Camera Obscura: Feminism, Culture, and Media Studies, 2003
Page 1. Still from Decodings (dir. Michael Wallin, US, 1988) Page 2. In Positiv, the opening shor... more Page 1. Still from Decodings (dir. Michael Wallin, US, 1988) Page 2. In Positiv, the opening short film in Mike Hoolboom's six-part compilation film Panic Bodies (Canada, 1998), the viewer is faced with a veritable excess of the visual. ...
THE 51ST ROBERT FLAHERTY SEMINAR CLAREMONT COLLEGES, CLAREMONT, CA JUNE 11-18, 2005 Arriving at t... more THE 51ST ROBERT FLAHERTY SEMINAR CLAREMONT COLLEGES, CLAREMONT, CA JUNE 11-18, 2005 Arriving at the Claremont Colleges east of Los Angeles for this year's Robert Flaherty Seminar, many out-of-state participants, like myself, were greeted with weather conditions that we had least expected for Southern California in early summer: overcast and relatively cool days, which locals affectionately call "June Gloom." The term seemed particularly fitting for the overall mood of the seminar as we viewed and discussed the powerful, and at times, traumatizing works around this year's theme of "Cinema and History: Piling Wreckage Upon Wreckage." This year's two programmers were Jessie Lerner, a documentary filmmaker and Associate Professor in the Intercollegiate Media Studies Program of the Claremont Colleges, and Michael Renov, Associate Dean and Professor of Critical Studies at the University of Southern California's School of Cinema-Television. Lerner furnis...
The Image and the Witness: Trauma, Memory and Visual Culture is a timely interdisciplinary collec... more The Image and the Witness: Trauma, Memory and Visual Culture is a timely interdisciplinary collection of original essays concerning the ethical stakes of the image in our visually-saturated age. It explores the role of the material image in bearing witness to historical events and the visual representation of witnesses to collective trauma. In arguing for the agency of the image, this unique collection debates post-traumatic memory, documentary ethics, embodied vision, and the recycling of images. It discusses works by Chris Marker, Errol Morris, Derek Jarman, Doris Salcedo, Gerhard Richter, and Boris Mikhailov, along with images from popular culture, including websites and home movies.
Controversy over visual imagery of trauma and disaster has never been greater. "The Image an... more Controversy over visual imagery of trauma and disaster has never been greater. "The Image and the Witness: Trauma, Memory and Visual Culture" is thus a timely interdisciplinary collection of new essays about the ethical stakes of the image in our visually-saturated age. This book explores the interrelated issues of the role of the material image in bearing witness to historical events and the visual representation of witnesses to collective trauma. In arguing for the agency of the image, this unique collection engages in important debates over post-traumatic memory, documentary ethics, embodied vision and the recycling of images. The book discusses works by Chris Marker, Errol Morris, Derek Jarman, Doris Salcedo, Gerhard Richter and Boris Mikhailov, alongside images from popular culture, including websites and home movies.
... Hubbard has subsequently collaborated with author and activist Sarah Schulman on the ACT UP O... more ... Hubbard has subsequently collaborated with author and activist Sarah Schulman on the ACT UP Oral History Project, which aims to produce a ... to articulate the shared structures of feeling that arise from the corporeal experience of living with AIDS, while Marlon Riggs's No ...
Camera Obscura: Feminism, Culture, and Media Studies, 2003
Page 1. Still from Decodings (dir. Michael Wallin, US, 1988) Page 2. In Positiv, the opening shor... more Page 1. Still from Decodings (dir. Michael Wallin, US, 1988) Page 2. In Positiv, the opening short film in Mike Hoolboom's six-part compilation film Panic Bodies (Canada, 1998), the viewer is faced with a veritable excess of the visual. ...
THE 51ST ROBERT FLAHERTY SEMINAR CLAREMONT COLLEGES, CLAREMONT, CA JUNE 11-18, 2005 Arriving at t... more THE 51ST ROBERT FLAHERTY SEMINAR CLAREMONT COLLEGES, CLAREMONT, CA JUNE 11-18, 2005 Arriving at the Claremont Colleges east of Los Angeles for this year's Robert Flaherty Seminar, many out-of-state participants, like myself, were greeted with weather conditions that we had least expected for Southern California in early summer: overcast and relatively cool days, which locals affectionately call "June Gloom." The term seemed particularly fitting for the overall mood of the seminar as we viewed and discussed the powerful, and at times, traumatizing works around this year's theme of "Cinema and History: Piling Wreckage Upon Wreckage." This year's two programmers were Jessie Lerner, a documentary filmmaker and Associate Professor in the Intercollegiate Media Studies Program of the Claremont Colleges, and Michael Renov, Associate Dean and Professor of Critical Studies at the University of Southern California's School of Cinema-Television. Lerner furnis...
