The new Issue of NECSUS: European Journal of Media Studies is out. With among others a wonderful special section on the 'animal,' curated by guest editors Barbara Creed and Maarten Reesink. The image above is part of Dominic Pettman's contribution to the special section (on Nietzsche, horses, love and other animals). Also new audio-visual essays curated by Adrian Martin and Cristina Alvarez-Lopez.
The Third Deleuze Studies in Asia Camp and Conference were organized by the Manipal Centre for Philosophy and Humanities between 28 May - 7 June 2015 in Manipal, India. A remarkable event full of inspiring panles and lectures and which that included a film screening and a dance event by Attakkalari. See the programme at the camp and conference website. Photos at the facebook page can be seen here. And for more information on the dance group attakkalari.org.
WORKSHOP & SYMPOSIUM FILM AND FEMINIST FILM THEORIES
20 mei 2015 19.00 - 21.00 EYE Filminstitute Netherlands, Amsterdam
What has changed in the field of film and film studies since the 1970s, when Laura Mulvey published her seminal essay Visual Pleasure and Narrative Cinema in Screen?
EYE Film Institute Netherlands and the University of Groningen will host a Symposium on Film & Feminist Film Theories, including a workshop and a special program accompanying the book launch of the publication Feminisms (Amsterdam University Press).
From 7-9 pm, the symposium will witness the launch of a completely new volume of the international book series, The Key Debates: Feminisms, edited by Laura Mulvey and Anna Backman Rogers. The presentation will be delivered by Jeroen Sondervan on behalf of Amsterdam University Press, followed by a roundtable discussion involving the editors of the volume on Feminisms, film and media studies scholars, and members of the Research School for Media Studies (RMeS), moderation by Patricia Pisters.
The roundtable discussion will focus on cutting-edge and contemporary theorising in the field of feminist film theory. The discussion will centre on questions such as: What has changed in the field of film and film studies since the 1970s, when Laura Mulvey published her seminal essay “Visual Pleasure & Narrative Cinema” in Screen in 1975? Why and how to study gender-related questions in the field of film and TV? What was and is the impact of feminist films and projects on individuals and culture?
As part of the event, fragments will be screened of Laura Mulvey’s spectacular avant-garde movies, made in part with Peter Wollen.
Between 25 February and 11 April 2015 the central executive building of the University of Amsterdam was transformed into a 'forum romanum' to discuss student and teachers protests and to rethink the university, education, research and academic culture in general. Top down busines models and new public mangement have reached the limits of their efficiency and sustainability. It is necessary to return to the knowledge, wisdom and experience of staff and students to focus again on contents and to create organizational models that are more democratic, more ethical and ultimately much more productive and efficient.
For a summary and introduction to the events in Amsterdam see Jonathan Gray's article in The Guardian; or a chronological overview in N+1. Follow the events on Rethink UvA (interfaculty staff website with English and Dutch articles in the press, position papers, blog entrees and more information), Twitter @rethinkUva or #Maagdenhuis and the Youtube channel. You can sign the petition to support.
See also my article 'Jams, Loops and Downward Spirals in the Academic System' in De Groene Amsterdammer in Dutch or in English for Open! Platform for Art, Culture and the Public Domain. See also and artcile by James Anderson in Truthout. And in German Markus Stauff's contribution to Zeitschrift fur Medienwissenshaft. An article about the situation in England here. About the situation on higher education in the USA Noam Chomsky's analysis is pointing out what is at stake.
The problems and conditions that are under discussion in the academic protest also stand for what is happening in other places in society, especially the public services (education, heath care, justice, public broadcasting, ...) that are crumbling under the weight of the systems of control and profitability. We need to rethink our life and return to "common" senses.
How does red smell, what is the sound of yellow words and the taste of blue? Art historian Caro Verbeek demonstrates the visual power of smell, film scientist Patricia Pisters gives a lecture about the color yellow in film and creative chef Jasper Ubink serves edible paintings from a foodbar. With the screening of: Red Mill (Esther Urlus, 2013, 5 ') Yellow (Rosella Biscotti, 2010, 22') and Limited Blue (Noud Heerkens, 1984, 9’).
Red Mill Esther Urlus, 2013, 5’
Red Mill is a research into motion picture printing techniques. Starting point and inspiration for the film are the mill paintings of Piet Mondriaan, especially Rode Molen. In the film color is created by multiple exposures through different masks during printing. Depending what developing process is used the colors mix in two ways: additive or subtractive.
Yellow Film Rosella Biscotti, 2010, 22’
The voice of Dik in Rosella Biscotti’s 16mm film Yellow Movie utters a vision of a world in miniature,something glittering with richness, but utterly ruined. The film’s audio comprises of recordings of psychoanalytic sessions under the influence of the drug Pentothal, conducted between 1987 and 1991.
The patient’s voice narrates what he sees, and these are terrible things. It is slowly revealed that it is not just the story and the vision of an individual, but our history, the events of World War II, that emerge between dream and waking. We are brought into Dik’s psyche in which the world which we occupy is tainted.
Limited Blue Noud Heerkens, 1984, 9
The constant temptation of a filmmaker / writer to express himself, brings him to creating an unusual and abstract world. He alienates himself from what is happening in the outside world outside, until he realizes his vulnerable physical presence.
31 March 2015 in EYE. See also here.