Eugenie Brinkema (MIT), IAS Thursdays Talk
October 24th, Crosby Seminar Room, 240 Northrop
Free and open to the public
Michael Haneke’s Amour (2012) is set in a single restricted location, the Parisian apartment in which a dying, suffering woman is being cared for by her husband. The film plots an obsessive formal language of spatial increments, organizing itself around minor but crucial distances across the geography of the home. Against and within this ordered relation of objects and space, extraordinary pain and terrible violence ultimately arrive. Eugenie Brinkema, Associate Professor of Contemporary Literature and Media at MIT, explores this interrelation to suggest that figures of entrance, distance, and spatial incrementality articulate a formalized mode of work that is commuted over the course of the film to the paradoxical figure of an ethics of violence.
Eugenie Brinkema is Associate Professor of Contemporary Literature and Media at MIT. Her research in film and media studies focuses on violence, affect, sexuality, aesthetics, and ethics in texts ranging from the horror film to gonzo pornography, from structuralist film to the visual and temporal forms of terrorism. Her articles have appeared in the journals Angelaki, Camera Obscura, Criticism, differences, Discourse, film-philosophy, The Journal of Speculative Philosophy, qui parle, and World Picture.
Copresented by the Moving Image and Media Studies Graduate Group. Cosponsored by the Center for Austrian Studies and the Center for German and European Studies and by the Departments of Art, Art History, French and Italian, and German Nordic, Slavic, and Dutch.
Workshop with Eugenie Brinkema
Friday, October 25, from 10 a.m. - 1:30, in Crosby Seminar Room
Dr. Brinkema will also present a workshop, Horror and the Problem of Form. The workshop is free and open to the public. Workshop readings can be made available to participants; email email@example.com for access.
Videographic Criticism Workshop & Talk with Jason Mittell
November 7th & 8th
LATIS editing facilities in Rarig Center on UMN West Campus
Open to all students, faculty, and staff; email to reserve a spot!
In the workshops, we engage with many key questions facing film and media scholarship in the digital age: How might the use of images and sounds transform the rhetorical strategies used by film/media scholars? How does such creative digital scholarship fit into the norms of contemporary academia? How might incorporating aesthetic strategies common to moving images reshape scholarly discourse? How do broader trends and developments in remix culture and copyright activism connect with new modes of film and media scholarship? In a workshop setting, we consider the theoretical foundation for such forms of digital scholarship, and experiment extensively with producing such work. The goal is to explore a range of approaches by using moving images as a critical language and to expand the expressive possibilities available to innovative humanist scholars.
Participants are not expected to have experience producing videos – the workshop is aimed at exploring the new format and stimulating new ideas. The workshop will strive to create a community of practice among participants, as well as connecting participants to a broader community of videographic critics and scholars.
Jason Mittell is Professor of Film & Media Culture and American Studies at Middlebury College. He arrived at Middlebury in 2002 after two years teaching at Georgia State University. He received a B.A. from Oberlin College and a Ph.D. from University of Wisconsin – Madison.
He is the author of Genre and Television: From Cop Shows to Cartoons in American Culture, (Routledge, 2004), Television and American Culture (Oxford University Press, 2010), Complex Television: The Poetics of Contemporary Television Storytelling (NYU Press, 2015), and Narrative Theory and ADAPTATION. (Bloomsbury, 2017), co-author with Christian Keathley of The Videographic Essay (caboose books, 2016), and the co-editor of How to Watch Television (NYU Press, 2013). He maintains the blog Just TV.
His research interests include television history and criticism, media and cultural history, narrative theory, genre theory, videographic criticism, animation and children’s media, videogames, digital humanities, and new media studies & technological convergence. He is Project Manager for [in]Transition, a journal of videographic criticism, and co-leader of the NEH-sponsored digital humanities workshop “Scholarship in Sound & Image” a two-week intensive workshop focused on producing video-based scholarly criticism since 2015. See his CV for more details, his scholarly writings for downloadable content, and his Vimeo page for videographic work.
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