Jujube/thesis-references: Difference between revisions

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==Memoir==
==Memoir==


:CARRIÓN, U., & SCHRAENEN, G. (2016). Ulises Carrión: Dear reader, don't read.
:CHEE, A. (2018) How to write an autobiographical novel : essays.
:FOX, D. (2019). Limbo.
:HAN, K., & SMITH, D. (2019). The white book.
:PATEL, S. (2014). Migritude. New York, Kaya Press.
:Thompson, S. (2017). Salt. London.


New:
not used:
:Migritude, Patel, Shailja
:Garments Against Women, Boyer, Anne
:The White Book, Han Kang


already:
:NELSON, M. (2016). The argonauts.
:CARRIÓN, U., & SCHRAENEN, G. (2016). Ulises Carrión: Dear reader, don't read.
:CHEE, A. (2018) How to write an autobiographical novel : essays.
:PROULX, A. (2012). Bird cloud. London, Fourth Estate.
:PROULX, A. (2012). Bird cloud. London, Fourth Estate.


Line 20: Line 21:
:MAMET, D. (1992) On directing film. New York: Penguin Books.
:MAMET, D. (1992) On directing film. New York: Penguin Books.
:SCHRADER, P. (2018). Transcendental style in film: Ozu, Bresson, Dreyer.
:SCHRADER, P. (2018). Transcendental style in film: Ozu, Bresson, Dreyer.
<s>:SVENDSEN, L. F. H. (2017). A philosophy of loneliness.</s> N/A
:WOOD, M. (2012). Film: a very short introduction. Oxford, Oxford University Press.
:WOOD, M. (2012). Film: a very short introduction. Oxford, Oxford University Press.
not used
:Sontag, S. (1984) On photography. 6E dr edn. Harmondsworth: Penguin.
:Sontag, S. (1984) On photography. 6E dr edn. Harmondsworth: Penguin.
:Stallabrass, J. (2013) Documentary. London: Whitechapel (Documents of contemporary art).
:Stallabrass, J. (2013) Documentary. London: Whitechapel (Documents of contemporary art).
Line 29: Line 32:
:BAZIN, A., GRAY, H., TRUFFAUT, F., & ANDREW, D. (2005). What is cinema? Volume 1.  
:BAZIN, A., GRAY, H., TRUFFAUT, F., & ANDREW, D. (2005). What is cinema? Volume 1.  
:BERGER, J. P., & DYER, G. (2013). Understanding a photograph. New-York, Aperture.
:BERGER, J. P., & DYER, G. (2013). Understanding a photograph. New-York, Aperture.
:BROWN, B. (2004). Things. Chicago, University Of Chicago Press.
:CAMPANY, D. (2007) The cinematic. London: Whitechapel (Documents of contemporary art, 2007: 5).
:CAMPANY, D. (2007) The cinematic. London: Whitechapel (Documents of contemporary art, 2007: 5).
:Chateau, D., & Moure, J. (2016). Screens.
:Farr, I. (2012) Memory. London: Whitechapel Gallery (Documents of contemporary art).
:Kern, S. (2004) A cultural history of causality : science, murder novels, and systems of thought. Princeton: Princeton University Press.
:Kern, S. (2004) A cultural history of causality : science, murder novels, and systems of thought. Princeton: Princeton University Press.
:Farr, I. (2012) Memory. London: Whitechapel Gallery (Documents of contemporary art).
:Miall, D. (2011) Emotions and the Structuring of Narrative Responses. Poetics Today 1 June 2011; 32 (2): 323–348. doi: https://doi.org/10.1215/03335372-1162704
:Miall, D. (2011) Emotions and the Structuring of Narrative Responses. Poetics Today 1 June 2011; 32 (2): 323–348. doi: https://doi.org/10.1215/03335372-1162704
:Mulvey, L. and Backman Rogers, A. (eds) (2015) Feminisms : diversity, difference and multiplicity in contemporary film cultures. Amsterdam: Amsterdam University Press (The key debates. Mutations and appropriations in European film studies, 5). doi: 10.5117/9789089646767.
:Nussbaum, M. (1988) Narrative Emotions. Ethics, Vol. 98, No. 2., pp. 225-254.
:Nussbaum, M. (1988) Narrative Emotions. Ethics, Vol. 98, No. 2., pp. 225-254.
:Shouse, E. (2005) Feeling, Emotion, Affect. M/C Journal 8.6. <http://journal.media-culture.org.au/0512/03-shouse.php>
:Shouse, E. (2005) Feeling, Emotion, Affect. M/C Journal 8.6. <http://journal.media-culture.org.au/0512/03-shouse.php>
:Voìgt, Ellen Bryant. Image. New England Review, Vol. 13, No. 3/4, 1991, pp. 254–268. JSTOR, www.jstor.org/stable/40243421.
no longer:
:Mulvey, L. and Backman Rogers, A. (eds) (2015) Feminisms : diversity, difference and multiplicity in contemporary film cultures. Amsterdam: Amsterdam University Press (The key debates. Mutations and appropriations in European film studies, 5). doi: 10.5117/9789089646767.
:Chateau, D., & Moure, J. (2016). Screens.
:Sontag, S. (2002) Against interpretation: and other essays. Repr. and enl. edn. New York: Picador
:Sontag, S. (2002) Against interpretation: and other essays. Repr. and enl. edn. New York: Picador
:Voìgt, Ellen Bryant. Image. New England Review, Vol. 13, No. 3/4, 1991, pp. 254–268. JSTOR, www.jstor.org/stable/40243421.


