An illuminating volume of critical essays charting the diverse territory of digital humanities scholarship The digital humanities have traditionally been considered to be the domain of only a small number of prominent and well-funded institutions. However, through a diverse range of critical essays, this volume serves to challenge and enlarge existing notions of how digital humanities research is being undertaken while also serving as a kind of alternative guide for how it can thrive within a wide variety of institutional spaces. Focusing on the complex infrastructure that undergirds the field of digital humanities, People, Practice, Power examines the various economic, social, and political factors that shape such academic endeavors. The multitude of perspectives comprising this collection offers both a much-needed critique of the existing structures for digital scholarship and the means to generate broader representation within the field. This collection provides a vital contribution to the realm of digital scholarly research and pedagogy in acknowledging the role that small liberal arts colleges, community colleges, historically black colleges and universities, and other underresourced institutions play in its advancement. Gathering together a range of voices both established and emergent, People, Practice, Power offers practitioners a self-reflexive examination of the current conditions under which the digital humanities are evolving, while helping to open up new sustainable pathways for its future. Contributors: Matthew Applegate, Molloy College; Taylor Arnold, U of Richmond; Eduard Arriaga, U of Indianapolis; Lydia Bello, Seattle U; Kathi Inman Berens, Portland State U; Christina Boyles, Michigan State U; Laura R. Braunstein, Dartmouth College; Abby R. Broughton; Maria Sachiko Cecire, Bard College; Brennan Collins, Georgia State U; Kelsey Corlett-Rivera, U of Maryland; Brittany de Gail, U of Maryland; Madelynn Dickerson, UC Irvine Libraries; Nathan H. Dize, Vanderbilt U; Quinn Dombrowski, Stanford U; Ashley Sanders Garcia, UCLA; Laura Gerlitz; Erin Rose Glass; Kaitlyn Grant; Margaret Hogarth, Claremont Colleges; Maryse Ndilu Kiese, U of Alberta; Pamella R. Lach, San Diego State U; James Malazita, Rensselaer Polytechnic Institute; Susan Merriam, Bard College; Chelsea Miya, U of Alberta; Jamila Moore Pewu, California State U, Fullerton; Urszula Pawlicka-Deger, Aalto U, Finland; Jessica Pressman, San Diego State U; Jana Remy, Chapman U; Roopika Risam, Salem State U; Elizabeth Rodrigues, Grinnell College; Dylan Ruediger, American Historical Association; Rachel Schnepper, Wesleyan U; Anelise Hanson Shrout, Bates College; Margaret Simon, North Carolina State U; Mengchi Sun, U of Alberta; Lauren Tilton, U of Richmond; Michelle R. Warren, Dartmouth College.

The Anarchist Cinema examines the complex relationships that exist between anarchist theory and film. No longer hidden in obscure corners of cinematic culture, anarchy is a theme that has traversed arthouse, underground and popular film. James Newton explores the notion that cinema is an inherently subversive space, establishes criteria for deeming a film anarchic, and examines the place of underground and DIY filmmaking within the wider context of the category. The author identifies subversive undercurrents in cinema and uses anarchist political theory as an interpretive framework to analyse filmmakers, genres and the notion of cinema as an anarchic space.

An in-depth look into the transformation of visual culture and digital aesthetics   First introduced by the German filmmaker Harun Farocki, the term operational images defines the expanding field of machine vision. In this study, media theorist Jussi Parikka develops Farocki’s initial concept by considering the extent to which operational images have pervaded today’s visual culture, outlining how data technologies continue to develop and disrupt our understanding of images beyond representation. Charting the ways that operational images have been employed throughout a variety of fields and historical epochs, Parikka details their many roles as technologies of analysis, capture, measurement, diagramming, laboring, (machine) learning, identification, tracking, and destruction. He demonstrates how, though inextricable from issues of power and control, operational images extend their reach far beyond militaristic and colonial violence and into the realms of artificial intelligence, data, and numerous aspects of art, media, and everyday visual culture. Serving as an extensive guide to a key concept in contemporary art, design, and media theory, Operational Images explores the implications of machine vision and the limits of human agency. Through a wealth of case studies highlighting the areas where imagery and data intersect, this book gives us unprecedented insight into the ever-evolving world of posthuman visuality. Cover alt text: Satellite photo on which white title words appear in yellow boxes. Yellow lines connect the boxes.

Digitization is the animating force of everyday life. Rather than defining it as a technology or a medium, Contemporary Art and the Digitization of Everyday Life argues that digitization is a socio-historical process that is contributing to the erosion of democracy and an increase in political inequality, specifically along racial, ethnic, and gender lines. Taking a historical approach, Janet Kraynak finds that the seeds of these developments are paradoxically related to the ideology of digital utopianism that emerged in the late 1960s with the rise of a social model of computing, a set of beliefs furthered by the neo-liberal tech ideology in the 1990s, and the popularization of networked computing. The result of this ongoing cultural worldview, which dovetails with the principles of progressive artistic strategies of the past, is a critical blindness in art historical discourse that ultimately compromises art's historically important role in furthering radical democratic aims.

