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Orae: Experiences on the Border
A narrative companion to the buildings, structures and infrastructures that accumulate around borders If cities were the 20th century's favorite playground, borders are the laboratory for globalized phenomena in the 21st century. Hotspots for migrants, barbed wire, green borders, checkpoints, go-slow for cross-border workers, crypto-currency mining farms, casinos, brothels, tax havens: all are to be found on the border. To date, borders lack a political project. In order to realize that project, the authors of Oraeworked in situ with those living in border regions in Switzerland, France, Germany, Austria, Italy, Lichtenstein, Iraq, Iran, Afghanistan and Eritrea. They have started to imagine, describe and model the real territory and a potential project for it. "Orae" is a Latin word synonymous with borders. This guide invites readers on a journey inside orae, in a succession of fragmentary narratives from borders and the imaginations of those living in their vicinity.
The Lure of the Image
The Lure of the Image shows how a close study of camera movement challenges key assumptions underlying a wide range of debates within cinema and media studies. Highlighting the shifting intersection of point of view and camera position, Daniel Morgan draws on a range of theoretical arguments and detailed analyses across cinemas to reimagine the relation between spectator and camera—and between camera and film world. With sustained accounts of how the camera moves in films by Fritz Lang, Guru Dutt, Max Ophuls, and Terrence Malick and in contemporary digital technologies, The Lure of the Image exposes the persistent fantasy that we move with the camera within the world of the film and examines the ways that filmmakers have exploited this fantasy. In so doing, Morgan provides a more flexible account of camera movement, one that enables a fuller understanding of the political and ethical stakes entailed by this key component of cinematic style.
Jean-Luc Godard’s Political Filmmaking
This book offers an examination of the political dimensions of a number of Jean-Luc Godard’s films from the 1960s to the present. The author seeks to dispel the myth that Godard’s work abandoned political questions after the 1970s and was limited to merely formal ones. The book includes a discussion of militant filmmaking and Godard’s little-known films from the Dziga Vertov Group period, which were made in collaboration with Jean-Pierre Gorin. The chapters present a thorough account of Godard’s investigations on the issue of aesthetic-political representation, including his controversial juxtaposition of the Shoah and the Nakba. Emmelhainz argues that the French director’s oeuvre highlights contradictions between aesthetics and politics in a quest for a dialectical image. By positing all of Godard’s work as experiments in dialectical materialist filmmaking, from Le Petit soldat (1963) to Adieu au langage (2014), the author brings attention to Godard’s ongoing inquiry on the role filmmakers can have in progressive political engagement.
Intermediality in European Avant-garde Cinema
The book proposes a new perspective on avant-garde cinema, utilising approaches from intermediality to explore how the spirit of experimentation, a hallmark of historical avant-garde and post-war artistic movements, is still present in contemporary filmmaking today. The volume explores how contemporary avant-garde filmmakers have brought innovation to modern cinema. Filmmakers, such as, Jean-Luc Godard, Lars von Trier, and Alexander Sokurov and their contemporary works will be analyzed, reflecting on their experimentation with cinematic techniques and the mixing of the film medium with other media, such as literature, theatre, and painting. Important research questions considered throughout ...
Jean-Luc Godard, Cinema Historian
Originally released as a videographic experiment in film history, Jean-Luc Godard's Histoire(s) du cinéma has pioneered how we think about and narrate cinema history, and in how history is taught through cinema. In this stunningly illustrated volume, Michael Witt explores Godard's landmark work as both a specimen of an artist's vision and a philosophical statement on the history of film. Witt contextualizes Godard's theories and approaches to historiography and provides a guide to the wide-ranging cinematic, aesthetic, and cultural forces that shaped Godard's groundbreaking ideas on the history of cinema.
Jean-Luc Godard
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Photography and Invisible Borders
Think of national borders beyond just lines: this invitation guides Nicoletta Grillo’s journey into the Swiss-Italian border, a journey shaped through the lens of photography theory and practice. Moving between contemporary cross-border work and south-north migrations, this study unveils today’s borderscapes as dynamic constellations of spatial practices and imaginations. The book delves into landscape representations by combining the analysis of contemporary photographic artwork with field research and with the author’s own photographs, displayed in an extensive photo-textual travelogue. Perspectives from critical border studies, research in the arts, and urban studies come together to offer a larger reflection on the re-imagination of borderscapes.
Encounters with Godard
A wide-ranging and accessible approach to Godard’s later work, and a major intervention in the study of film aesthetics and ethics.
Encounters with Godard takes the reader on a personal voyage into the sensory pleasures and polyphonic rhythms of Jean-Luc Godard’s multimedia work since the late 1970s, from his feature films and video essays to his published writings, art books, and media performances. Godard, suggests James S. Williams, lays ethical claim to the cinematic, defined in the broadest terms as relationality and artistic resistance. An introductory chapter on the extended history of La Chinoise (1967), a film explicitly of montage, is follow...
Knowledge, Spirit, Law
As the author-pay model spreads across academic publishing, what are the possible consequences? Will the current rage for open-source scholarship actually accomplish anything other than shifting the furniture around on the Titanic? Will not Open Source in combination with Digital Humanitiesfurther destroy the very idea of "slow" and "thoughtful" work in humanistic studies?...It would seem that the author-pay model (formerly attributed to predatory publishers) is just another way of extracting tribute for the "privilege" of being published-enforceable only because academia has ratcheted up the stakes by enforcing research metrics and citations, in the public universities a practice that is pr...
