Search Results for footage

..., while seemingly adhering to documentary practices by cinematically capturing the destruction of the social and spatial-urban condition of Palestinian life in Jaffa, are more accurately a cinematic investigation of the image archive of Jaffa. By recycling and manipulating footage from Israeli films...

... The chapter discusses Penny Siopis’s “tentacular art,” beginning with She Breathes Water and considering other cameo appearances of the octopus figure/footage in previous films and well as the significance of water, swimming, and diving in Siopis’s film work. A close reading of Obscure White...

... Chapter 4 moves past professional documentaries to consider amateur videos that circulate online. It analyzes two violent 2009 deaths that were each captured by multiple mobile phone cameras, with footage posted on YouTube. The victims were Oscar Grant, a young Black man killed in Oakland...

... are themselves mortal. While an aura of death denial pervades the public’s attitude toward digital recordings—thought immortal, never to curl and decay like celluloid film—the files that store death footage face their own deaths through, for example, neglect in the endless process of migration to new formats...

... unique musical score—it uses audio recordings from the bodycam and bystander footage—as well as by way of its musical dramaturgy. In the end, the piece opens an alternate way of engaging this event of antiblack brutality/murder as a mere passive observer in an antiblack world, asking listeners to listen...

... of military drone footage in the Pentagon and Google's Project Maven initiative; the Triple Chaser activist aesthetic investigation by Forensic Architecture; and artistic attempts to bear witness to data centers, machine learning algorithms, and artificial intelligence. machinic affect artificial...

...-four-hour video installation made entirely of found footage of clocks and references to the time. The answer to the question “Is this clock analog or digital?” unsolders these two terms from their medium-specific connotations and reveals them to be less fully opposed than one might think. time...

... history, is never fixed in words or images. Listening to discussions of the film and arguments about reasons to change or retain the original footage exposes not only warring narratives, but warring historiographies and underlying assumptions about the moral work of film in the memorial context...

... that this theatrical convention associated with the professional reporter has been transformed into a humanitarian testimonial convention. The chapter undertakes a comparative analysis of Anderson Cooper’s live coverage of Hurricane Katrina and Trouble the Water (2008), a film featuring live eyewitness footage...

... execution films, images from Nazi concentration camps, home movie footage of President Kennedy’s assassination, and television news coverage of the Vietnam War—through their struggle to capture the “moment of death.” It argues that such attempts form a collective and enduring fantasy for documentarians...

... into their filmic architectures. Using archival newsreel footage, ambient electronic music, voice-over narration, and other features, Black Audio cinematically locates an ephemeral beyond-world of release in Handsworth ’s dialectical “third space” of montage and in Twilight ’s nondiegetic queer tableaux...

... star recyclings take place. This chapter examines star recyclings circulated by online venues that rely on user-generated content. While many video mash-ups on YouTube featuring past stars use found footage and collage strategies reminiscent of the avant-garde films discussed in chapter 5, and within...

... otherwise. Combining found footage with sound and subtitles, her films tell untold or censored histories that are markedly alternative. They speak to auto/biographical concerns and to instances of colonialism, war, apartheid, migration, globalization, and ecological crisis, being at the same time...

... this structure draws. Culled from ten thousand hours of digital video, the startling suicide footage included in The Bridge made newly visible a type of highly public dying that had remained socially and politically invisible for decades. While the film’s harshest critics condemned the mere act of recording...

... by the contributors to the book itself: writers, scholars, curators, filmmakers, and artists. The introduction draws out the signal arguments of each chapter to offer the reader an overview of the emerging field of Siopis scholarship and engagement. Penny Siopis’s almost exclusive use of found footage, her refusal...

... does not aestheticize trauma and suffering; rather Siopis’s use of found home movie footage works to riddle this historical trauma into critical consciousness that, following Ettinger, might become a “transport-station of trauma.” Siopis’s film work uncannily echoes the process, it is argued...