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Autonomous Archiving
As an institutional practice, archival practices often tent to serve to colonization, surveillance and discipline society of the Modern world. In the last ten years, with the digital technology and social movement detecting, recording and accumulating images become a civil activity. Thus, archiving videos and other types of visual images brought also non-institutional practices and as well contemporary discussions related to image, open source, collectivity and forensics. Beside interviews with video activists; this book compiles several writers’ articles on their practices and discussions of archives from several angles: forensics, decolonization and commons. The term “archiving” in d...
Visualizing Film History
"Though many archival digital objects were not "born digital," film archives are now becoming important resources for digital scholarship as a consequence of digitization. Moreover, with advancements in digital research methods involving video annotation, visual analysis, and GIS affecting the way we look at archival films' material, stylistic histories and circulation, new research practices are more important than ever. Visualizing Film History is an accessible introduction to archive-based digital scholarship in film and media studies and beyond. With a combined focus on the history of film historiography, archiving, and recent digital scholarship-covering a period from the "first wave" o...
Transitional Territories
Ayse Güngör investigates art practices between art and anthropology in Turkey, as well as the implications of contemporary art for those disciplines. She discusses various approaches based on anthropological theories on the forms of relation and theories of artistic practices on socio-political issues. Based on long-term research with contemporary artists such as Nil Yalter, Gülsün Karamustafa, Esra Ersen, Kutlug Ataman, Tayfun Serttas, Köken Ergun, Dilek Winchester and Artikisler Collective, this book analyzes the objectives of art and anthropology in order to determine new possibilities and divergences arising from this interdisciplinary confluence.
Beyin Ekran
Ulus Baker, sinemanın öykü ve enformasyon sunma yönünü değil düşünme ve tahayyül etme yetisinin yani düşünce-imajının, montaj-düşüncenin yaratım olanaklarını araştırdı. Beyin Ekran üç bölümden oluşuyor: Minör-düşünce: Zaman-imaj ya da Video-imaj: Godard, Bresson, Tarkovski; Montaj-düşünce: Şok-imaj: Eisenstein, Güney, Lanzman; Aralık-düşünce: Rizom-İmaj: Vertov. Beyin Ekran, Baker’in sinema yazılarının bir montajıdır, onun deyişiyle “düşünen” bir kitaptır.
Nation-Building in Modern Turkey
From 1924 to 1946 the Republic of Turkey was in effect ruled as an authoritarian single-party regime. During these years the state embarked upon an extensive reform programme of modernization and nation-building. The Kemalist reform movement has been extensively studied in its institutional dimensions as a state project of top-down reform; however, Nation-Building in Modern Turkey offers a fresh look at these formative years of the Turkish state. It studies modernist nation-building and state-society relations from a novel perspective through the study of the People's House, an institution aiming at the propagation of the modernist reforms to Turkey's urban population in the 1930s and 1940s....
Repair, Brokenness, Breakthrough
Exploring some of the ways in which repair practices and perceptions of brokenness vary culturally, Repair, Brokenness, Breakthrough argues that repair is both a process and also a consequence which is sought out—an attempt to extend the life of things as well as an answer to failures, gaps, wrongdoings, and leftovers. This volume develops an open-ended combination of empirical and theoretical questions including: What does it mean to claim that something is broken? At what point is something broken repairable? What are the social relationships that take place around repair? And how much tolerance for failure do our societies have?
Video Theory
Video is a part of everyday life, comparable to driving a car or taking a shower. It is nearly omnipresent, available on demand and attached to nearby anything, anywhere. Online Video became something vital and independent. With all the video created by the cameras around us, constantly uploading, sharing, linking, and relating, a blue ocean is covering our planet, an ocean of video. What might look as bluish noise and dust from the far outside, might embed beautiful and fascinating living scapes of moving images, objects constantly changing, re-arranging, assembling, evolving, collapsing, but never disappearing, a real cinema. Andreas Treske describes and theorizes these objects formerly named video, their forms, behaviours and properties.
Video Aktivizmde Kavramlar Sorunlar Uygulamalar
Günümüzde endüstriyel ana akım medyanın sembolik üretim yapısı nedeniyle, bir yandan medya içerikleri kısırlaşırken diğer yandan üretilen haberler güvenilmez hale gelmiştir. Ana akım medyanın kamu adına, yurttaş demokrasisinin geleceği için gözlemcilik görevini yapamaz hale geldiği giderek daha çok netleşmektedir. Bu nedenle gazetecilik mesleğini tanımlayan kriterler, normlar ve misyonlar da yeniden tanımlanmak zorunda kalmaktadır. Teknolojik gelişmeler, özellikle de iletişim ve kayıt teknolojileri, bir yandan devlet ve istihbarat örgütlerine sıradan yurttaşları gözetleme olanakları sağlarken, diğer yandan da yine sıradan yurttaşın tanıklığ...
Cinemas em redes
Cinemas em redes é uma expressão definidora de um conjunto de mudanças significativas no âmbito da imagem em movimento. A partir da realização e teorização pelo cinema, investe-se nas conexões e relações entre tecnologia, estética, política e sociedade e as novas mídias. Assim, a ideia de redes sobrepõe-se a certa paranoia pós-digital de que o império do virtual e da simulação suplantaria o real. Vale destacar que essas mudanças atingem toda a cadeia produtiva do cinema e do audiovisual e postulam novos agenciamentos, contemplando as produções robustas e onerosas da grande indústria; a produção independente; alcançam uma forte produção ligada às galerias, exposi...
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