Acting and Performance in Moving Image Culture: Bodies, Screens, Renderings, 2014
This paper draws on Bernard Stiegler's critique of "hyperindustrialism" to suggest that digital g... more This paper draws on Bernard Stiegler's critique of "hyperindustrialism" to suggest that digital gaming is a privileged site for critiques of affective labor; games themselves routinely nod towards such critiques. Stiegler's work adds, however, the important dimension of historical differentiation to recent critiques of affective labor, emphasizing "style" and "idiom" as key concerns in critical analyses of globalizing technocultures. These insights are applied to situate digital play in terms of affective labor, and conclude with a summary analysis of the gestural-technical sty-listics of the Wii. The result is that interaction stylistics become comparable across an array of home networking devices, providing a gloss, in terms of affect, of the "simple enjoyment" Nin-tendo designers claim characterizes use of the Wii-console and its complex controllers.
This chapter looks at the role of music and voice-over in constructing and deconstructing highly ... more This chapter looks at the role of music and voice-over in constructing and deconstructing highly political messages in the experimental documentary format. It argues that Julien Bryan’s films on Latin America for the Office of Inter-American Affairs do not operate as US wartime propaganda, as is often believed, but are rather highly musical pedagogical essays challenging prevailing tendencies in US wartime communications by presenting progressive reforms proceeding in Latin America as more advanced than was politically feasible in the United States. These claims are dramatised and softened by complex synchronised scores. The films demonstrated the very problem of middle-class development as a highly gendered negotiation of national development. Bryan’s constructionist film education of often xenophobic US audiences on Latin America reframed the role of the spoken voice-over familiar from early cinema’s film lecturer, while deploying the newer, through-composed musical synchronisatio...
... If Time Code refers to both avant-garde and in-dustrial monitoring practices to theorize the ... more ... If Time Code refers to both avant-garde and in-dustrial monitoring practices to theorize the musical ... reputation in Hollywood and led to an award-winning career in musical films.16 A ... scene of Lang'sfilm, ap-propriated for Eisler's Rockefeller-funded study of film scoring practices ...
... Each episode presupposes the exis-tence of a set of real world power networks. The narrativen... more ... Each episode presupposes the exis-tence of a set of real world power networks. The narrativenetworks in which the characters make their moves in the film resemble these real world networks, so we understand that the film is realistic to the degree that we recognize reality. 10 ...
... of narrative rhetor-ics encoupled with performative aesthetics, animating the corporeal on bo... more ... of narrative rhetor-ics encoupled with performative aesthetics, animating the corporeal on both ... voicing where instead there are his-torical expressions of sexed corporeality becoming emergent in ... from Fox's 1943 Dolly Sisters; or, again, in a more televisual aspect, deploying ...
... If Time Code refers to both avant-garde and in-dustrial monitoring practices to theorize the ... more ... If Time Code refers to both avant-garde and in-dustrial monitoring practices to theorize the musical ... reputation in Hollywood and led to an award-winning career in musical films.16 A ... scene of Lang'sfilm, ap-propriated for Eisler's Rockefeller-funded study of film scoring practices ...
... Each episode presupposes the exis-tence of a set of real world power networks. The narrativen... more ... Each episode presupposes the exis-tence of a set of real world power networks. The narrativenetworks in which the characters make their moves in the film resemble these real world networks, so we understand that the film is realistic to the degree that we recognize reality. 10 ...
... If Time Code refers to both avant-garde and in-dustrial monitoring practices to theorize the ... more ... If Time Code refers to both avant-garde and in-dustrial monitoring practices to theorize the musical ... reputation in Hollywood and led to an award-winning career in musical films.16 A ... scene of Lang'sfilm, ap-propriated for Eisler's Rockefeller-funded study of film scoring practices ...
This special volume of Music, Sound, and the Moving Image collects seven broadly ranging essays i... more This special volume of Music, Sound, and the Moving Image collects seven broadly ranging essays in the interest of putting problems in, and orientations for, specific lines of research in conversation. Beginning with Nicholas Reyland's work on screen scoring as style in Hollywood blockbuster, and ending with Benjamin Robertson's software studies-oriented critique of media composition, the work collected here stresses the contemporary movement as particularly apposite for staking out problematics, driving questions, and tentative answers across these lines of inquiry. On one hand, massive growth has occurred in scholarship across those fields typically represented in MSMI, while new journals and disciplinary approaches continue to appear; both problems and value proliferate in scholarly work where music and sound meet or inform screen cultures. On the other, recent scholarly handbooks surveying these productively noisy conversations on musicality, sound and audition, and audiovisuality provide, if not a common reference framework, a highly configurable guide to navigating historical and contemporary research at those epistemological inflection points where media studies and cultural and technocultural studies move towards or away from one another and where music, sound, and audiovisual studies becomes ever more vital work. In this special volume of Music, Sound, and the Moving Image we present recent work from a broad range of disciplines, or inter-or transdisci-plines, in the interest of putting problems in and orientations for key lines of ongoing research. Contributions to the volume range from critical production studies to intellectual property studies, in addition to music, sound, and moving image studies.I contextualize the volume in this editor's introduction.
Journal of Cinema and Media Studies 59, "In Focus" dossier, 2020
In conversation with the music-video form, the Black essay film advances processes of remembrance... more In conversation with the music-video form, the Black essay film advances processes of remembrance that leverage the possibilities of digital streaming but work against its instrumental logic through the double haptics of audio and vision. This essay shows this refusal and leveraging at work in Kahlil Joseph’s twenty-three-minute installation Fly Paper (2018) and the visual album he directed for Sampha Sisay’s 2017 album Process.
