Ends of Cinema: Center for 21st Century Studies 2018 Conference at UW Milwaukee

C21-Ends-of-Cinema-poster

I am excited to be participating in the Ends of Cinema conference at the Center for 21st Century Studies, taking place May 3-5, 2018 at University of Wisconsin Milwaukee. There are some great keynote speakers, including my colleague Jean Ma and lots of other wonderful people. The C21, under the expert leadership of Richard Grusin (who is now back at the helm after a short hiatus), has put on some of my personal favorite conferences, and I expect this one to be no less exciting and thought-provoking.

My own contribution will be a paper titled “Post-Cinematic Realism” — work in progress for my current book project Discorrelated Images. Here is the abstract:

Post-Cinematic Realism

Shane Denson, Stanford University

In its classical formulation, cinematic realism is based in the photographic ontology of film, i.e. in the photograph’s indexical relation to the world, which grants to film its unique purchase on reality; upon this relation also hinged, for many realist filmmakers, the political promise of realism. Digital media, meanwhile, are widely credited with disrupting indexicality and instituting an alternative ontology of the image. David Rodowick, for example, argues that the interjection of digital code disrupts film’s “automatisms” and eradicates the index in favor of the symbolic. But while such arguments are in many respects compelling, I contend that the disruption of photographic indexicality might also be seen to open up spaces in which to explore new automatisms that communicate reality and/or realism with and through post-indexical technologies.

Whereas André Bazin privileged techniques like the long take and deep focus for their power to approximate our natural perception of time and space, theorists like Maurizio Lazzarato and Mark Hansen emphasize post-cinematic media’s ability to approximate the sub-perceptual processing of duration executed by our pre-personal bodies. The perceptual discorrelation of computational images gives way, in other words, to a more precise calibration of machinic and embodied temporalities; simultaneously, the perceptual richness of Bazin’s images becomes less important, while “poor images” (in Hito Steyerl’s term) communicate more directly the material and political realities of a post-cinematic environment. As I will demonstrate with reference to a variety of moving-image texts employing glitches, drones, and other computational objects, post-cinematic media might in fact be credited with a newly intensified political relevance through their institution of a new, post-cinematic realism.

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Horror and New Media, and the Horror of New Media #SCMS18 #SCMS2018

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Looking forward to speaking on this panel, alongside Cecilia Sayad, Adam Hart, and Kevin Chabot at the 2018 Society for Cinema and Media Studies conference in Toronto. Panel L13, Friday, March 16, 2018 (3:15pm – 5:00pm).

Thesis of my paper: “Post-cinematic horror is a side-channel attack on our affective processing of time itself.”

Frankenstein 2018: 200 Years of Monsters (CFP)

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The call for papers is now out for the “Frankenstein 2018: 200 Years of Monsters” conference hosted by the Australian National University and the National Film and Sound Archive in Canberra, Australia (12 – 15 September 2018). I will be giving one of the four keynote talks — on Frankenstein in film and other media. Proposals are being solicited for talks on a range of Frankensteinian topics, including:

  • Literary studies, especially of the long eighteenth century, Romanticism, Victorian and neo­‐Victorian literature
  • Re-tellings and re-­‐imaginings of the Frankenstein story in various modes and genres, e.g. SF, steampunk, speculative fiction, slash fiction, etc.
  • Film, television, theatre and performance, and visual studies
  • Digital humanities, reception studies, histories of popular culture, and media ecologies
  • Gender studies, queer theory, and the history of sexuality
  • Disability studies and post‐humanism
  • The history of medicine, especially reproductive technologies
  • Science and technology studies; images and imaginaries of science and scientists
  • The history and philosophy of biology, especially in relation to vitalism
  • Eco‐criticism and the Anthropocene
  • Affect theory and the history of emotions
  • Frankenstein and race, colonialism, empire
  •  Global and local Frankensteins, e.g. Australian Frankensteins
  • Frankenstein and material history
  • Cyborgs, robots, artificial intelligence, and machine learning
  • Synthetic biology, genetic engineering, and artificial life

For more info and the CFP, take a look at the conference website: http://rsha.cass.anu.edu.au/events/conference-frankenstein-two-hundred-years-monsters

Essays in Sight and Sound: An Exhibition of Video Essays

Essays in Sight and Sound-web

Essays in Sight and Sound: An Exhibition of Video Essays brings together a number of works produced in the Fall 2017 course “The Video Essay: Writing with Video about Film and Media.”

The assembled videos deal with cinema, television, video games, and online media, which they approach from a variety of angles. Together, these works not only probe our changing media landscape but explore the critical affordances of the video essay as a means of writing with sight and sound.

The exhibition will be on view January 12 – 26, 2018 in the Gunn Foyer of the McMurtry Building, home of the Department of Art & Art History, on the Stanford University campus.

Rethinking Temporalities in Cinema and Digital Media, SLSA 2017

SLSA-2017

At this year’s SLSA conference, “Out of Time,” hosted by Arizona State University, I will be chairing a panel titled “Rethinking Temporalities in Cinema and Digital Media” (Saturday, November 11, 2017; 4:00-5:30pm). My own talk is titled “Pre-Sponsive Gestures: Post-Cinema Out of Time.” Here is the complete list of panelists and topics:

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What Is Monster? What Is Human? (Update)

F200 Opening Colloquium 10 2017 poster

This is the updated poster for the opening colloquium for Stanford’s Frankenstein@200 Initiative, October 17, 2017 (7:00-8:30pm in Cubberley Auditorium, Stanford School of Education). I’ll be speaking alongside Denise Gigante (English Department), Aleta Hayes (Theater and Performance Studies), Russ Altman (Bio-Engineering, Genetics, Medicine, Computer Science), and Hank Greely (Law and Genetics), moderated by Jane Shaw (Dean for Religious Life).

Free and open to the public: All humans, monsters, cyborgs, others welcome.

The Meaning of “Animation” in Edison’s Frankenstein (1910)

This video is an experimental “annotation essay” that develops a reading of Edison’s Frankenstein (1910) through on-screen text annotations. This is the complete film, unedited except for the annotations and new digital intertitles.

The video’s argument is adapted from Chapter 3 of my book Postnaturalism: Frankenstein, Film, and the Anthropotechnical Interface: “Monsters in Transit: Edison’s Frankenstein.”

This is my second Frankenstein-themed video essay. The first one, on sound in James Whale’s Frankenstein (1931), can be found in the online journal [in]Transition.