The Image and the Witness: Trauma, Memory and Visual Culture is a timely interdisciplinary collec... more The Image and the Witness: Trauma, Memory and Visual Culture is a timely interdisciplinary collection of original essays concerning the ethical stakes of the image in our visually-saturated age. It explores the role of the material image in bearing witness to historical events and the visual representation of witnesses to collective trauma. In arguing for the agency of the image, this unique collection debates post-traumatic memory, documentary ethics, embodied vision, and the recycling of images. It discusses works by Chris Marker, Errol Morris, Derek Jarman, Doris Salcedo, Gerhard Richter, and Boris Mikhailov, along with images from popular culture, including websites and home movies.
Controversy over visual imagery of trauma and disaster has never been greater. "The Image an... more Controversy over visual imagery of trauma and disaster has never been greater. "The Image and the Witness: Trauma, Memory and Visual Culture" is thus a timely interdisciplinary collection of new essays about the ethical stakes of the image in our visually-saturated age. This book explores the interrelated issues of the role of the material image in bearing witness to historical events and the visual representation of witnesses to collective trauma. In arguing for the agency of the image, this unique collection engages in important debates over post-traumatic memory, documentary ethics, embodied vision and the recycling of images. The book discusses works by Chris Marker, Errol Morris, Derek Jarman, Doris Salcedo, Gerhard Richter and Boris Mikhailov, alongside images from popular culture, including websites and home movies.
... Hubbard has subsequently collaborated with author and activist Sarah Schulman on the ACT UP O... more ... Hubbard has subsequently collaborated with author and activist Sarah Schulman on the ACT UP Oral History Project, which aims to produce a ... to articulate the shared structures of feeling that arise from the corporeal experience of living with AIDS, while Marlon Riggs's No ...
The Image and the Witness: Trauma, Memory and Visual Culture is a timely interdisciplinary collec... more The Image and the Witness: Trauma, Memory and Visual Culture is a timely interdisciplinary collection of original essays concerning the ethical stakes of the image in our visually-saturated age. It explores the role of the material image in bearing witness to historical events and the visual representation of witnesses to collective trauma. In arguing for the agency of the image, this unique collection debates post-traumatic memory, documentary ethics, embodied vision, and the recycling of images. It discusses works by Chris Marker, Errol Morris, Derek Jarman, Doris Salcedo, Gerhard Richter, and Boris Mikhailov, along with images from popular culture, including websites and home movies.
In Reframing Bodies, Roger Hallas illuminates the capacities of film and video to bear witness to... more In Reframing Bodies, Roger Hallas illuminates the capacities of film and video to bear witness to the cultural, political, and psychological imperatives of the AIDS crisis. He explains how queer films and videos made in response to the AIDS epidemics in North America, Europe, Australia, and South Africa challenge longstanding assumptions about both historical trauma and the politics of gay visibility. Drawing on a wide range of works, including activist tapes, found footage films, autobiographical videos, documentary portraits, museum installations, and even film musicals, Hallas reveals how such “queer AIDS media” simultaneously express both immediacy and historical consciousness. Queer AIDS media are neither mere ideological critiques of the dominant media representation of homosexuality and AIDS nor corrective attempts to produce “positive images” of people living with HIV/AIDS. Rather, they perform complex, mediated acts of bearing witness to the individual and collective trauma of AIDS.
Challenging the entrenched media politics of who gets to speak, how, and to whom, Hallas offers a bold reconsideration of the intersubjective relations that connect filmmakers, subjects, and viewers. He explains how queer testimony reframes AIDS witnesses and their speech through its striking combination of direct address and aesthetic experimentation. In addition, Hallas engages recent historical changes and media transformations that have not only displaced queer AIDS media from activism to the archive, but also created new witnessing dynamics through the logics of the database and the remix. Reframing Bodies provides new insight into the work of Gregg Bordowitz, John Greyson, Derek Jarman, Matthias Müller, and Marlon Riggs, and offers critical consideration of important but often overlooked filmmakers, including Jim Hubbard, Jack Lewis, and Stuart Marshall.
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Papers by Roger Hallas
Challenging the entrenched media politics of who gets to speak, how, and to whom, Hallas offers a bold reconsideration of the intersubjective relations that connect filmmakers, subjects, and viewers. He explains how queer testimony reframes AIDS witnesses and their speech through its striking combination of direct address and aesthetic experimentation. In addition, Hallas engages recent historical changes and media transformations that have not only displaced queer AIDS media from activism to the archive, but also created new witnessing dynamics through the logics of the database and the remix. Reframing Bodies provides new insight into the work of Gregg Bordowitz, John Greyson, Derek Jarman, Matthias Müller, and Marlon Riggs, and offers critical consideration of important but often overlooked filmmakers, including Jim Hubbard, Jack Lewis, and Stuart Marshall.