\n

Article Abstracts<\/strong><\/h4>\n

The Valley of the Shadow of Death | Johannes Birringer<\/p>\n

“The Valley of the Shadow of Death” is a brief meditation on the refraction of sunsets over desolated landscapes, photography of war, and the viewer’s relationship to the death of the sublime. The essay references the Museum of Fine Arts Houston exhibition “WAR\/PHOTOGRAPHY: Images of Armed Conflict and Its Aftermath” (2012-13) citing one of Roger Fenton’s famous manipulated pictures from the Crimean war (1856) showing an empty landscape with cannonballs.<\/p>\n

Horror and the Body: Understanding the Reworking of the Genre in Marina de Van’s Dans ma peau\/In my Skin (2001) | Romain Chareyron<\/p>\n

This article explores how Marina de Van\u2019s confrontational representation of the human body, in her film Dans ma peau\/In my Skin (2001), should be understood as a reinterpretation of certain major themes in the horror genre. More specifically, I examine how de Van\u2019s mise-en-sc\u00e8ne borrows from the genre of horror, both on a visual and a technical level, to deconstruct the meanings initially attached to the representation of the body in pain found in horror\u2019s narratives. I argue that a close analysis of the textural properties of the image allows for a reappraisal of the onscreen presence of the wounded body, this body departing from horror\u2019s straightforward visual regimen, to open up a space for the character\u2019s subjectivity to emerge. I also posit that the use of the close-up on images of blood and scars, while being reminiscent of horror\u2019s treatment of the body, becomes a vehicle for the unleashing of the character\u2019s unmediated drives to explore her own flesh and to reach a new level of self-awareness.<\/p>\n

Hard-Boiled Tabloid: Happily Low-Brow | Barbra Churchill<\/p>\n

This short essay discusses American tabloid photography from the 1920s and 30s. \u00a0The essay argues tabloid images of gangsters and murder scenes by Weegee and others are free from academic restraints, and, instead, they happily remain \u201clow-brow.\u201d<\/p>\n

Beautiful Junkies: \u00a0Images of Degradation in Requiem for a Dream | Ren\u00e9e R Curry<\/p>\n

In Darren Aronofsky\u2019s 2000 film, Requiem for a Dream, based on Hubert Selby Jr.\u2019s 1978 novel, he depicts extreme close-up images of heroin as it cooks, boils, enters a vein, and then passes into the body at the cellular level. \u00a0The cells sizzle as heroin numbs them. The close-ups and sizzling sounds repeat themselves more and more frequently as our four main characters disintegrate through the process of becoming junkies. These images and others provide vivid, horrific, and exquisite visual renderings of the addiction process, while simultaneously providing stark evidence of heroin\u2019s take-over of the body, mind, and ethical capabilities. The images of heroin\u2019s all-encompassing control of the body at its foundational level do not glorify heroin\u2019s power in Aronofsky\u2019s film; these images serve as documents of pure horror. The degradation is devastating, thorough, real, and scarring. \u00a0Aronofsky describes his film as a monster movie, a modern horror film. \u00a0And, it is not the type of film in which redemption occurs. \u00a0The stark and individual solitude of each character at the end of the film cannot be easily penetrated by sobriety or love anytime in the foreseeable future.<\/p>\n

The Rwandan Genocide in Film, and A Sunday in Kigali: Watching with a Pierced Eye | Piet Defraeye<\/p>\n

Susan Sontag reminds us that film and photography have an extremely democratic heuristic poetics, and are quasi-universally accessible for signification, though at the same time, it almost always implies a prime target audience. The many films that have come out on the Rwandan genocide (1994) are no exception. Film has been a prime access source to this bloody event and dominates, particularly in the West, our remembrance and understanding of one of the most intense and grueling political conflicts in African history. All these films struggle with a compulsive need for structured narration, whether it is in their fable, or in the visual representation itself, while the historical events were certainly not experienced as part of a linear structure. At the same time, the films aim for historical credibility, or truthfulness, which is rendered through a variety of filmic approaches. The article discusses the fictionalization of genocide through film, and problematizes the quasi-unavoidable documentary effect of filmic iteration. Robert Favreau\u2019s Un Dimanche \u00e0 Kigali is analyzed in greater detail, as it offers specific strategies to the problem of filmic representation of genocidal violence.<\/p>\n

Contemporary Arab Music Video Clips: Between Simulating MTV\u2019s Gender Stereotypes and Fostering New Ones | Ouidyane Elouardaoui<\/p>\n

MTV was the first 24-hour cable network to continuously broadcast music videos in the 1980s, thus establishing the genre. Generally, Arab music video clips differ from Western-produced music videos, because artists are compelled to abide by the conservative cultural norms of Arab societies. However, most Arab music videos, particularly those produced in the last decade, reaffirm Western gender stereotypes intrinsic to those produced by MTV. Contemporary Arab music videos for the most part simulate an MTV aesthetic vocabulary of a gaze that features female sexuality and narratives of seduction. Some new Arab producers, nonetheless, have attempted to avoid reproducing MTV-based gender clich\u00e9s, but have instead created new gender misconceptions. These productions emphasize depictions of women as untrustworthy and impetuous. \u00a0Finally, I discuss how young Arab singers have constantly been confronted by the ire of regionally prominent religious figures who denounce the music videos\u2019 endorsement of \u201canti-Islamic\u201d principles. I contend that Stuart Hall and Paddy Whannel\u2019s early analysis of reactions against popular music styles among British youth as a form of cultural transgression remains relevant to understanding the cultural style of Arab youth as expressed through popular musical performance.<\/p>\n

A Surreal Landscape of Devastation: An Analysis of Lee Miller\u2019s Grim Glory Photographs of the London Blitz | Lynn Hilditch<\/p>\n