Acting and Performance in Moving Image Culture: Bodies, Screens, Renderings, 2014
This paper draws on Bernard Stiegler's critique of "hyperindustrialism" to suggest that digital g... more This paper draws on Bernard Stiegler's critique of "hyperindustrialism" to suggest that digital gaming is a privileged site for critiques of affective labor; games themselves routinely nod towards such critiques. Stiegler's work adds, however, the important dimension of historical differentiation to recent critiques of affective labor, emphasizing "style" and "idiom" as key concerns in critical analyses of globalizing technocultures. These insights are applied to situate digital play in terms of affective labor, and conclude with a summary analysis of the gestural-technical sty-listics of the Wii. The result is that interaction stylistics become comparable across an array of home networking devices, providing a gloss, in terms of affect, of the "simple enjoyment" Nin-tendo designers claim characterizes use of the Wii-console and its complex controllers.
This chapter looks at the role of music and voice-over in constructing and deconstructing highly ... more This chapter looks at the role of music and voice-over in constructing and deconstructing highly political messages in the experimental documentary format. It argues that Julien Bryan’s films on Latin America for the Office of Inter-American Affairs do not operate as US wartime propaganda, as is often believed, but are rather highly musical pedagogical essays challenging prevailing tendencies in US wartime communications by presenting progressive reforms proceeding in Latin America as more advanced than was politically feasible in the United States. These claims are dramatised and softened by complex synchronised scores. The films demonstrated the very problem of middle-class development as a highly gendered negotiation of national development. Bryan’s constructionist film education of often xenophobic US audiences on Latin America reframed the role of the spoken voice-over familiar from early cinema’s film lecturer, while deploying the newer, through-composed musical synchronisatio...
... If Time Code refers to both avant-garde and in-dustrial monitoring practices to theorize the ... more ... If Time Code refers to both avant-garde and in-dustrial monitoring practices to theorize the musical ... reputation in Hollywood and led to an award-winning career in musical films.16 A ... scene of Lang'sfilm, ap-propriated for Eisler's Rockefeller-funded study of film scoring practices ...
... Each episode presupposes the exis-tence of a set of real world power networks. The narrativen... more ... Each episode presupposes the exis-tence of a set of real world power networks. The narrativenetworks in which the characters make their moves in the film resemble these real world networks, so we understand that the film is realistic to the degree that we recognize reality. 10 ...
... of narrative rhetor-ics encoupled with performative aesthetics, animating the corporeal on bo... more ... of narrative rhetor-ics encoupled with performative aesthetics, animating the corporeal on both ... voicing where instead there are his-torical expressions of sexed corporeality becoming emergent in ... from Fox's 1943 Dolly Sisters; or, again, in a more televisual aspect, deploying ...
... If Time Code refers to both avant-garde and in-dustrial monitoring practices to theorize the ... more ... If Time Code refers to both avant-garde and in-dustrial monitoring practices to theorize the musical ... reputation in Hollywood and led to an award-winning career in musical films.16 A ... scene of Lang'sfilm, ap-propriated for Eisler's Rockefeller-funded study of film scoring practices ...
... Each episode presupposes the exis-tence of a set of real world power networks. The narrativen... more ... Each episode presupposes the exis-tence of a set of real world power networks. The narrativenetworks in which the characters make their moves in the film resemble these real world networks, so we understand that the film is realistic to the degree that we recognize reality. 10 ...
... If Time Code refers to both avant-garde and in-dustrial monitoring practices to theorize the ... more ... If Time Code refers to both avant-garde and in-dustrial monitoring practices to theorize the musical ... reputation in Hollywood and led to an award-winning career in musical films.16 A ... scene of Lang'sfilm, ap-propriated for Eisler's Rockefeller-funded study of film scoring practices ...
This special volume of Music, Sound, and the Moving Image collects seven broadly ranging essays i... more This special volume of Music, Sound, and the Moving Image collects seven broadly ranging essays in the interest of putting problems in, and orientations for, specific lines of research in conversation. Beginning with Nicholas Reyland's work on screen scoring as style in Hollywood blockbuster, and ending with Benjamin Robertson's software studies-oriented critique of media composition, the work collected here stresses the contemporary movement as particularly apposite for staking out problematics, driving questions, and tentative answers across these lines of inquiry. On one hand, massive growth has occurred in scholarship across those fields typically represented in MSMI, while new journals and disciplinary approaches continue to appear; both problems and value proliferate in scholarly work where music and sound meet or inform screen cultures. On the other, recent scholarly handbooks surveying these productively noisy conversations on musicality, sound and audition, and audiovisuality provide, if not a common reference framework, a highly configurable guide to navigating historical and contemporary research at those epistemological inflection points where media studies and cultural and technocultural studies move towards or away from one another and where music, sound, and audiovisual studies becomes ever more vital work. In this special volume of Music, Sound, and the Moving Image we present recent work from a broad range of disciplines, or inter-or transdisci-plines, in the interest of putting problems in and orientations for key lines of ongoing research. Contributions to the volume range from critical production studies to intellectual property studies, in addition to music, sound, and moving image studies.I contextualize the volume in this editor's introduction.
Journal of Cinema and Media Studies 59, "In Focus" dossier, 2020
In conversation with the music-video form, the Black essay film advances processes of remembrance... more In conversation with the music-video form, the Black essay film advances processes of remembrance that leverage the possibilities of digital streaming but work against its instrumental logic through the double haptics of audio and vision. This essay shows this refusal and leveraging at work in Kahlil Joseph’s twenty-three-minute installation Fly Paper (2018) and the visual album he directed for Sampha Sisay’s 2017 album Process.
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