Film Manifestos and Global Cinema Cultures is the first book to collect manifestoes from the global history of cinema, providing the first historical and theoretical account of the role played by film manifestos in filmmaking and film culture. Focusing equally on political and aesthetic manifestoes, Scott MacKenzie uncovers a neglected, yet nevertheless central history of the cinema, exploring a series of documents that postulate ways in which to re-imagine the cinema and, in the process, re-imagine the world. This volume collects the major European "waves" and figures (Eisenstein, Truffaut, Bergman, Free Cinema, Oberhausen, Dogme '95); Latin American Third Cinemas (Birri, Sanjines, Espinosa, Solanas); radical art and the avant-garde (Bunuel, Brakhage, Deren, Mekas, Ono, Sanborn); and world cinemas (Iimura, Makhmalbaf, Sembene, Sen). It also contains previously untranslated manifestos co-written by figures including Bollain, Debord, Hermosillo, Isou, Kieslowski, Painleve, Straub, and many others. Thematic sections address documentary cinema, aesthetics, feminist and queer film cultures, pornography, film archives, Hollywood, and film and digital media. Also included are texts traditionally left out of the film manifestos canon, such as the Motion Picture Production Code and Pius XI's Vigilanti Cura, which nevertheless played a central role in film culture.

Die Unterlegenen des Spanischen Burgerkriegs erlitten unter dem Diktator Franco starke Repressionen. Im oeffentlichen Diskurs gab es nur das Narrativ der Sieger. Im Dokumentarfilm "La vieja memoria" (1977) sah man erstmals ein Gesprach zwischen Menschen unterschiedlicher Burgerkriegslager - eine Montage, von Jaime Camino erstellt aus rund 25 Stunden Interviewmaterial. Es entstand ein multiperspektivisches Werk, das auch das Gedachtnis als solches thematisierte. Diese Studie analysiert den Film erstmals unter Einbezug des unveroeffentlichten Materials und erforscht die Moeglichkeiten des Dokumentarfilms im Vergangenheitsdiskurs. Dafur wird kulturtheoretisch der Zusammenhang von Gedachtnis und Gesellschaft eroertert und die spanische Geschichte mit dem Wandel der Erinnerungspolitik dargestellt.

Images can be studied in many ways-as symbols, displays of artistic genius, adjuncts to texts, or naturally occurring phenomena like reflections and dreams. Each of these approaches is justified by the nature of the image in question as well as the way viewers engage with it. But images are often something more when they perform in ways that exhibit a capacity to act independent of human will. Images come alive-they move us to action, calm us, reveal the power of the divine, change the world around us. In these instances, we need an alternative model for exploring what is at work, one that recognizes the presence of images as objects that act on us. Building on his previous innovative work in visual and religious studies, David Morgan creates a new framework for understanding how the human mind can be enchanted by images in Images at Work. In carefully crafted arguments, Morgan proposes that images are special kinds of objects, fashioned and recognized by human beings for their capacity to engage us. From there, he demonstrates that enchantment, as described, is not a violation of cosmic order, but a very natural way that the mind animates the world around it. His groundbreaking study outlines the deeply embodied process by which humans create culture by endowing places, things, and images with power and agency. These various agents-human and non-human, material, geographic, and spiritual-become nodes in the web of relationships, thus giving meaning to images and to human life. Marrying network theory with cutting-edge work in visual studies, and connecting the visual and bodily technologies employed by the ancient Greeks and Romans to secular icons like Che Guevara, Abraham Lincoln, and Mao, Images at Work will be transformative for those curious about why images seem to have a power of us in ways we can't always describe.

The advent of new screening practices and viewing habits in the twenty-first century has spurred a public debate over what it means to be a "cinephile." In Anxious Cinephilia, Sarah Keller places these competing visions in historical and theoretical perspective, tracing how the love of movies intertwines with anxieties over the content and impermanence of cinematic images. Keller reframes the history of cinephilia from the earliest days of film through the French New Wave and into the streaming era, arguing that love and fear have shaped the cinematic experience from its earliest days. This anxious love for the cinema marks both institutional practices and personal experiences, from the curation of the moviegoing experience to the creation of community and identity through film festivals to posting on social media. Through a detailed analysis of films and film history, Keller examines how changes in cinema practice and spectatorship create anxiety even as they inspire nostalgia. Anxious Cinephilia offers a new theoretical approach to the relationship between spectator and cinema and reimagines the concept of cinephilia to embrace its diverse forms and its uncertain future.

