bluuebunny/crossref_metadata_2025_split huggingface dataset:
The Kino-Eye Montage Procedure as a Formal Experiment
Authors: Latifić Amra 
Published: April 2018

This text presents an analysis of the relationship between Kino-Eye, the Russian montage technique that was most clearly demonstrated by Dziga Vertov in his 1929 film The Man with a Movie Camera, and Russian Formalist theory, which underwent an intensive period of development during the 1920s. Russian Formalism, established primarily as a theory of literature, was likewise applied in film and the visual arts. A dominant characteristic of Soviet film authors and theorists from the avant-garde period was a preoccupation with linguistic aspects and an understanding of film itself in terms of language. Transposing Viktor Shklovsky’s notion of defamiliarization [остранение, ostranenie] to the visual experience of Vertov’s film contributes to an additional understanding of the usage of unconventional camera angles, diagonal camera positions, as well as to the interpreting of the Kino-Eye montage procedure. The experimental montage procedure of Kino-Eye is posited as an attempt to decode the world through the lens of a film camera, while understanding this procedure is linked to the impact of Shklovsky and Russian Formalism on Russian 1920s cinema.

Article received: December 15, 2017; Article accepted: December 30, 2017; Published online: April 15, 2018; Original scholarly paper

How to cite this article: Latifić, Amra. "The Kino-Eye Montage Procedure as a Formal Experiment." AM Journal of Art and Media Studies 15 (2018): 23–33. doi: 10.25038/am.v0i15.227
Interweaving Realities: Spoken Language and Moving Images in the Sonne halt!, Experimental Film by Ferry Radax
Authors: Bešlagić Luka 
Published: April 2018

This paper analyses the experimental film Sonne halt! by Ferry Radax, an Austrian filmmaker renowned for his unconventional approach to cinematic practice. Filmed and edited between the end of the 1950s and early 1960s, the film at first may appear to be a belated homage to the previous European experiments in avant-garde cinema, already carried out a few decades earlier. However, since there have been no great ‘historical avant-garde’ movements in Vienna in the period between the two world wars – according to the novel argument made by Klaus Kastberger – it was already the middle of the 20th century when the ‘original’ avant-garde strategies were finally acknowledged in Austria, and simultaneously appropriated by the ‘neo-avant-garde’. In this peculiar historico-cultural context Sonne halt!, in its fragmentary non-narrative structure which resembles Dadaist or Surrealist playfulness and openness, innovatively and radically interweaved two disparate film registers: moving image and spoken language. Various sentences arbitrarily enounced throughout the film – which have their origin in Konrad Bayer’s unfinished experimental, pseudo-autobiographical, montage novel der sechste sinn – do not constitute dialogues or narration of a traditional movie script but rather a random collection of fictional and philosophical statements. At certain moments there is a lack of rapport between moving image and speech – an experimental attempt by Ferry Radax to challenge one of the most common principles of sound and narrative cinema. By deconstructing Sonne halt! to its linguistic and cinematic aspects, this article particularly focuses on the role of verbal commentaries within the film. Article received: December 28, 2017; Article accepted: January 10, 2018; Published online: April 15, 2018; Original scholarly paper How to cite this article: Bešlagić, Luka. "Interweaving Realities: Spoken Language and Moving Images in the Sonne halt!, Experimental Film by Ferry Radax." AM Journal of Art and Media Studies 15 (2018): 35–45. doi: 10.25038/am.v0i15.228
Brazilian Video Art in the Early Days: from Experimental Video to Mainstream Television
Authors: De Lima-Lopes Rodrigo Esteves 
Published: April 2018

This article examines Brazilian video art in its early days, between 1973 and the end of the 1980s. This choice of topic is due to the historic importance of these artists: it covers the first experimental video productions in Brazil until their relative vulgarisation and assimilation by the mass media, especially television. I intend to discuss how Brazilian video art – which initially sought, inspired by ideological and technical issues, to disengage from the language of commercial media – became an element of aesthetic renewal in mainstream TV.