As surrealist war documents, Lee Miller\u2019s war photographs of the London Blitz, published in Ernestine Carter\u2019s Grim Glory: Pictures of Britain Under Fire (1941), effectively demonstrate what Susan Sontag referred to as \u201ca beauty in ruins\u201d. Miller\u2019s Blitz photographs may be deemed aesthetically significant by considering her Surrealist background and by analyzing her images within the context of Andr\u00e9 Breton\u2019s theory of \u201cconvulsive beauty\u201d. Therefore, this essay aims to demonstrate how Miller\u2019s photographs not only depict the chaos and destruction of Britain during the Blitz, they also expose Surrealism\u2019s love of strange, evocative or humorous juxtapositions in the form of artistic visual representations of a temporary surreal landscape filled with fallen statues and broken typewriters.<\/p>\n

In Search of Authenticity: Time and Space in Russian Horror Film | Volha Isakava<\/p>\n

The paper looks into recent Russian horror films, exploring how the genre conventions associated with Hollywood are transformed and upheld in Russian cinema. The paper argues that the use of space, particularly urban venues, in horror films establishes a sense of authenticity and marks otherwise derivative generic productions as uniquely Russian. The films examined are Night and Day Watch duology (2004, 2006), Trackman (2007) and Dead Daughters (2007); all are set in contemporary Moscow.<\/p>\n

\u201cWe are Resilient by Force, not by Choice\u201d\u2014Terrifying Bombay in New Bollywood Cinema | Meheli Sen<\/p>\n

As the home of the Hindi film industry, Bombay has occupied center stage in Bollywood\u2019s imaginary of the modern metropolis. Over the last decade, however, cinematic representations of Bombay have undergone drastic transformations: from being the terrain of gang warfare in the 80s and 90s, the cinematic city has become the primary target and habitat of global terrorism. Bollywood\u2019s rendition of a city perpetually under siege resonates with the series of attacks that have plagued the hapless metropolis since 1993. I interrogate Bollywood\u2019s shifting relationship with its hometown and its audiences via two landmark films\u2014A Wednesday and Aamir (2008). I am especially interested in the dialectics of ordinariness and extraordinariness that inflect articulations of the city and its citizenry. In both films a \u2018common\u2019 individual is called upon to perform uncommon tasks in order to negotiate the space of potential devastation that is now Bombay. Spectacular performances of technologies and stylistic devices generate the cinematic city as an affective locus of dread. I pay special attention to cinematography and editing, which enable the filmic figuration of the city in these recent films.<\/p>\n

About the Contributors<\/h4>\n

Birringer, Johannes:<\/strong> Johannes Birringer is a choreographer and artistic director of AlienNation Co (www.aliennationcompany.com), and professor of performance technologies at Brunel University, London. He has directed numerous multimedia theatre, dance, and digital performances in Europe, the Americas, China and Australia; collaborated on site-specific installations, and exhibited work at film and video festivals. His interactive dance installation “Suna no Onna” was performed at the Laban Centre in 2007, and his mixed reality installation “UKIYO [Moveable Worlds]” premiered in 2009 before touring Eastern Europe in 2010. He founded a laboratory (http:\/\/interaktionslabor.de) providing artist residencies for collaborative interactive and screen-based performance projects, and co-directs the DAP-Lab (http:\/\/www.brunel.ac.uk\/dap), conducting research into sensor choreography, wearable computing and soft technologies. His current production, “for the time being”, is a futurist dance opera.<\/p>\n

Chareyron, Romain:<\/strong> Romain Chareyron received his Ph.D. in contemporary French cinema and Francophone culture at the University of Alberta (Edmonton, Canada) in 2010. His research seeks to analyze the growing influence of the genres of horror and pornography in contemporary French mainstream cinema. His current research focuses on the cultural and aesthetic implications of the concept of \u201cmonstrosity\u201d in contemporary French cinema. His work has already led to various presentations in Europe and North America as well as publications in international reviews. He currently holds a Senior lecturer position in the French and Italian department, at the University of Kansas.<\/p>\n

Churchill, Barbra: <\/strong>Barbra Churchill teaches in Comparative literature Program, University of Alberta. Her research interests include Popular Fiction & Culture (esp. the Popular Romance); Literature & the Visual Arts (esp early 20th century modernist\/avant garde).<\/p>\n

Curry, Ren\u00e9e R.:<\/strong> Renee R. Curry is Professor of Literature and former Dean of the College of Arts, Humanities, and Social Sciences at California State University Monterey Bay. She has published numerous scholarly articles and books on literature and film throughout her twenty-three year career as a scholar. Most recently, she has been researching the films of directors, Darren Aronofsky and Woody Allen.<\/p>\n

Defraeye, Piet: <\/strong>Piet Defraeye is a drama theorist, critic and director, who taught and directed in Belgium, Toronto, and Fredericton (N.B.) and at the University of Alberta (Edmonton). He has published on Irish and Quebec Theatre, German contemporary performance, film\/opera and theatre, and gender\/queer theory and Reception Theory. He has embarked on a large research project that focuses on the iteration of genocide in Cultural Discourse with a special focus on Rwanda. His most recent creation is linked to his research on genocidal representation with his theatrical adaptation of Raymond Federman\u2019s The Voice in the Closet (2012).<\/p>\n

Elouardaoui, Ouidyane: <\/strong>Ouidyane Elouardaoui is a Fulbright PhD candidate (ABD) in the film and media department at the University of California, Santa Barbara. Her current research interests include contemporary Arab media, melodrama and spectatorship. Her publications that include \u201cMexican Telenovelas in Morocco: The Localization Process and its Limitations\u201d and \u201cArabs in Post 9\/11 Hollywood Films: A Move toward a more Realistic Depiction?\u201d appear in the international journal of Amity School of Communication, 2011 and in Purdue University e-Pubs, 2011.<\/p>\n