Wander into the immersive illustrated universe of Beatrice Blue. Filled with playful characters, enchanting natural scenery, and captivating narratives, Beatrice's designs will appeal to everyone's inner child. Her fantastic use of vibrant color and luminous finishes give her imaginative scenes life and vigor, while her expressive texturing techniques embellish her already intricately detailed works further, to create designs with depth and integrity. Discover how Beatrice harmoniously manages her work and life schedule to stay inspired and keep producing fresh and engaging art. She also explains how she builds her stunning compositions and considers every integral detail to create balanced designs. Make sure to take note of the invaluable insights she has to share from her experiences working for industry leaders and find out how to develop designs with personality, in order to stand out from the crowd. This beautiful handheld hardback title is the perfect book to carry with you on all your exciting adventures, providing you with a portal to a colorful and deeply magical world.

What do images of the body, which recent poets and filmmakers have given us, tell us about ourselves, about the way we think and about the culture in which we live? In his new book A Body of Vision , R. Bruce Elder situates contemporary poetic and cinematic body images in their cultural context. Elder examines how recent artists have tried to recognize and to convey primordial forms of experiences. He proposes the daring thesis that in their efforts to do so, artists have resorted to gnostic models of consciousness. He argues that the attempt to convey these primordial modes of awareness demands a different conception of artistic meaning from any of those that currently dominate contemporary critical discussion. By reworking theories and speech in highly original ways, Elder formulates this new conception. The works of Brakhage, Artaud, Schneeman, Cohen and others lie naked under Elder's razor-sharp dissecting knife and he exposes the essence of their work, cutting deeply into the themes and theses from which the works are derived. His remarks on the gaps in contemporary critical practices will likely become the focus of much debate.

In Archiveology Catherine Russell uses the work of Walter Benjamin to explore how the practice of archiveology-the reuse, recycling, appropriation, and borrowing of archival sounds and images by filmmakers-provides ways to imagine the past and the future. Noting how the film archive does not function simply as a place where moving images are preserved, Russell examines a range of films alongside Benjamin's conceptions of memory, document, excavation, and historiography. She shows how city films such as Nicole Vedres's Paris 1900 (1947) and Thom Andersen's Los Angeles Plays Itself (2003) reconstruct notions of urban life and uses Christian Marclay's The Clock (2010) to draw parallels between critical cinephilia and Benjamin's theory of the phantasmagoria. Russell also discusses practices of collecting in archiveological film and rereads films by Joseph Cornell and Rania Stephan to explore an archival practice that dislocates and relocates the female image in film. In so doing, she not only shows how Benjamin's work is as relevant to film theory as ever; she shows how archiveology can awaken artists and audiences to critical forms of history and memory.

Orphan Black: Performance, Gender, Biopolitics is an edited collection that covers the areas in which the series has generated the most academic interest: performance and technology; gender and reproduction; biopolitics and community. Chapters explore the digital innovations and technical interactions between human and machine that allow the show to challenge conventional notions of performance and identity, while others address family themes and Orphan Black's own textual genealogy within the contexts of (post-)evolutionary science, reproductive technology and the politics of gender. Still others extend that inquiry on family to the broader question of community in a 'posthuman' world of biopolitical power; here, scholars mobilize philosophy, history of science and literary theory to analyze how Orphan Black depicts resistance to the many forms of power that attempt to capture, monitor and shape life.

Go behind the scenes of the Harry Potter film series with this compendium of stunning blueprints depicting spellbinding magical wizarding world locations from all eight films. Harry Potter: The Blueprints showcases the work of the artists who laid the foundation for the visually enchanting buildings, homes, rooms, and settings from all eight Harry Potter films. ICONIC LOCATIONS: 260 pages of stunningly detailed blueprints and in-depth commentary on creating the architecture of beloved Harry Potter buildings, homes, settings, and locations, including Hogwarts Castle, the Triwizard Tournament, Hogsmeade, and more. FILMMAKING SECRETS: Learn how Hogwarts and other locations in the wizarding world went from sketch to screen. DELUXE DETAILS: This generously sized volume beautifully showcases rare and unique sketches, notes, drafts, and photos.

Reflecting the dynamic creativity of its subject, this definitive guide spans the evolution, aesthetics, and practice of today s digital art, combining fresh, emerging perspectives with the nuanced insights of leading theorists. * Showcases the critical and theoretical approaches in this fast-moving discipline * Explores the history and evolution of digital art; its aesthetics and politics; as well as its often turbulent relationships with established institutions * Provides a platform for the most influential voices shaping the current discourse surrounding digital art, combining fresh, emerging perspectives with the nuanced insights of leading theorists * Tackles digital art s primary practical challenges how to present, document, and preserve pieces that could be erased forever by rapidly accelerating technological obsolescence * Up-to-date, forward-looking, and critically reflective, this authoritative new collection is informed throughout by a deep appreciation of the technical intricacies of digital art

Film criticism originally published at the New Ledger. Includes articles on the unexpected brilliance of Michael Bay, Roman Polanski and the necessity of evil, the artistic collapse of Michael Mann, and others.