Article received: December 15, 2017; Article accepted: December 30, 2017; Published online: April 15, 2018; Original scholarly paper

How to cite this article: Rodrigo Esteves de Lima-Lopes. "Brazilian Video Art in the Early Days: from Experimental Video to Mainstream Television."AM Journal of Art and Media Studies 15 (2018): 47–58. doi: 10.25038/am.v0i15.229
Emperor Tomato Ketchup: Some Reflections on Carnality and Politics
Authors: Došen Ana 
Published: April 2018

Terayama Shuji is one of the most prominent Japanese avant-garde artists of the 20th century. This paper explores Terayama’s experimental film Emperor Tomato Ketchup (1971), dealing with children’s rebellion against (masculine) authority. With an apparent lack of conventional narrative, this 16mm tinted black and white feature, shot in documentary style, was filmed in public without permission, demonstrating the guerilla tactics of Terayama’s experimental approach. Reflecting the turbulent times of Japan’s 1960s, when the quest for reinvention of national identity was compellingly engaged both right and left, Emperor Tomato Ketchup illustrates a dystopian Japan where the brutal revolution of ‘innocent’ and immature takes place. The focus of this paper is on the notion of carnality and politics of postwar Japan, as film’s transgressive graphic content of pre-pubescent children’s sexual encounter with women can still be perceived as radical.

Article received: December 26, 2017; Article accepted: January 10, 2018; Published online: April 15, 2018; Original scholarly paper

How to cite this article: Došen, Ana. "Emperor Tomato Ketchup: Some Reflections on Carnality and Politics." AM Journal of Art and Media Studies 15 (2018): 59–66. doi: 10.25038/am.v0i15.230
Listening to the ‘Multi-Voiced’ Feminist Film: Aspects of Voice-over, Female Stardom, and Audio-Visual Pleasure in Stephanie Beroes’ The Dream Screen (1986)
Authors: Ogrodnik Ben 
Published: April 2018

Experimental film literature often neglects the important role played by sound design as a key aspect within feminist film practice. Indeed, the utilization of audio techniques, such as voice-over, polyphony, and sonic collage, can powerfully challenge the scopophilic fetishism placed upon images of women. In order to expand the scholarly conversation, I focus on an exemplary found-footage film, The Dream Screen, 1986, by Stephanie Beroes. The 45-minute, 16mm film presents appropriated and re-edited footage of LuLu (Louise Brooks) from G. W. Pabst’s silent film Pandora’s Box. As we see Lulu in familiar scenarios from the original film, the audience also bears witness to a rich tapestry of quotations on the soundtrack, all spoken by different women. These quotations span 1970s feminist theory, Greek mythology, R&B song lyrics, personal diary entries, and Brooks’ own autobiography, giving new meaning and depth to Lulu’s character. I argue that Beroes’ mobilization of these disparate voices and discourses seeks to ‘undo’ (to borrow William Wees’ term) the misogyny of Pabst’s original depiction of femininity. In turn, her film refashions Lulu/Louise Brooks into a punk-feminist icon of resistance, while pointing to ways that women artists might recover images and sounds from and of their own experience. Article received: December 28, 2017; Article accepted: January 10, 2018; Published online: April 15, 2018; Original scholarly paper How to cite this article: Ogrodnik, Ben. "Listening to the ‘Multi-Voiced’ Feminist Film: Aspects of Voice-over, Female Stardom, and Audio-Visual Pleasure in Stephanie Beroes’ The Dream Screen (1986)." AM Journal of Art and Media Studies 15 (2018): 67–82. doi: 10.25038/am.v0i15.231
The Effect of the Handheld Camera on Narration and Ocularization in the Dogme 95 Film
Authors: Pandža Kristian 
Published: April 2018

This paper aims, based on the method of case study, to investigate how the handheld camera affects narration and ocularization in the Dogme 95 film. The Dogme 95 (hereafter ‘Dogme’) film is a relatively recent filmmaking movement, which has its own set of strict rules – one of which requires shooting the film with a handheld camera. Regardless of the fact that the utilization of a handheld camera causes specific and recognizable image and movement aesthetics, which can be described as a specific handheld camera style, it is also an indispensable theoretical fact that it very much ‘speaks’ through narration, in particular through focalization and ocularization, which is also theoretically confirmed by theoreticians of the Dogme film. The two most representative, and most prominent films of the Dogme filmmaking movement are Idiots [Idioterne] by Lars von Trier and The Celebration [Festen] by Thomas Vinterberg. The Dogme movement, famous for its inescapable and apparent pseudo-documentary filming style – which enables one to ask the question what is here and how is the reality of reality here – raises additional questions, but also provides answers through thoroughly studying the way in which the handheld camera narrates audiovisually and how narration flows in the two aforementioned films. Additionally, it asks whether there is a difference in narration and ocularization, or if it is disabled, and how the handheld camera becomes the narrator, in symbiosis with the character.

