriloquism in Ian Iqbal Rashid's Surviving Sabu (1998), a postcolonial, turn-of-the-twenty-first century short film that adapts Zoltan and Alexander Korda's film The Jungle Book (1942), itself an adaptation of Rudyard Kipling's collection of short stories by the same name. Surviving Sabu is about the survival and appropriation of orientalist films as a means of self-expression in a postcolonial present. Inherent in this is the idea of cinema as a potentially redemptive force that can help to balance global power inequalities. Surviving Sabu's return to The Jungle Book becomes a means both of tracing the genealogy of specific orientalist discourses and for ventriloquising contemporary concerns. This article demonstrates how trans-temporal ventriloquism becomes a strategy of political intervention that enables the film-maker to take ownership over existing media and narratives. My argument examines Surviving Sabu as an exemplar of cultural studies of the 1980s and 1990s: a postcolonial remediation built on fantasy and desire, used as a strategy of writing within rather than back to empire.

Duration, Compression, Extension and Distortion of Time in Contemporary Transgender Cinema

Somatechnics ◽  
2019 ◽  
Vol 9 (1) ◽  
pp. 58-83
Author(s):  
Akkadia Ford
Keyword(s):  
Life Experiences ◽  
Private Life ◽  
First Century ◽  
Short Film ◽  
New Wave ◽  
Privileged Access ◽  
Feature Film ◽  
Theoretical Issues ◽  
Over Time ◽  
Film Change

Cinema provides ‘privileged access’ ( Zubrycki 2011 ) into trans lives, recording and revealing private life experiences and moments that might never be seen, nor heard and after the time had passed, only present in memory and body for the individuals involved. Film, a temporal medium, creates theoretical issues, both in the presentation and representation of the trans body and for audiences in viewing the images. Specific narrative, stylistic and editing techniques including temporal disjunctions, may also give audiences a distorted view of trans bodily narratives that encompass a lifetime. Twenty first century cinema is simultaneously creating and erasing the somatechnical potentialities of trans. This article will explore temporal techniques in relation to recent trans cinema, comparing how three different filmmakers handle trans narratives. Drawing upon recent films including the Trans New Wave ( Ford 2014 , 2016a , 2016b ), such as the experimental animated autoethnographic short film Change Over Time (Ewan Duarte, United States, 2013), in tandem with the feature film 52 Tuesdays (Sophia Hyde, Australia, 2013), I will analyse the films as texts which show how filmmakers utilise temporality as a narrative and stylistic technique in cinematic trans narratives. These are texts where cinematic technologies converge with trans embodiment in ways that are constitutive of participants and audiences' understanding of trans lives. This analysis will be contrasted with the use of temporal displacement as a cinematic trope of negative affect, disembodiment and societal disjunction in the feature film Predestination (The Spierig Brothers, Australia, 2014), providing a further basis for scholarly critique of cinematic somatechnics in relation to the trans body.

Barbara Hammer's Jane Brakhage

2020 ◽  
Vol 6 (2) ◽  
pp. 67-94
Author(s):  
Jennifer Peterson
Keyword(s):  
Short Film ◽  
Nonfiction Film ◽  
Feminist Thought ◽  
Environmental Thought ◽  
Stan Brakhage ◽  
The Many ◽  
The Voice ◽  
Creative Life

This essay analyzes Barbara Hammer's 1974 experimental nonfiction film Jane Brakhage. Both an homage and a rebuttal to the many films of Jane Brakhage made by her husband, Stan Brakhage, Hammer's film gives Jane the voice she never had in Stan's work. The article contextualizes Jane Brakhage's production at a moment when competing strands of feminist thought took different approaches to the fraught topic of nature. Hammer's films were criticized as essentialist by feminists in the 1980s, but this essay argues that Jane Brakhage complicates that reading of Hammer's work. The film documents Jane's creative life in the mountains, but critiques the limitations of her role as a heterosexual wife and mother. By locating this short film within a larger genealogy of feminist and environmental thought, we can better appreciate the extent to which Hammer's films explore the feminist and queer potential of nature.

Sign in / Sign up

Export Citation Format

Share Document