Hilditch, Lynn: <\/strong>Lynn Hilditch has a Ph.D from the University of Liverpool and has lectured on various aspects of the visual arts and culture, including film history and theory, photography and modernism, photojournalism, and aesthetics. Her research interests include the depiction of war and destruction in art and photography, representations of the Holocaust in the visual arts, and the socio-historical representation of gender in twentieth-century popular culture. Lynn\u2019s doctoral research focused specifically on the Second World War photography of the American Surrealist and war correspondent Lee Miller and explored how Miller\u2019s war photographs may be analyzed as examples of \u2018surreal documentary.\u2019 Lynn has published work on various aspects of visual culture including book articles on Lee Miller\u2019s war photography, aesthetics and war, surrealism and photography, memory and memorialization, and \u2018fan culture\u2019 relating to the public persona of Audrey Hepburn. Lynn is a member of the Desmond Tutu Centre for War and Peace Studies at Liverpool Hope University.<\/p>\n

Isakava, Volha: <\/strong>Volha Isakava is a Replacement Assistant Professor of Russian at the University of Ottawa, Canada. Her research interests include contemporary Russian and post-Soviet cinema and culture, transnational cinema and the critical junction of cinema and history. She recently graduated from the University of Alberta where she wrote her doctoral thesis about the cinema of perestroika and how its historic transition has been reflected in Russia’s arguably bleakest cinematic trend – “black films” or chernukha.<\/p>\n

Lozowy, Andriko: <\/strong>Andriko Lozowy (PhD University of Alberta) is a photographer-researcher based in Canada. Andriko is currently working to develop practice based approaches to collaborative and visual methods. Andriko’s current focus is on building connections between Northern and remote First Nations and Metis communities in Canada.<\/p>\n

Onita, Adriana: <\/strong>Adriana Onita was born in Bucharest, Romania and has an honours degree in Romance Languages. She is currently pursuing her graduate studies in Spanish at the University of Alberta while working at the Art Gallery of Alberta as a bilingual educator. As a poet, Adriana has studied under Bert Almon, Shawna Lemay and Derek Walcott, both in Edmonton and in St. Lucia.<\/p>\n

Schl\u00fcter, Daniela: <\/strong>Daniela Schl\u00fcter grew up on a farm in S\u00fcdlohn, Germany. Following her studies in Printmaking, Illustration and Design at the Ruhrakademie Schwerte and at the Fachhochschule M\u00fcnster, Germany, she took her MFA in Print Media at Concordia University, Montreal, Canada in 2004 under the DAAD and Graduate Fellowship scheme. In 2003 and 2004 she won besides others the HEXAGRAM prize of the Institute for Research\/Creation in Media Arts and Technologies and a Scholarship from the Aldegrever Gesellschaft M\u00fcnster. Her work consists of intaglio prints, mixed media on paper, video and artist books and was shown in solo and group exhibitions and biennials in the United States, Canada, Europe and the Middle East. In her work is the experience of the present world of fragmentation, the boundary between the fragmentation of the individual and the fragmentation of social experience, which has all but disappeared. Her work is a meditation that takes its departure from symbolic traditions. The symbol of the human genome is an expression of human experience of hope and fear. Most of the images are committed to understanding the lived realities of biotechnologies and life itself, offering new ways of thinking about them, and inviting a viewer to interact with them, by looking and discovering the different strands of narratives. Daniela Schl\u00fcter previously lived and worked in New York and taught as Assistant Professor at Felician College in NJ, and is now Assistant Professor for Printmaking at the University of Alberta in Edmonton, Canada and teaches courses at the Druckvereinigung Bentlage, Germany.<\/p>\n

Sen, Meheli:<\/strong> Meheli Sen is Assistant Professor in the Department of African, Middle Eastern, and South Asian Languages and Literatures (AMESALL) and the Cinema Studies program at Rutgers University. Her primary research area is post-independence popular Hindi cinema, commonly referred to as \u2018Bollywood\u2019. She is especially interested in how the filmic registers of genre, gender and sexuality negotiate specific moments in India\u2019s troubled encounters with modernity and more recently, globalization. Sen\u2019s work has been published in journals such as The Journal of the Moving Image and South Asian Review, as well as in the edited anthology Bollywood and Globalization: Indian Popular Cinema, Nation, and Diaspora. She is co-editing an anthology titled Figurations in Indian Film, forthcoming from Palgrave-Macmillan. Her current research engages \u2018B\u2019 genres, particularly horror, in the larger rubric of the Bollywood system.<\/p>\n

Siemens, Elena:<\/strong> Elena Siemens is Associate Professor in the Department of Modern Languages and Cultural Studies, University of Alberta. She is the author of Theatre in Passing: A Moscow Photo-Diary (Intellect 2011), and editor of two forthcoming collections of essays, The Dark Spectacle: Landscapes of Devastation in Film and Photography (Space and Culture), and Scandals of Horror (Imaginations).<\/p>\n<\/div>\n

\n

R\u00e9sum\u00e9s des articles<\/h4>\n

The Valley of the Shadow of Death | Johannes Birringer<\/p>\n

Cet article est une m\u00e9ditation br\u00e8ve autour de la r\u00e9fraction des couchers de soleil sur des terres d\u00e9sol\u00e9es, de la photographie de guerre, et le rapport spectatoriel \u00e0 la mort du sublime. S\u2019y trouve une r\u00e9f\u00e9rence \u00e0 l\u2019exposition \u00ab WAR\/PHOTOGRAPHY: Images of Armed Conflict and Its Aftermath \u00bb (2012-2013, Museum of Fine Arts Huston) qui cite une des photographies manipul\u00e9es c\u00e9l\u00e8bres de Roger Fenton sur la Guerre de Crim\u00e9e (1856), illustrant un paysage vide avec des boulets de canons.<\/p>\n