Article received: December 28, 2017; Article accepted: January 10, 2018; Published online: April 15, 2018; Original scholarly paper

How to cite this article: Pandža, Kristian. "The Effect of the Handheld Camera on Narration and Ocularization in the Dogme 95 Film." AM Journal of Art and Media Studies 15 (2018): 83–92. doi: 10.25038/am.v0i15.232
The Imaginary and the Dead Media in the Works of the Kosmoplovci Collective
Authors: Sekulić Aleksandra 
Published: April 2018

Drawing from a movement which aimed to re-activate the practices of the emancipation of cultural production established in Yugoslav cine-amateurism: Low-Fi Video (1997–2003), the Kosmoplovci Collective, established in 2001, developed various interdisciplinary experiments, contesting the elements of the media framework of production. In a specific osmosis of practices stemming from the computer demo scene, video, alternative comics, electronic music and design, Kosmoplovci contributed to the contemporary explorations of the media-archaeological art, which uses archival work and historical materials related to the shifts of media paradigms. The videos, computer demos and online interactive projects of Kosmoplovci produced in the beginning of the 2000s can be seen as the projections, emulations or anticipations of the imaginary or dead media, or even a future excavation and re-invention of media (Void, Selfaware, X21, Artificial Detection). The treatment of media machines in the tension of their imagined untimely existence, as in the description of imaginary media by Siegfried Zielinsky, and the imagined future recovery from their deep death which is another form of their dislocation, destabilizes the fixed positions of the elements of contemporary media art production: the camera, the internet, but also the parallel relation of the image and the sound. The practice of this overall destabilization of fixed elements of the media system puts the Kosmoplovci Collective in the line of continuity of the experiments of radical amateurism.

Article received: December 28, 2017; Article accepted: January 10, 2018; Published online: April 15, 2018; Original scholarly paper

How to cite this article: Sekulić, Aleksandra. "The Imaginary and the Dead Media in the Works of the Kosmoplovci Collective." AM Journal of Art and Media Studies 15 (2018): 93–102. doi: 10.25038/am.v0i15.233
Movement-Image in Experimental Archive Cinema
Authors: Prostran Boško 
Published: April 2018

In this paper, by applying three-mode division of image-movement by Gilles Deleuze to three case studies from the artistic practice of experimental archive cinema, I will attempt to point to three modes of reading/watching archive documentary film images, by which I tend to recognize also three different instances of reading/watching certain historical events, represented by images in these films. The three films, which I analyze following these guidelines, are Frammenti elettrici [Electric Fragments], by Yervant Gianikian and Angela Ricci-Lucchi, 2001–2005; Блокада [The Block], by Sergei Loznitsa, 2006; and Respite, by Harun Farocki, 2005.

Article received: December 28, 2017; Article accepted: January 10, 2018; Published online: April 15, 2018; Original scholarly paper

How to cite this article: Prostran, Boško: " Movement-Image in Experimental Archive Cinema." AM Journal of Art and Media Studies 15 (2018): 103–111. doi: 10.25038/am.v0i15.234
“Bringing the Unseen out of the Shadows”: in Pursuit of Ciné-Trance and Film-Performance in Ben Russell’s the quarry (2002) and TRYPPS #7 (BADLANDS) (2010)
Authors: Boczkowska Kornelia 
Published: April 2018