==from project proposal (methods for general reserach on image-making)==
==from project proposal (methods for general reserach on image-making)==

Latest revision as of 09:55, 12 May 2020

references from thesis and project proposal

Memoir

CARRIÓN, U., & SCHRAENEN, G. (2016). Ulises Carrión: Dear reader, don't read.
CHEE, A. (2018) How to write an autobiographical novel : essays.
FOX, D. (2019). Limbo.
HAN, K., & SMITH, D. (2019). The white book.
PATEL, S. (2014). Migritude. New York, Kaya Press.
Thompson, S. (2017). Salt. London.

not used:

NELSON, M. (2016). The argonauts.
PROULX, A. (2012). Bird cloud. London, Fourth Estate.

Practice

AUFDERHEIDE, P. (2016). Documentary film: a very short introduction. Oxford, Oxford University Press.
MAMET, D. (1992) On directing film. New York: Penguin Books.
SCHRADER, P. (2018). Transcendental style in film: Ozu, Bresson, Dreyer.
WOOD, M. (2012). Film: a very short introduction. Oxford, Oxford University Press.

not used

Sontag, S. (1984) On photography. 6E dr edn. Harmondsworth: Penguin.
Stallabrass, J. (2013) Documentary. London: Whitechapel (Documents of contemporary art).

Reflection

ASMA, S. T., & GABRIEL, R. (2019). United by Feelings. https://aeon.co/essays/human-culture-and-cognition-evolved-through-the-emotions
BAZIN, A., GRAY, H., TRUFFAUT, F., & ANDREW, D. (2005). What is cinema? Volume 1.
BERGER, J. P., & DYER, G. (2013). Understanding a photograph. New-York, Aperture.
CAMPANY, D. (2007) The cinematic. London: Whitechapel (Documents of contemporary art, 2007: 5).
Farr, I. (2012) Memory. London: Whitechapel Gallery (Documents of contemporary art).
Kern, S. (2004) A cultural history of causality : science, murder novels, and systems of thought. Princeton: Princeton University Press.
Miall, D. (2011) Emotions and the Structuring of Narrative Responses. Poetics Today 1 June 2011; 32 (2): 323–348. doi: https://doi.org/10.1215/03335372-1162704
Nussbaum, M. (1988) Narrative Emotions. Ethics, Vol. 98, No. 2., pp. 225-254.
Shouse, E. (2005) Feeling, Emotion, Affect. M/C Journal 8.6. <http://journal.media-culture.org.au/0512/03-shouse.php>
Voìgt, Ellen Bryant. Image. New England Review, Vol. 13, No. 3/4, 1991, pp. 254–268. JSTOR, www.jstor.org/stable/40243421.

no longer:

Mulvey, L. and Backman Rogers, A. (eds) (2015) Feminisms : diversity, difference and multiplicity in contemporary film cultures. Amsterdam: Amsterdam University Press (The key debates. Mutations and appropriations in European film studies, 5). doi: 10.5117/9789089646767.
Chateau, D., & Moure, J. (2016). Screens.
Sontag, S. (2002) Against interpretation: and other essays. Repr. and enl. edn. New York: Picador

from project proposal (methods for general reserach on image-making)

Literature

The Cinematic, ed. David Campany
On Directing Film, David Mamet
Transcendental style in film: Ozu, Bresson, Dreyer, Paul Shrader
Understanding a Photograph, John Berger
Image, Voìgt, Ellen Bryant. New England Review, Vol. 13, No. 3/4, 1991, pp. 254–268

Films/Plays

The Mirror (1975), Andrej Tarkovski
Birds of Passage (2018), Cristina Gallego & Ciro Guerra
Minding the Gap (2018), Bing Liu
Gulyabani (2018), Gürcan Keltek
Light of my Life (2019), Casey Affleck
Vulnerable Histories (A Road Movie) (2019), Koki Tanaka
Salt (2018), play by Salina Thompson


Synopsis and abstracts

Jujube/synopsis:

  • feelings
  • memory
  • documentary
  • cinematic
  • transcendental style
  • John Berger (Appearances)

jujube/abstracts-text:

  • Criticizing Photographs: An Introduction to Understanding Images
  • Loose articles on cinematic experience/cinematography

jujube/abstracts-non-text

  • films, plays, exhibitions, lectures

Laura Mulvey, Autotheory, Organization of autobiographical and critical writing

Longitudinal reading of Laura Mulvey

https://pzwiki.wdka.nl/mediadesign/Jujube/methods-research-group#reading_Mulvey

Autotheory as Rebellion: On Research, Embodiment, and Imagination in Creative Nonfiction

https://sites.lsa.umich.edu/mqr/2019/07/autotheory-as-rebellion-on-research-embodiment-and-imagination-in-creative-nonfiction/

interesting: Edmund Morris, biographer of Ronald Reagan, became a fictional narrator in the biography.

https://www.nytimes.com/1999/10/02/books/critic-s-notebook-a-biographer-who-claims-a-license-to-blur-reality.html

The Autobiography of My Novel

Alexander Chee

comparative essay: https://pzwiki.wdka.nl/mediadesign/Jujube/methods-session-5#Reflecting_on_autobiography_in_my_own_work:_reading_Alexander_Chee.27s_The_Autobiography_of_My_Novel

The Argonaut

Maggie Nelson

To weave the text together, I have been paying close attention to the structure of paragraphs and noted strategies used by Nelson. I intend to implement similar ones, including: - direct transitions from personal memory to critical observation from one paragraph to another, manifesting a process in which memory provokes thought (p60, Butler) - leveling non-critical writing (own or from others) and theories (own or from others) in the same paragraph when the boundaries between feeling and thinking are porous (p55, Bellamy) - equalizing own critical thoughts and those from others in the same paragraphs, creating a nebula of significant observations regardless of discurve hierarchy (i.e. being a friend to a theorist, rather than a disciple) (p48, Carson)

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