Alphaville: Journal of Film and Screen Media. Issue 15: I-Docs as Intervention: The Poetics and Politics of Polyphonyhttps://hdl.handle.net/10468/70582024-03-29T01:34:18Z2024-03-29T01:34:18Z161Abbas Kiarostami and Film-Philosophy, by Mathew AbbottHouck, Kellyhttps://hdl.handle.net/10468/70992023-12-19T11:24:05Z2018-01-01T00:00:00Zdc.title: Abbas Kiarostami and Film-Philosophy, by Mathew Abbott
dc.contributor.author: Houck, Kelly
dc.contributor.editor: Mulvey, James
2018-01-01T00:00:00ZAuthoring Hal Ashby: The Myth of the New Hollywood Auteur, by Aaron HunterGodfrey, Nicholashttps://hdl.handle.net/10468/71002023-12-19T11:22:33Z2018-01-01T00:00:00Zdc.title: Authoring Hal Ashby: The Myth of the New Hollywood Auteur, by Aaron Hunter
dc.contributor.author: Godfrey, Nicholas
dc.contributor.editor: Mulvey, James
2018-01-01T00:00:00ZBeyond “toolness”: Korsakow documentary as a methodology for plurivocal interventions in complexityWiehl, Annahttps://hdl.handle.net/10468/70922023-12-19T11:22:24Z2018-01-01T00:00:00Zdc.title: Beyond “toolness”: Korsakow documentary as a methodology for plurivocal interventions in complexity
dc.contributor.author: Wiehl, Anna
dc.description.abstract: The hypothesis underlying this article is that new documentary practices potentially enable new forms of mediation allowing all interactors to experience complexity and deal with contingency in a world of polyvocality through multilayered configurations. An exploration of the Korsakow documentary Racing Home (Marianne McMahon and Phil Hoffman, 2014) brings into focus the epistemological and ontological status of these assemblages. A central issue is the question of how significantly specific modes of editing in Korsakow affect the overall experience for both the authoring instances and for the user-interactor: not only the authorship is shared between the interrelated agents, but also the heterogeneity of materials from various sources adds to the complexity of the assemblages. Central research questions include the role that polyvocality and algorithmic editing play in Korsakow, its specific embracement of contingency and its probing of nonlinear narratives. The answers provided through the analysis of the case study lead to the conclusion that Korsakow is more than just a tool to promote a special purpose and/or a platform to distribute material. Rather, Korsakow is best seen as a methodology to approach complex matters and provide multiple affective and cognitive ways to respond to them.
2018-01-01T00:00:00ZEnacting polyphony: an interview with Florian ThalhoferThalhofeer, FlorianAston, JudithOdorico, Stefanohttps://hdl.handle.net/10468/70962023-12-19T11:18:21Z2018-01-01T00:00:00Zdc.title: Enacting polyphony: an interview with Florian Thalhofer
dc.contributor.author: Thalhofeer, Florian; Aston, Judith; Odorico, Stefano
dc.description.abstract: Florian Thalhofer is a documentary filmmaker and the inventor of Korsakow, a software to create a new form of film and a principle to create a new kind of story. Florian’s system allows video makers to create nonlinear and interactive films and to tell stories through a number of links generated by keywords. Thalhofer’s Korsakow films include Planet Galata and The Other Fun Stuff. Starting from a SNU (Smallest Narrative Units, as he calls them) his film are polyphonic representations of our world. Florian gave a keynote at the first i-Docs Symposium in 2011, and has been an active and deeply committed member of the i-Docs community ever since.
