Jujube/thesis-references: Difference between revisions
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= references from thesis and project proposal = | = references from thesis and project proposal = | ||
Memoir | ==Memoir== | ||
:CARRIÓN, U., & SCHRAENEN, G. (2016). Ulises Carrión: Dear reader, don't read. | :CARRIÓN, U., & SCHRAENEN, G. (2016). Ulises Carrión: Dear reader, don't read. | ||
:CHEE, A. (2018) How to write an autobiographical novel : essays. | :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. | ||
Practice | ==Practice== | ||
:AUFDERHEIDE, P. (2016). Documentary film: a very short introduction. Oxford, Oxford University Press. | :AUFDERHEIDE, P. (2016). Documentary film: a very short introduction. Oxford, Oxford University Press. | ||
:MAMET, D. (1992) On directing film. New York: Penguin Books. | :MAMET, D. (1992) On directing film. New York: Penguin Books. | ||
| Line 17: | Line 17: | ||
:Stallabrass, J. (2013) Documentary. London: Whitechapel (Documents of contemporary art). | :Stallabrass, J. (2013) Documentary. London: Whitechapel (Documents of contemporary art). | ||
Reflection | ==Reflection== | ||
:ASMA, S. T., & GABRIEL, R. (2019). United by Feelings. https://aeon.co/essays/human-culture-and-cognition-evolved-through-the-emotions | :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. | :BAZIN, A., GRAY, H., TRUFFAUT, F., & ANDREW, D. (2005). What is cinema? Volume 1. | ||
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:Voìgt, Ellen Bryant. Image. New England Review, Vol. 13, No. 3/4, 1991, pp. 254–268. JSTOR, www.jstor.org/stable/40243421. | :Voìgt, Ellen Bryant. Image. New England Review, Vol. 13, No. 3/4, 1991, pp. 254–268. JSTOR, www.jstor.org/stable/40243421. | ||
Organization | ==Organization== | ||
:CARSON, A., CURRIE, R., & CATULLUS, G. V. (2010). Nox. New York, New Directions. | :CARSON, A., CURRIE, R., & CATULLUS, G. V. (2010). Nox. New York, New Directions. | ||
:Merewether, C. (2006) The archive. London etc: Whitechapel etc (Documents of contemporary art). | :Merewether, C. (2006) The archive. London etc: Whitechapel etc (Documents of contemporary art). | ||
| Line 40: | Line 40: | ||
:RIDER, B. K. (2010). The vertical interrogation of strangers. Berkeley, Calif, Kelsey Street Press. | :RIDER, B. K. (2010). The vertical interrogation of strangers. Berkeley, Calif, Kelsey Street Press. | ||
==from project proposal (methods for general reserach on image-making)== | |||
Literature | '''Literature''' | ||
:The Cinematic, ed. David Campany | :The Cinematic, ed. David Campany | ||
| Line 50: | Line 50: | ||
:Image, Voìgt, Ellen Bryant. New England Review, Vol. 13, No. 3/4, 1991, pp. 254–268 | :Image, Voìgt, Ellen Bryant. New England Review, Vol. 13, No. 3/4, 1991, pp. 254–268 | ||
Films/Plays | '''Films/Plays''' | ||
:The Mirror (1975), Andrej Tarkovski | :The Mirror (1975), Andrej Tarkovski | ||
Revision as of 16:32, 25 November 2019
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.
- 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.
- SVENDSEN, L. F. H. (2017). A philosophy of loneliness.
- WOOD, M. (2012). Film: a very short introduction. Oxford, Oxford University Press.
- 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.
- BROWN, B. (2004). Things. Chicago, University Of Chicago Press.
- CAMPANY, D. (2007) The cinematic. London: Whitechapel (Documents of contemporary art, 2007: 5).
- Chateau, D., & Moure, J. (2016). Screens.
- 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
- 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.
- Shouse, E. (2005) Feeling, Emotion, Affect. M/C Journal 8.6. <http://journal.media-culture.org.au/0512/03-shouse.php>
- 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.
Organization
- CARSON, A., CURRIE, R., & CATULLUS, G. V. (2010). Nox. New York, New Directions.
- Merewether, C. (2006) The archive. London etc: Whitechapel etc (Documents of contemporary art).
- NELSON, M. (2016). The argonauts.
- PATEL, S. (2014). Migritude. New York, Kaya Press.
- RIDER, B. K. (2010). The vertical interrogation of strangers. Berkeley, Calif, Kelsey Street Press.
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
- feelings
- memory
- documentary
- cinematic
- transcendental style
- John Berger (Appearances)
- Criticizing Photographs: An Introduction to Understanding Images
- Loose articles on cinematic experience/cinematography
- 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
interesting: Edmund Morris, biographer of Ronald Reagan, became a fictional narrator in the biography.
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)