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Society for Cinema and Media Studies 2013 Conference Papers and Contributions Online

Diposting oleh good reading on Sabtu, 16 Maret 2013

            Film Studies and Videographic Assemblage A Video Presentation by Catherine Grant for the S23 Workshop "Writing with Video: Beyond the Illustrated Text", Society for Cinema and Media Studies Conference, Chicago, March 6-10, 2013.

[Catherine Grant's introduction to the above video:] My presentation to this workshop has a somewhat strange take on the notion of the capacity of "video-writing" to move beyond the "illustrated text". The video it presents (embedded above) not only uses a good deal of text, but was also originally inspired by the idea of audiovisually amplifying, or supplementing, a long pre-existing written study of Alfred Hitchcock's 1948 film Rope.
    What making it demonstrated to me is that, in scholarly settings, even the simplest videographic act of presenting an assemblage of compiled film sequences involves medium-specific forms of argumentation, for example, the selection and presentation of audiovisual evidence, montage and mise en scene, titling, sound editing and other creative effects, all aiming to draw from "a broader notion of pathos, logos, and ethos than that which has been reified in the age of print literacy", as Virginia Kuhn has put it.* The result is not only the creation of an audiovisual argument, therefore, but also, importantly, of an active viewing space for live co-research - a framed experience of participant observation which, particularly through its online distribution, dialogically invites responses (including rebuttals!) through forms of remix. [Also see
Bonus Tracks: The Making of Touching the Film Object and Skipping ROPE (Through Hitchcock’s Joins) and Déjà-Viewing?Videographic Experiments in Intertextual Film Studies]
    *Kuhn, Virginia. 2012. "The Rhetoric of Remix." In "Fan/Remix Video," edited by Francesca Coppa and Julie Levin Russo, special issue, Transformative Works and Cultures, no. 9. Online at dx.doi.org/10.3983/twc.2012.0358.
S23 Workshop chaired by Virginia Kuhn (University of Southern California), with presentations by Vicki Callahan, Catherine Grant, Michael Lachney, Virginia Kuhn and Cheryl Ball. The workshop was sponsored by the Media Literacy and Pedagogical Outreach Scholarly Interest Group. The full 2013 SCMS Conference Program PDF is here.
Film Studies For Free is happy to present links to some resources pertaining to papers or presentations at the (recently concluded) annual conference of the Society for Cinema and Media Studies at the Drake Hotel in Chicago.

FSFF's author's own contribution to the conference, embedded and pasted in above, was part of a workshop panel on "Writing with Video" (see all of the assets from this workshop gathered by Virginia Kuhn here). In the end, this year -- for the same reasons it's been so quiet at this blog (major, unexpected construction work taking place at home at the same time as a very busy semester!) -- she was unable to travel to the US to attend this final session of the conference in person. But, thanks to the wonders of modern technology her work was kindly presented in absentia by her fellow panelists. Among these, Vicki Callahan and Michael Lachney presented on their pedagogical practices around teaching video argumentation as part of multimedia literacy programmes. In particular, Callahan discussed her classroom use of online video collaborative authoring tools including WeVideo. Cheryl Ball discussed her experience as editor of Kairos: A Journal of Rhetoric, Technology, and Pedagogy (see Ball's fabulous essay for Kairos on digital scholarship here). And workshop chair Virginia Kuhn presented on her highly innovative large scale video analysis project, a wonderful example of the potential for humanities supercomputing (also see here).

Below are links to a whole host of further conference contributions, mostly collected via Twitter. Thanks very much to those who supplied the links. If you have posted your own SCMS paper online, or know of others not gathered below, please leave the link in a comment. Thank you!



SCMS Digital Humanities J23 Workshop 5_8_13 from scms at livestream.com. Featuring Miriam Posner, Jason Mittell (see below for his paper), Hannah Goodwin, Jasmijn Van Gorp, Jason Rhody and Eric Faden

Also see:
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    A 'Borgesian' Film Studies Library?

    Diposting oleh good reading on Rabu, 19 Januari 2011


    Film Studies For Free shamelessly contemplates its own hypertextual, pedagogical, navel today, but it blushingly hopes, nonetheless, that the above embedded document will be of interest to some of its fellow educator readers. Just click on this link to transport yourself to a better-sized version for reading (and downloading).

    The above document, authored by film researcher and filmmaker Charalambos Charalambous (Χαράλαμπος Χαραλάμπους) of the University of Kent's School of Arts (Film Studies) in 2010, describes itself as
    A study of Web 2.0 as an actualization of the concept of the Borgesian Library: a critical evaluation of WEB 2.0 technology in reference to the academic blog Film Studies For Free authored by Dr. Catherine Grant.   
    It was based in part on a research questionnaire filled in by FSFF's author, and, in the opinion of the latter, is a fascinating and very well-informed reflection on the pedagogical possibilities of the kinds of anthologizing, virtual librarianship (or digital curation) that this blog so adores, and which are completely made possible by Web 2.0 technology.

