Difference between revisions of "Jujube/thesis-index"

From Media Design: Networked & Lens-Based wiki
Jump to navigation Jump to search
Line 16: Line 16:
= Keywords =
= Keywords =
Line 30: Line 28:
= References =
= References =
: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.
: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).
: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.
: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.

Revision as of 10:13, 19 November 2019


Final: https://docs.google.com/document/d/17f8B3_IX4SmDIgM4GAb3n6-JAGGVsB6zSEMUwA72DLw/edit#

Older drafts: jujube/thesis-drafts


I have been in search of form, just like I have been in search of home. [In the process I have realized] what was once topical and typological have given way to the existential and spiritual.







memory-image, exile, diaspora, loss


grief, self-understanding, longing, loneliness, care, ritual


narrativity of image, affect evoked by memory, aesthetics as bond (between the self and others)