Horror and the Body: Understanding the Reworking of the Genre in Marina de Van’s Dans ma peau\/In my Skin (2001) | Romain Chareyron<\/p>\n

Cet article propose de consid\u00e9rer la repr\u00e9sentation confrontante du corps humain par Marina de Van dans son film \u00ab Dans ma peau \u00bb (2001) comme une r\u00e9interpr\u00e9tation de certains th\u00e8mes centraux au genre de l\u2019horreur. Plus concr\u00e8tement, on montre que Van emprunte au genre de l\u2019horreur sur les plans visuel et technique afin de d\u00e9construire les significations li\u00e9es \u00e0 la repr\u00e9sentation du corps souffrant dans le r\u00e9cit d\u2019horreur. On soutient qu\u2019une analyse approfondie des caract\u00e9ristiques relatives \u00e0 la texture de l\u2019image permet une r\u00e9\u00e9valuation de la pr\u00e9sence sur l\u2019\u00e9cran du corps bless\u00e9, \u00e0 partir du r\u00e9gime visuel de base du r\u00e9cit d\u2019horreur. Cette r\u00e9\u00e9valuation cr\u00e9e un espace o\u00f9 la subjectivit\u00e9 du personnage peut appara\u00eetre. La repr\u00e9sentation en gros plan du sang et des cicatrices rappelle le traitement du corps dans le cadre du genre de l\u2019horreur. On sugg\u00e8re ultimement que cette repr\u00e9sentation devient un instrument pour que le personnage qui d\u00e9cha\u00eene un d\u00e9sir spontan\u00e9 d\u2019exploration de sa propre chair afin d\u2019atteindre une plus haute conscience de soi.<\/p>\n

Hard-Boiled Tabloid: Happily Low-Brow | Barbra Churchill<\/p>\n

Beautiful Junkies: Images of Degradation in Requiem for a Dream | Ren\u00e9e R Curry<\/p>\n

Dans son film \u00ab Requiem for a Dream \u00bb en 2000, un film bas\u00e9 sur un roman de Hubert Selby Jr. de 1978, Darren Aronofsky a montr\u00e9, en tr\u00e8s gros plan, des images d\u2019h\u00e9ro\u00efne cuisant et bouillant, puis entrant dans les veines et progressant dans le corps au niveau cellulaire. Les cellules gr\u00e9sillent \u00e0 cause de l\u2019h\u00e9ro\u00efne qui les engourdit. Ce processus se r\u00e9p\u00e8te de plus en plus souvent suivant le processus de d\u00e9sint\u00e9gration des quatre personnages principaux qui deviennent des junkies. Ces images fournissent un r\u00e9cit visuel vif, raffin\u00e9 mais terrifiant, de la d\u00e9pendance, et d\u00e9montrent la conqu\u00eate du corps, de l\u2019esprit et des capacit\u00e9s \u00e9thiques par l\u2019h\u00e9ro\u00efne. Ces images agissent comme preuves que l\u2019horreur pure existe. La d\u00e9gradation est d\u00e9vastatrice, profonde, r\u00e9elle, et elle laisse des traces. Aronofsky d\u00e9crit son film comme un \u00ab monster movie \u00bb, un film d\u2019horreur moderne dans lequel il n\u2019y a pas de r\u00e9demption. La solitude extr\u00eame de chaque personnage \u00e0 la fin du film ne sera pas facilement vaincue ni par sobri\u00e9t\u00e9, ni par l\u2019amour.<\/p>\n

The Rwandan Genocide in Film, and A Sunday in Kigali: Watching with a Pierced Eye | Piet Defraeye<\/p>\n

Susan Sontag nous rappelle que le cin\u00e9ma et la photographie ont un po\u00e9tique d\u00e9mocratique et heuristique qui rend leur signification universellement accessible, tout en d\u00e9signant presque toujours un public cible. Les nombreux films sur le g\u00e9nocide rwandais (1994) ne font pas exception. Le cin\u00e9ma a \u00e9t\u00e9 une source primordiale d\u2019acc\u00e8s \u00e0 cet \u00e9v\u00e9nement sanglant, et il domine, surtout en Occident, le souvenir et la compr\u00e9hension de ce conflit politique qui a marqu\u00e9 l\u2019histoire de l\u2019Afrique. Tous ces films d\u00e9montrent un besoin compulsif de donner une structure au r\u00e9cit, qu\u2019elle soit dans la narration ou dans la repr\u00e9sentation visuelle, et cela bien que les \u00e9v\u00e9nements historiques ne surgissent pas selon une structure lin\u00e9aire. De plus, ces films vissent une cr\u00e9dibilit\u00e9 ou une sinc\u00e9rit\u00e9 historique accomplie moyennant une vari\u00e9t\u00e9 des techniques cin\u00e9matographiques. Cet article \u00e9value la mise en fiction du g\u00e9nocide a travers le cin\u00e9ma et questionne le quasi-in\u00e9vitable effet-documentaire que produit son it\u00e9ration filmique. On y analyse \u00ab Un dimanche \u00e0 Kigali \u00bb de Robert Favreau pour mettre en \u00e9vidence ses strat\u00e9gies d\u2019investigation de la repr\u00e9sentation cin\u00e9matographique de la violence g\u00e9nocidaire.<\/p>\n