2018-01-01T00:00:00ZExercising radical democracy: the crisis of representation and interactive documentary as an agent of changeHusak, Amirhttps://hdl.handle.net/10468/70912023-12-19T11:20:17Z2018-01-01T00:00:00Zdc.title: Exercising radical democracy: the crisis of representation and interactive documentary as an agent of change
dc.contributor.author: Husak, Amir
dc.description.abstract: The utopian promise of the digital era and the seemingly open, democratic power of the Internet have raised the hopes of activists and documentarians alike. The immediacy, reciprocity and accessibility of the emergent communication technologies appeared to be particularly suitable for media projects that aspire to mobilise for action, engage communities, and challenge the existing power structures in order to have direct influence on policy making. Over the last ten years, a whole new crop of documentary projects involving new modalities and unorthodox ways of knowledge production came into existence. Interestingly, the rise of this particular form coincided with the global economic crisis and a number of social and political upheavals of epochal proportions. Documentary representation, like all other forms of cultural expression, was not immune to those shifts. This article looks at the ensuing crisis of representation as linked to contemporary documentary practice, and examines some of the ways the new, web-based forms of documentary use polyvocality to engage their audience, build communities, and mobilise in struggles for social change. It features several examples and draws on the existing documentary theory, as well as the implicit, yet rarely invoked, links to the so-called “relational art”.
2018-01-01T00:00:00ZExperimental polyphony: on the media ecological research of intermediate bodiesFetzner, DanielDornberg, Martinhttps://hdl.handle.net/10468/70982023-12-19T11:16:09Z2018-01-01T00:00:00Zdc.title: Experimental polyphony: on the media ecological research of intermediate bodies
dc.contributor.author: Fetzner, Daniel; Dornberg, Martin
dc.description.abstract: Our media-artistic performances and installations, INTERCORPOREAL SPLITS (2010-2013), BUZZ (2014-2015), WASTELAND (2015-2016), as well as our new collaboration with Bruno Latour, DE\GLOBALIZE (2018-2020), are not just about polyphony. Here, however, we rediscover them under this heading, thus giving them a new twist, while mapping out issues, mechanisms and functional modes of the polyphonic.
2018-01-01T00:00:00ZFar East Film Festival 20Ulfsdotter, BoelBjörkin, Matshttps://hdl.handle.net/10468/71032023-12-19T11:09:43Z2018-01-01T00:00:00Zdc.title: Far East Film Festival 20
dc.contributor.author: Ulfsdotter, Boel; Björkin, Mats
dc.contributor.editor: Abbatescianni, Davide
2018-01-01T00:00:00ZFeminist Film Theory and Pretty Woman, by Mari RutiGuilluy, Alicehttps://hdl.handle.net/10468/71012023-12-19T11:19:24Z2018-01-01T00:00:00Zdc.title: Feminist Film Theory and Pretty Woman, by Mari Ruti
dc.contributor.author: Guilluy, Alice
dc.contributor.editor: Mulvey, James
2018-01-01T00:00:00ZI-docs as intervention: the poetics and politics of polyphonyAston, JudithOdorico, Stefanohttps://hdl.handle.net/10468/70892023-12-19T11:12:47Z2018-01-01T00:00:00Zdc.title: I-docs as intervention: the poetics and politics of polyphony
dc.contributor.author: Aston, Judith; Odorico, Stefano
dc.description.abstract: The idea for this special issue of Alphaville originated at the i-Docs 2018 Symposium, held in March 2018 in Bristol, UK, where we jointly convened a discussion on the potential engagement of the interactive documentary (i-doc) form with Mikhail Bakthin’s expanded concept of polyphony. As part of this, we presented a series of provocations with a view to generating a new theoretical framework for i-docs.1 These provocations were inspired by all aspects of Bakthin’s polyphony, from both a theoretical and a practical point of view.
2018-01-01T00:00:00ZPolyphony in practice: an interview with Sharon DanielDaniel, SharonAston, JudithOdorico, Stefanohttps://hdl.handle.net/10468/70952023-12-19T11:23:23Z2018-01-01T00:00:00Zdc.title: Polyphony in practice: an interview with Sharon Daniel
dc.contributor.author: Daniel, Sharon; Aston, Judith; Odorico, Stefano
dc.description.abstract: Media artist Sharon Daniel has been involved with the i-Docs community since its inception—having presented her online documentaries and works in progress at all five i-Docs symposia that have taken place since 2011. We consider her to be a central and inspirational figure within this community, for whom the concepts of polyphony and heteroglossia are key to her ongoing practice. Here we build on her own previous references to these terms, in order to explore with her in more depth how polyphony and heteroglossia play out through her work. We also ask how and why she sees this approach to “cultural democracy” as an ever-moreurgent form of activism and intervention.
2018-01-01T00:00:00Z