• Decolonial gesture and the screening of the botanical artist in Miasma, Plants, Export Paintings (Bo Wang and Pan Lu, 2017) 

  Cooper, Sarah (Film and Screen Media, University College Cork, 2022)

  Bo Wang and Pan Lu’s split-screen video essay Miasma, Plants, Export Paintings (2017) charts the relationship between its titular categories and British imperialism in China, especially the colonial possession of Hong Kong ...
• The Image Book: or Penser avec les mains 

  Beugnet, Martine; Ravetto-Biagioli, Kriss (Film and Screen Media, University College Cork, 2022)

  Drawing inspiration from Denis de Rougemont’s 1936 text Penser avec les mains, Jean-Luc Godard’s most recent film brings together what the Swiss philosopher calls “penser engagé” with his own unique kind of “cinéma engagé.” ...
• On fire: Cézanne, Straub and Huillet 

  Lübecker, Nikolaj (Film and Screen Media, University College Cork, 2022)

  This article considers Jean-Marie Straub and Danièle Huillet’s essay film about Paul Cézanne: A Visit to the Louvre (Une visite au Louvre, 2003). Remarkably, this film features no artworks by Cézanne, nor any photographs ...
• Bill Viola’s figures of submersion as techniques of transindividual affect 

  del Río, Elena (Film and Screen Media, University College Cork, 2022)

  This article seeks to establish a fundamental continuity between distinctive periods in Bill Viola’s work. Examining two relatively early works—The Reflecting Pool (1977–79) and The Passing (1991)—and the more recent piece ...
• Hands in the machine: Maya Deren and Marie Menken’s manual gestures 

  Walton, Saige (Film and Screen Media, University College Cork, 2022)

  In this article, I examine how Maya Deren and Marie Menken’s mid-1940s filmmaking enacts a gestural aesthetic. Drawing on Vilém Flusser’s thinking on gesture (his discussion of “moving tools” and the thoughtfulness of ...

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