    The study will shortly be permanently stored at FSFF's page dedicated to discussion of Open Access, Digital Scholarship and the Digital Humanities.

    In the meantime, FSFF would like to thank Charalambos for his thoughtful words, which have made its little digital body swell with pride!
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    The Digital Humanities: Culture Machine Call for Papers

    Diposting oleh good reading on Rabu, 17 Maret 2010

    Image from The Pillow Book (Peter Greenaway, 1996)

    Every so often, Film Studies For Free chooses to circulate important calls for papers for kindred-spirited projects. The CFP for the longstanding advocate of Open Access scholarship Culture Machine below falls absolutely into that category. The CFP says it welcomes "papers that ... suggest a new, somewhat different take on the relationship between the humanities and the digital". It seems to FSFF that some Audiovisual/Moving Image Studies material would be essential to that take, especially when it comes to thinking about  scholarship beyond the written text....

    CALL FOR PAPERS: THE DIGITAL HUMANITIES: BEYOND COMPUTING

    Special issue of Culture Machine, vol. 12; http://www.culturemachine.net
    edited by Federica Frabetti (Oxford Brookes University)

    The emerging field of the Digital Humanities can broadly be understood as embracing all those scholarly activities in the humanities that involve writing about digital media and technology as well as being engaged in processes of digital media production and practice (e.g. developing new media theory, creating interactive electronic literature, building online databases and wikis). Perhaps most notably, in what some are describing as a ‘computational turn’, it has seen techniques and methodologies drawn from Computer Science – image processing, data visualisation, network analysis – being used increasingly to produce new ways of understanding and approaching humanities texts.

    Yet just as interesting as what Computer Science has to offer the humanities, surely, is the question of what the humanities have to offer Computer Science; and, beyond that, what the humanities themselves can bring to the understanding of the digital. Do the humanities really need to draw so heavily on Computer Science to develop their sense of what the Digital Humanities might be? Already in 1990 Mark Poster was arguing that ‘the relation to the computer remains one of misrecognition’ in the field of Computer Science, with the computer occupying ‘the position of the imaginary’ and being ‘inscribed with transcendent status’. If so, this has significant implications for any so-called ‘computational turn’ in the humanities. For on this basis Computer Science does not seem all that well-equipped to understand even itself and its own founding object, concepts and concerns, let alone help with those of the humanities.

    In this special issue of Culture Machine we are therefore interested in investigating something that may initially appear to be a paradox: to what extent is it possible to envisage Digital Humanities that go beyond the disciplinary objects, affiliations, assumptions and methodological practices of computing and Computer Science?

    At the same time the humanities are not without blindspots and elements of misrecognition of their own. Take the idea of the human. For all the radical interrogation of this concept over the last 100 years or so, not least in relation to technology, doesn’t the mode of research production in the humanities remain very much tied to that of the individualized, human author? (Isn’t this evident in different ways even in the work of such technology-conscious anti-humanist thinkers as Deleuze, Guattari, Kittler, Latour, Negri, Ranciere and Stiegler?)

    So what are the implications and possibilities of ‘the digital beyond computing’ for the humanities and for some of the humanities’ own central or founding concepts, too? The human, and with it the human-ities; but also the subject, the author, the scholar, writing, the text, the book, the discipline, the university...

    What would THAT kind of (reconfigured) Digital Humanities look like?

    We welcome papers that address the above questions and that suggest a new, somewhat different take on the relationship between the humanities and the digital.

    Deadline for submissions: 1 October 2010

    Please submit your contributions by email to Federica Frabetti:
    <kikka66it@yahoo.it>

    All contributions will be peer-reviewed.

    ******************************
    **********************
    Established in 1999, CULTURE MACHINE http://www.culturemachine.net is a fully refereed, open-access journal of cultural studies and cultural theory. It has published work by established figures such as Mark Amerika, Alain Badiou, Simon Critchley, Jacques Derrida, Henry Giroux, Mark Hansen, N. Katherine Hayles, Ernesto Laclau, J. Hillis Miller, Bernard Stiegler, Cathryn Vasseleu and Samuel Weber, but it is also open to publications by up-and-coming writers, from a variety of geopolitical locations.
    ****************************************************

    --
    Gary Hall
    Professor of Media and Performing Arts
    School of Art and Design, Coventry University
    Co-editor of Culture Machine http://www.culturemachine.net
    Co-founder of the Open Humanities Press
    http://www.openhumanitiespress.org
    My website http://www.garyhall.info

    Latest: 'Deleuze's "Postscript on the Societies of Control"', Culture Machine 11, 2010 http://www.culturemachine.net/index.php/cm/article/view/384/407
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