Contemporary Arab Music Video Clips: Between Simulating MTV\u2019s Gender Stereotypes and Fostering New Ones | Ouidyane Elouardaoui<\/p>\n

MTV est la premi\u00e8re cha\u00eene de t\u00e9l\u00e9vision \u00e0 diffuser en permanence des clips musicaux 24\/24 dans les ann\u00e9es 80, \u00e9tablissant ainsi le genre. G\u00e9n\u00e9ralement, les clips musicaux arabes diff\u00e8rent des clips occidentaux parce que les artistes se sentent oblig\u00e9s de respecter les normes culturelles conservatives des soci\u00e9t\u00e9s arabes. N\u00e9anmoins, la plupart des clips musicaux arabes, surtout ceux produits dans la derni\u00e8re d\u00e9cennie, r\u00e9affirment les st\u00e9r\u00e9otypes occidentaux du sexe h\u00e9rit\u00e9s de ceux produits par MTV. En g\u00e9n\u00e9ral, les clips musicaux arabes contemporains imitent le vocabulaire esth\u00e9tique de MTV en lien avec la sexualit\u00e9 f\u00e9minine et l\u2019art de s\u00e9duction. Certains nouveaux r\u00e9alisateurs ont essay\u00e9 d\u2019\u00e9viter les clich\u00e9s sur le sexe cr\u00e9es par MTV, mais ils ont cr\u00e9\u00e9 des id\u00e9es falsifi\u00e9es \u00e0 leur place, \u00e0 savoir, des repr\u00e9sentations o\u00f9 la femme est imp\u00e9rieuse et n\u2019est pas digne de confiance. Cet article montre que les artistes arabes doivent sans cesse d\u00e9fier les personnalit\u00e9s religieuses locales d\u00e9non\u00e7ant l\u2019approbation des principes \u00ab anti-islamiques \u00bb qu\u2019ils voient dans ces clips musicaux. On emploie ici les strat\u00e9gies d\u2019analyse de Stuart Hall et de Paddy Whannel, d\u00e9velopp\u00e9es l\u2019origine pour d\u00e9montrer que la musique populaire est une forme de transgression culturelle de la jeunesse britannique. Ces strat\u00e9gies se av\u00e8rent fort utiles afin de comprendre le style culturel de la jeunesse arabe exprim\u00e9 dans la musique populaire.<\/p>\n

A Surreal Landscape of Devastation: An Analysis of Lee Miller\u2019s Grim Glory Photographs of the London Blitz | Lynn Hilditch<\/p>\n

En tant que documents de guerre surr\u00e9alistes, les photographies du Blitz de Londres par Lee Miller d\u00e9montrent ce que Susan Sontang a appel\u00e9 \u00ab la beaut\u00e9 en ruines \u00bb. Ernestine Carter a publi\u00e9 ces photographies dans \u00ab Grim Glory: Pictures of Britain Under Fire \u00bb (1941). Elles ont une importance esth\u00e9tique en vertu de leur contexte li\u00e9 aux surr\u00e9alistes, et dans la possibilit\u00e9 de les analyser en regard de la th\u00e9orie d\u2019Andr\u00e9 Breton sur \u00ab la beaut\u00e9 convulsive \u00bb. Cet article propose que les photographies de Miller non seulement repr\u00e9sentent le d\u00e9sordre et la destruction de la Grande-Bretagne pendant le Blitz, mais qu\u2019elles exposent aussi l\u2019affection des surr\u00e9alistes pour les juxtapositions \u00e9tranges, \u00e9vocateurs et humoristiques des repr\u00e9sentations visuelles artistiques d\u2019un paysage plein des statues effondr\u00e9es et des machines \u00e0 \u00e9crire cass\u00e9e.<\/p>\n

In Search of Authenticity: Time and Space in Russian Horror Film | Volha Isakava<\/p>\n

Cet article est une investigation des r\u00e9cents films d\u2019horreur qui cherche montrer la fa\u00e7on selon laquelle les conventions hollywoodiennes ont \u00e9t\u00e9 \u00e0 la fois transform\u00e9es et maintenues dans le cin\u00e9ma russe. On y propose que l\u2019emploi de l\u2019espace (surtout les lieus urbains) dans les films d\u2019horreur \u00e9tablit une authenticit\u00e9 et conf\u00e8re \u00e0 productions autrement consid\u00e9r\u00e9es g\u00e9n\u00e9riques et non originale son caract\u00e8re sp\u00e9cifiquement russes. Les films \u00e9tudi\u00e9s sont les deux \u00ab Night and Day Watch \u00bb (2004, 2006), \u00ab Trackman \u00bb (2007), et \u00ab Dead Daughters \u00bb (2007) : tous ont \u00e9t\u00e9 tourn\u00e9s dans le Moscou contemporain.<\/p>\n

\u201cWe are Resilient by Force, not by Choice\u201d\u2014Terrifying Bombay in New Bollywood Cinema | Meheli Sen<\/p>\n