This paper aims to present the ways in which Ben Russell’s films, the quarry and TRYPPS #7 (BADLANDS), tend to draw on conventions traditionally associated with ciné-trance (TRYPPS #7), as developed by Jean Rouch, and film-performance (TRYPPS #7 and the quarry). While both pictures invoke the presence of the sublime, the quarry transforms the featured landscape into an image-object and hence fails to represent the lived experience and instead provides the audience with a spectacle or a sensation simultaneously engaging them in the performance on their own terms. Meanwhile, TRYPPS #7’s reliance on ciné-trance becomes more evident in its attempt to expose the hypnotic and deceptive capabilities of moving-image media, which do not only distort the spectator’s rational sense of space and perspective, but also connote the phenomenon of possession itself through featuring the protagonist’s narcotic trance. To achieve the desired effect, Russell creates an atmosphere of sublimity and transcendence by means of structural and avant-garde film’s devices that transcend the realist–narrative paradigm of anthropological filmmaking, including static and kinetic montage, multiple perspectives, hand-held and rotating camera movements, intimate long takes or fixed shots of extended duration.
Article received: December 28, 2017; Article accepted: January 10, 2018; Published online: April 15, 2018; Original scholarly paper

How to cite this article: Boczkowska, Kornelia. "'Bringing the Unseen out of the Shadows': in Pursuit of Ciné-Trance and Film-Performance in Ben Russell’s the quarry (2002) and TRYPPS #7 (BADLANDS) (2010)." AM Journal of Art and Media Studies 15 (2018): 113–126. doi: 10.25038/am.v0i15.235
Film-Letter: the Beginning, Exchanging and Narration in Jonas Mekas and José Luis Guerín’s Correspondence
Authors: Lee Ming-Yu 
Published: April 2018

In 2011, Jonas Mekas and José Luis Guerín finished their collective film project, Correspondence: Jonas Mekas – J. L. Guerín, a series of ‘film-letters’ between the two contemporary filmmakers. The film starts with Guerín (Letter to Jonas Mekas no. I), and ends, also with Guerín (Letter to Jonas Mekas no. 5). The film includes nine film-letters between the two. The film is interesting, as it is not only a project across time and space – it took three years to complete, and the correspondences sent and received from numerous locations across the globe – but is also that rarest of filmmaking, so close to diary film and first-person cinema, yet with something different waiting to be discovered.
In this paper I shall discuss the following characteristics in the film correspondence between Guerín and Mekas, in order to give a clearer picture of what exactly is a film-letter:
1) When is the (real) beginning of film-letters?
2) The continuity and exchange of the filmed subjects and themes.
3) The narration: the use of images plus voice-overs in film-letters.
4) The question of audience.

Article received: December 30, 2017; Article accepted: January 10, 2018; Published online: April 15, 2018; Original scholarly paper

How to cite this article: Lee, Ming-Yu. "Film-Letter: the Beginning, Exchanging and Narration in Jonas Mekas and José Luis Guerín’s Correspondence." AM Journal of Art and Media Studies 15 (2018): 127–134. doi: 10.25038/am.v0i15.236
From Art Gallery to Movie Theatre: Spectatorship in Julian Rosefeldt’s Manifesto
Authors: Ljungbäck Hugo 
Published: April 2018

Experimental films have historically had a contested and marginalized position within film exhibition. With his Manifesto (2015), which has been exhibited both as a video installation in art galleries and as a feature film in movie theatres, Julian Rosefeldt collapsed the barriers between these exhibition spaces. By performing a comparative analysis of Manifesto in both forms, this article outlines the way spectators behave differently in the theatre and the gallery, the different demands the work makes on the viewer in each venue, and the difficulties of transforming the work from one form to another. By asking what is lost and what is gained, this article explores how the text, form, and venue function differently, to reveal underlying assumptions about spectatorship.

Article received: December 31, 2017; Article accepted: January 10, 2018; Published online: April 15, 2018; Original scholarly paper

How to cite this article: Ljungbäck, Hugo. "From Art Gallery to Movie Theatre: Spectatorship in Julian Rosefeldt’s Manifesto." AM Journal of Art and Media Studies 15 (2018): 135–146. doi: 10.25038/am.v0i15.237
Seeing Blackness: Found Footage and the Archive as Modes of Investigation in the Hanging of Marie-Josèphe Angélique
Authors: Arroyo Victor 
Published: April 2018

Marie-Josèphe Angélique was a black slave in New France (Montreal, Canada) tried for setting a fire, burning down much of what is now known as Old Montreal. She was brutally tortured and hanged, her body eventually burned to ash in 1734. Over the last years, there has been an increased national interest in the figure of Marie-Josèphe Angélique, however, scholars and authorities have not come to an agreement about her hanging. Some speculate that the authorities, under pressure from an enraged population seeking a scapegoat, took the easy way out and condemned Angélique. Others believe that Angélique was determined to undermine the slave system and started the fire as revenge against her owner. I decided to explore these racial anxieties through my experimental documentary Anna O and the Case of Displaced Memory (2017), in which I used the hanging of Marie-Josèphe Angélique as an entry point to explore the relationship between the constitution of a racialized self, racial representation and the construction of collective memory, employing found footage as a mode of inquiry and aesthetic exploration into notions of appropriation, documentation and intertextuality.

Article received: December 28, 2017; Article accepted: January 10, 2018; Published online: April 15, 2018; Original scholarly paper

How to cite this article: Arroyo, Victor. "Seeing Blackness: Found Footage and the Archive as Modes of Investigation in the Hanging of Marie-Josèphe Angélique." AM Journal of Art and Media Studies 15 (2018): 147–158. doi: 10.25038/am.v0i15.238
The Global/Local Power of the Inhotim Institute: Contemporary Art, the Environment and Private Museums in Brazil
Authors: De Castro Maurício Barros 
Published: April 2018

At the end of the 1940s, three important private museums emerged in Brazil’s two biggest metropolises, São Paulo and Rio de Janeiro, establishing a circuit that would prove essential to the consolidation and internationalization of modern and contemporary Brazilian art. During this period, entrepreneurs and collectors created the Museu de Arte Moderna do Rio de Janeiro (MAM–RJ, in 1948), the Museu de Arte de São Paulo (MASP, in 1948) and the Museu de Arte Moderna de São Paulo (MAM–SP, in 1947). As an heir to this tradition, but adopting a radically new proposal, the Inhotim Institute emerged approximatley sixty years later, in 2004. Located in the state of Minas Gerais, Inhotim harbors a museum complex with a series of pavilions and galleries with works of art and sculptures displayed in the open air, in a rural ambience that also contains a vast botanical collection of rare species. Like the private museums founded in Brazil in the 1940s, Inhotim’s creation was directly linked to the trajectory of entrepreneurs and collectors. The institution was created by businessman Bernardo Paz to hold the collection started by himself in the 1980s and that now runs to more than 450 works by Brazilian and international artists, making it one of the world’s most important collections of contemporary art. This paper discusses the tradition of private museums in Brazil and Inhotim’s impact on the contemporary art scene in the country and globally. Article received: December 28, 2017; Article accepted: January 10, 2018; Published online: April 15, 2018; Original scholarly paper How to cite this article: Barros de Castro, Maurício. "The Global/Local Power of the Inhotim Institute: Contemporary Art, the Environment and Private Museums in Brazil." AM Journal of Art and Media Studies 15 (2018): 161–172. doi: 10.25038/am.v0i15.239
Creative Documentary Today: Challenges and Opportunities for Directors and Producers
Authors: Mirković Željko 
Published: April 2018

In today’s creative documentary, a director often decides to simultaneously assume the role of producer. This new situation has its own advantages and disadvantages. On the one hand, it gives the director/producer more freedom in story development and in leading a project. In addition, he or she is able to work more flexibly with the film budget and has a chance to change the direction of the project while following the storyline without fear that a producer will refuse such ideas. This position gives the director/producer room to work with smaller budgets and to claim the entire profit in the end. On the other hand, he or she must be prepared to work within a high-risk situation and assume complete responsibility.
The new digital economy has opened opportunities to identify the most innovative ways to integrate digital platforms into the phases of story development, direction, promotion, and distribution of documentaries, thus allowing filmmakers to identify their niche audiences, build new value with it and find the right ways for monetization and revenue increase.

Article received: December 30, 2017; Article accepted: January 10, 2018; Published online: April 15, 2018; Preliminary report – Short Communications

How to cite this article: Mirković, Željko: "Creative Documentary Today: Challenges and Opportunities for Directors and Producers." AM Journal of Art and Media Studies15 (2018): 173–184. doi: 10.25038/am.v0i15.240