Bombay, le centre du cin\u00e9ma Hindi, a toujours servi d\u2019image de la m\u00e9tropole moderne dans l\u2019imaginaire de Bollywood. N\u00e9anmoins, au cours de la derni\u00e8re d\u00e9cennie, la repr\u00e9sentation cin\u00e9matographique de Bombay a subi des transformations drastiques : la ville ant\u00e9rieurement connue pour ses guerres entre bandes dans les ann\u00e9es 80 et 90 est maintenant un lieu et une cible important du terrorisme global. Le portrait d\u2019une ville assi\u00e9g\u00e9e correspond \u00e0 une s\u00e9rie d\u2019attaques qui ont hant\u00e9 la m\u00e9tropole malchanceuse depuis 1993. Cet article propose d\u2019analyser le rapport fluctuant entre Bollywood et sa ville originelle \u00e0 travers deux films marquants \u00ab A Wednesday \u00bb et \u00ab Amir \u00bb (2008). L\u2019accent est mis sur la dialectique ente l\u2019ordinaire et l\u2019extraordinaire qui module les articulations de la ville et des citoyens. Dans les deux films un homme ordinaire est convoqu\u00e9 \u00e0 ex\u00e9cuter des taches hors du commun afin de n\u00e9gocier sa position dans l\u2019espace de d\u00e9vastation potentielle qu\u2019est d\u00e9sormais Bombay. Les performances spectaculaires de la technologie et des appareils stylistiques font de cette ville cin\u00e9matographique un lieu affectif de la peur. L\u2019article se concentre sur les strat\u00e9gies cin\u00e9matographiques et de montage qui dominent la mise en sc\u00e8ne de la ville dans ces films.<\/p>\n

\u00c0 propos des contributeurs<\/h4>\n

Birringer, Johannes :<\/strong> Johannes Birringer est chor\u00e9graphe et directeur artistique de AlienNation Co. (www.aliennationcompany.com), ainsi que professeur de technologies de la performance \u00e0 l\u2019universit\u00e9 Brunel \u00e0 Londres. Il a mis en sc\u00e8ne diverses performances de th\u00e9\u00e2tre multim\u00e9dia, de danse, et de repr\u00e9sentation num\u00e9rique en Europe, dans les Am\u00e9riques, en Chine in situ, et expos\u00e9 ses \u0153uvres dans des festivals de film et de vid\u00e9o. Il a fait jouer son installation de danse interactive intitul\u00e9e \u00ab Suna no Onna \u00bb au Laban Centre en 2007, puis, en 2009, son installation de r\u00e9alit\u00e9 mixte \u00ab UKIYO [Moveable Worlds] \u00bb y a d\u00e9but\u00e9 avant d\u2019entamer une tourn\u00e9e d\u2019Europe de l\u2019Est en 2010. Il a \u00e9galement fond\u00e9 un atelier de projets de collaborations interactives et de repr\u00e9sentation sur l\u2019\u00e9cran pour les artistes d\u00e9butants (http:\/\/interaktionslabor.de). Actuellement, il codirige le DAP-Lab o\u00f9 se font des recherches en chor\u00e9graphie en capture de mouvement, et dans le d\u00e9veloppement de dispositifs \u00e9lectroniques int\u00e9gr\u00e9s aux v\u00eatements. Sa plus r\u00e9cente mise-en-sc\u00e8ne, intitul\u00e9e \u00ab for the time being \u00bb, est un op\u00e9ra de danse futuriste.<\/p>\n

Chareyron, Romain : <\/strong>Romain Chareyron a obtenu son doctorat en cin\u00e9ma fran\u00e7ais contemporain \u00e0 l\u2019Universit\u00e9 de l\u2019Alberta (Edmonton, Canada) en 2010. Sa recherche a pour but d\u2019analyser l\u2019influence grandissante des genres pornographique et horrifique dans le cin\u00e9ma populaire contemporain. Sa recherche actuelle porte sur le concept du \u201cmonstrueux\u201d dans le cin\u00e9ma fran\u00e7ais contemporain. Ses travaux ont donn\u00e9 lieu diverses pr\u00e9sentations en Europe et en Am\u00e9rique du Nord, ainsi qu\u2019\u00e0 des publications dans des diverses revues internationales. Il enseigne actuellement \u00e0 l\u2019Universit\u00e9 du Kansas.<\/p>\n

Churchill, Barbra : <\/strong>Barbara Churchill enseigne dans le cadre du programme de litt\u00e9rature compar\u00e9e \u00e0 l\u2019Universit\u00e9 de l\u2019Alberta. Ses int\u00e9r\u00eats de recherche incluent la fiction et la culture populaire (principalement les histoire d\u2019amour populaires), la litt\u00e9rature et les arts visuels (principalement l\u2019art moderniste\/avant-gardiste du d\u00e9but du 20\u00e8me si\u00e8cle).<\/p>\n

Curry, Ren\u00e9e R. : <\/strong>Renee R. Curry est professeur de litt\u00e9rature \u00e0 l\u2019Universit\u00e9 d\u2019\u00c9tat de Californie Monterey Bay o\u00f9 elle a occup\u00e9 le poste de doyen de l\u2019\u00e9cole des Beaux-Arts, les humanit\u00e9s et sciences sociales. Elle a publi\u00e9 plusieurs articles et livres sur la litt\u00e9rature et le cin\u00e9ma pendant ses vingt-trois ans de carri\u00e8re de chercheur. Ces derniers temps, ses recherches se sont orient\u00e9es vers les r\u00e9alisateurs Darren Aronofsky et Woody Allen.<\/p>\n

Defraeye, Piet :<\/strong> Piet Defraeye est th\u00e9oricien du th\u00e9\u00e2tre, critique, et metteur en sc\u00e8ne. Il a enseign\u00e9 en Belgique, \u00e0 Toronto, \u00e0 Fredericton (N.B), et \u00e0 Edmonton (\u00e0 l\u2019Universit\u00e9 de l\u2019Alberta). Il a publi\u00e9 sur les th\u00e9\u00e2tres irlandais et qu\u00e9b\u00e9cois, sur la performance, l\u2019op\u00e9ra, le cin\u00e9ma et le th\u00e9\u00e2tre allemands contemporains, de m\u00eame que sur la th\u00e9orie queer et la th\u00e9orie de la r\u00e9ception. Il a entrepris un projet de grande envergure sur l\u2019it\u00e9ration du g\u00e9nocide dans le Discours Culturel avec une concentration sur le Rwanda. Sa plus r\u00e9cente cr\u00e9ation en fait partie : une adaptation de The voice in the Closet de Raymond Federman (2012).<\/p>\n

Elouardaoui, Ouidyane : <\/strong>Ouidyane Elouardaoui est doctorante Fulbright dans le d\u00e9partement d\u2019\u00e9tudes du cin\u00e9ma et des m\u00e9dias \u00e0 l\u2019Universit\u00e9 de Californie \u00e0 Santa Barbara. Elle m\u00e8ne des recherches sur les m\u00e9dias, le m\u00e9lodrame et les publics arabes contemporains. Ses publications \u00ab Morocco : The Localization Process and its Limitations \u00bb et \u00ab Arabs in Post 9\/11 Hollywood Films : A Move toward a more Realistic Depiction ? \u00bb, ont paru dans le journal international de Amity School of Communication et dans les e-Pubs de l\u2019Universit\u00e9 Purdue en 2011.<\/p>\n

Hilditch, Lynn :<\/strong> Lynn Hilditch est titulaire d\u2019un doctorat de l\u2019Universit\u00e9 de Liverpool. Elle a enseign\u00e9 et donn\u00e9 des conf\u00e9rences sur les divers aspects des arts et de la culture visuels, y compris l\u2019histoire et la th\u00e9orie du cin\u00e9ma, la photographie et le modernisme, le photojournalisme, et l\u2019esth\u00e9tique. Ses int\u00e9r\u00eats en mati\u00e8re de recherche sont les repr\u00e9sentations de la guerre et de la destruction dans les arts plastiques et la photographie, ainsi que la repr\u00e9sentation de l\u2019Holocauste dans les arts visuels. De plus, elle s\u2019int\u00e9resse \u00e0 la repr\u00e9sentation de sexes dans la culture du 20\u00e8me si\u00e8cle. Dans sa th\u00e8se, elle s\u2019est concentr\u00e9e sur la photographie surr\u00e9aliste de Lee Miller, une correspondante am\u00e9ricaine pendant la Deuxi\u00e8me Guerre Mondiale, et particuli\u00e8rement sur la possibilit\u00e9 d\u2019analyser ces photographies en tant qu\u2019exemples de \u00ab documentaires surr\u00e9alistes \u00bb. Elle a publi\u00e9 sur divers aspects de la culture visuelle, y compris l\u2019esth\u00e9tique et la guerre, le surr\u00e9alisme et la photographie, le souvenir et la comm\u00e9moration, et la \u00ab fan culture \u00bb li\u00e9e \u00e0 l\u2019image publique d\u2019Audrey Hepburn. Elle est membre du Desmond Tutu Centre for War and Peace Studies \u00e0 l\u2019Universit\u00e9 de Liverpool Hope.<\/p>\n

Isakava, Volha :<\/strong> Volha Isakava enseigne \u00e0 l\u2019Universit\u00e9 d\u2019Ottawa comme professeure adjointe. Ses recherches portent sur la culture et le cin\u00e9ma post-sovi\u00e9tique, sur la contemporan\u00e9it\u00e9 russe, sur le cin\u00e9ma transnational, et sur la coalition critique entre le cin\u00e9ma et l\u2019histoire. Elle a obtenu son doctorat de l\u2019Universit\u00e9 de L\u2019Alberta avec une th\u00e8se sur le cin\u00e9ma de la perestro\u00efka, qui se concentre sur la r\u00e9verb\u00e9ration de cette transition historique dans les \u00ab chernukha \u00bb, parfois consid\u00e9r\u00e9s comme les plus sombres films de la Russie.<\/p>\n

Lozowy, Andriko : <\/strong>Andriko Lozowy (PhD University of Alberta) est un chercheur et photographe bas\u00e9 au Canada. Ils s’int\u00e9resse aux\u00a0mode de vie\u00a0li\u00e9s au p\u00e9trole, \u00e0 la recherche collaborative, aux m\u00e9thodes d’investigation visuelles, et aux sph\u00e8res post-disciplinaires.<\/p>\n

Onita, Adriana : <\/strong>Adriana Onita est n\u00e9e en Bucarest en Roumanie. Elle est titulaire d\u2019un baccalaur\u00e9at en langues romanes avec mention de l\u2019Universit\u00e9 de l\u2019Alberta o\u00f9 elle fait actuellement sa ma\u00eetrise en espagnol actuellement. Elle occupe en m\u00eame temps un poste d\u2019\u00e9ducatrice bilingue \u00e0 la Art Gallery of Alberta. Elle a \u00e9tudi\u00e9 la po\u00e9sie sous la direction de Bert Almon, Shawna Lemay et Derek Walcott \u00e0 Edmonton et \u00e0 St. Lucia.<\/p>\n

Schl\u00fcter, Daniela : <\/strong>Daniela Schl\u00fcter a \u00e9t\u00e9 \u00e9lev\u00e9e \u00e0 la campagne \u00e0 S\u00fcdlohn en Allemagne. Apr\u00e8s ses \u00e9tudes \u00e0 la Ruhrakademie Schwerte et \u00e0 la Fachhochschule M\u00fcnster dans le d\u00e9partement de Printmaking, Illustration and Design, elle a obtenu une ma\u00eetrise en Beaux-Arts de l\u2019universit\u00e9 Concordia en Montr\u00e9al en 2004, dans le cadre du programme DAAD. Entre 2003 et 2004 elle a remport\u00e9, le prix HEXAGRAM de l\u2019Institute for Research\/Creation in Media Arts and Technologies, ainsi qu\u2019une bourse de Aldegrever Gesellschaft M\u00fcnster . Ses travaux comprennent des impressions en taille-douce, des m\u00e9dias mixtes sur papier, de la vid\u00e9o et des livres d\u2019artistes. Elle a expos\u00e9 en solo et en groupe dans le cadre d\u2019\u00e9v\u00e9nements ponctuels ou biennales aux \u00c9tats Unis, au Canada, et au Moyen-Orient. Dans son \u0153uvre, on trouve l\u2019exp\u00e9rience du monde actuel en fragmentation : la fragmentation individuelle et celle de l\u2019exp\u00e9rience sociale, la limite entre celles-ci \u00e9tant sur le point de dispara\u00eetre. Son \u0153uvre est une m\u00e9ditation qui a son origine dans la tradition symbolique et qui propose notamment que le symbole du g\u00e9nome humain est une expression de l\u2019espoir et de la peur. La plupart des images y ont pour but de faire comprendre les r\u00e9alit\u00e9s v\u00e9cues de la biotechnologie et de la vie-m\u00eame : elles offrent de nouvelles perspectives qui invitent le spectateur \u00e0 interagir avec elles en d\u00e9couvrant divers possibilit\u00e9s de r\u00e9cit. L\u2019artiste veut inviter le spectateur \u00e0 entrer et de \u00e0 sortir de son \u0153uvre, de l\u2019encourager \u00e0 interagir avec des images, des symboles mythologiques, et des allusions philosophiques. Daniela Schl\u00fcter a v\u00e9cu \u00e0 New York, alors qu\u2019elle \u00e9tait professeure adjointe au College Felician dans le New Jersey. Actuellement, elle est professeure adjointe de gravures \u00e0 l\u2019Universit\u00e9 de l\u2019Alberta \u00e0 Edmonton au Canada. Elle donne \u00e9galement des cours \u00e0 Druckvereinigung Bentlage, en Allemagne.<\/p>\n

Sen, Meheli :<\/strong> Meheli Sen est professeure adjointe dans le d\u00e9partement des langues et litt\u00e9ratures de l\u2019Afrique, du Moyen-Orient et de l\u2019Asie du Sud (AMESALL), ainsi que dans le d\u00e9partement d\u2019\u00e9tudes cin\u00e9matographique \u00e0 l\u2019Universit\u00e9 Rutgers. Son domaine de recherche principal est le cin\u00e9ma populaire hindi de l\u2019apr\u00e8s-Independence, qu\u2019on appelle habitualement \u00ab Bollywwod \u00bb. Elle s\u2019int\u00e9resse \u00e0 la mani\u00e8re dont la repr\u00e9sentation du genre, du sexe et de la sexualit\u00e9 dans le cin\u00e9ma permet de n\u00e9gocier des moments particuliers du rencontre difficile de l\u2019Inde avec la modernit\u00e9 et la globalisation. Sen a publi\u00e9 dans \u00ab The Journal of the Moving Image \u00bb et \u00ab South Asian review \u00bb. Elle a \u00e9galement \u00e9dit\u00e9 l\u2019anthologie Bollywood and Globalization : Indian Popular Cinema, Nation and Diaspora. Elle collabore actuellement \u00e0 la r\u00e9vision d\u2019une anthologie intitul\u00e9e Figurations in Indian Film, \u00e0 para\u00eetre chez Palgrave-Macmillan, et elle m\u00e8ne des recherches sur les genres \u00ab B \u00bb, surtout l\u2019horreur, dans le syst\u00e8me Bollywood.<\/p>\n

Siemens, Elena :<\/strong> Elena Siemens est professeure agr\u00e9g\u00e9e dans le d\u00e9partement des langues moderne et d\u2019\u00e9tudes culturelles de l\u2019Universit\u00e9 de l\u2019Alberta. Elle est auteure de Theatre in Passing: A Moscow Photo-Diary (Intellect 2011), et co\u00e9ditrice d\u2019un dossier \u00e0 para\u00eetre : The Dark Spectacle: Landscapes of Devastation in Film and Photography (Space and Culture), et Scandals of Horror (Imaginations).<\/p>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

Imaginations 4-1 |\u00a0Scandals of Horror Guest Editors Elena Siemens & Andriko Lozowy Table of Contents Introduction: Blue Door Havana\u00a0| Elena Siemens Beautiful Junkies: Images of Degradation in Requiem for a Dream\u00a0| Ren\u00e9e R Curry The Valley of the Shadow of Death\u00a0| Johannes Birringer A Surreal Landscape of Devastation: An Analysis of Lee Miller\u2019s Grim Glory […]<\/p>\n","protected":false},"author":4062,"featured_media":7614,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":false,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[101,4],"tags":[],"class_list":["post-4297","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-scandals-of-horror-4-1","category-article","wpautop"],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"https:\/\/imaginations.space\/wp-content\/uploads\/2013\/08\/4.1_Cover.jpg","jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/p707hj-17j","_links":{"self":[{"href":"https:\/\/imaginations.space\/index.php?rest_route=\/wp\/v2\/posts\/4297","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/imaginations.space\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/imaginations.space\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/imaginations.space\/index.php?rest_route=\/wp\/v2\/users\/4062"}],"replies":[{"embeddable":true,"href":"https:\/\/imaginations.space\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=4297"}],"version-history":[{"count":50,"href":"https:\/\/imaginations.space\/index.php?rest_route=\/wp\/v2\/posts\/4297\/revisions"}],"predecessor-version":[{"id":8597,"href":"https:\/\/imaginations.space\/index.php?rest_route=\/wp\/v2\/posts\/4297\/revisions\/8597"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/imaginations.space\/index.php?rest_route=\/wp\/v2\/media\/7614"}],"wp:attachment":[{"href":"https:\/\/imaginations.space\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=4297"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/imaginations.space\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=4297"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/imaginations.space\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=4297"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}