FILM CRITICISM最新文献_第3页

Black Best—Selling Books and Bibliographical Concerns: The Essence Book Project 黑人畅销书和书目问题:精华图书项目

4区艺术学

FILM CRITICISM Pub Date : 2022-08-01 DOI: 10.1353/crt.2022.a899729

Jacinta R. Saffold, Kinohi Nishikawa

引用次数: 0

Make Mine Melody: Building Beloved Community in Bibliography Using Mad Citation Practice 制作我的旋律:用疯狂的引文实践在书目中建立心爱的社区

4区艺术学

FILM CRITICISM Pub Date : 2022-08-01 DOI: 10.1353/crt.2022.a899735

Sarah Madoka Currie

{"title":"Make Mine Melody: Building Beloved Community in Bibliography Using Mad Citation Practice","authors":"Sarah Madoka Currie","doi":"10.1353/crt.2022.a899735","DOIUrl":"https://doi.org/10.1353/crt.2022.a899735","url":null,"abstract":"Abstract:Bibliography can be reconstructed to privilege the imaginaries of radicals that are \"lesser known.\" The dis-visibilizing of marginalized neurodiverse scholars and theorycrafters has much in common with the institutionalization approaches that constrict and model obstructed life for neurodivergent bodyminds. In a proposal for mad citation practice, a series of hopeful strategies for nonretrofitted inclusivity and authorial diversity are constructed for the reader instead, which bear similarities to feminist and disabled care practices: explicit permission-setting, naming ontology, lived or living experience validity, commentary or subscript authorization, visibilized quotation selection, draft approval, and cocollaborator approvals all form the basis of a radically collaborative citation methodology that seeks to generate roundtable-format conversations in print, ones that are self-selected within mad communities and feature a heavy roster of neurodivergent or disabled scholars, artists, and authors. In mad citation, the draft writer is less the \"manuscript author\" and more equivalent to a \"conversation facilitator,\" charged with weaving the myriad kaleidoscopic voices of the movement they seek to represent. This refiguring of the author/collaborator and reader/writer valences are central to a citation futurity that situates power not in the hands of the scholar holding the pen but in the hands of the collective they seek to speak with.","PeriodicalId":42834,"journal":{"name":"FILM CRITICISM","volume":"33 1","pages":"533 - 543"},"PeriodicalIF":0.0,"publicationDate":"2022-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84409343","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Craftivism and Cottonian Bindings: "The Handiwork of Greta Hall" 工艺主义与棉制绑扎:“格蕾塔大厅的手工作品”

4区艺术学

FILM CRITICISM Pub Date : 2022-08-01 DOI: 10.1353/crt.2022.a899724

Helene Williams

引用次数: 0

On the Black Book as Durational: Noah Purifoy's Desert Library 论黑皮书的持续性:诺亚·普里弗伊的沙漠图书馆

4区艺术学

FILM CRITICISM Pub Date : 2022-08-01 DOI: 10.1353/crt.2022.a899718

Paul J. Benzon

引用次数: 0

Pipestone Books: Indigenous Materialisms and Bibliographical Methods 派普斯通书籍:本土唯物主义和书目方法

4区艺术学

FILM CRITICISM Pub Date : 2022-08-01 DOI: 10.1353/crt.2022.a899717

Daniel M. Radus

引用次数: 0

"Come Think with Me": Finding Communion in the Liberatory Textual Practices of Kameelah Janan Rasheed “来和我一起思考”:在卡米拉·贾南·拉希德的解放文本实践中寻找交流

4区艺术学

FILM CRITICISM Pub Date : 2022-08-01 DOI: 10.1353/crt.2022.a899736

Jehan L. Roberson

引用次数: 0

What is Critical Bibliography? 什么是批判书目?

4区艺术学

FILM CRITICISM Pub Date : 2022-08-01 DOI: 10.1353/crt.2022.a899716

Lisa Maruca, Kate Ozment

引用次数: 5

Warp/Weft/Word: Inscriptive Materiality, Epistemological Violence, and the Inka Khipu 经纱/纬纱/字:铭文物质性、认识论暴力和印卡语

4区艺术学

FILM CRITICISM Pub Date : 2022-08-01 DOI: 10.1353/crt.2022.a899720

T. Sharp

{"title":"Warp/Weft/Word: Inscriptive Materiality, Epistemological Violence, and the Inka Khipu","authors":"T. Sharp","doi":"10.1353/crt.2022.a899720","DOIUrl":"https://doi.org/10.1353/crt.2022.a899720","url":null,"abstract":"Abstract:Many competing theories of the Indigenous inscription practice known as the khipu have been offered, from L. Leland Locke's long-standing postulation that khipus are accounting devices, to Walter Ong's description of them as aide-mémoire, to Gary Urton's more experimental theory that they constituted an early form of binary composition. Just as fraught is the history of the khipu, which were utilized by the Inka, intermediated by Spanish and Catholic authorities in their legal and religious systems, and, finally, banned and burned as seditious and sacrilegious. Contemporary khipus are primarily limited to those used by herders, but Chilean American poet-artist Cecilia Vicuña utilizes the khipu form to compose artworks such as Quipu in the Gutter, Skyscraper Quipu, Quipu That Remembers Nothing, among many others. This article argues that Vicuña utilizes the formal possibilities of khipu materiality, refusing to either limit her khipu-based works as simply mathematical or to romanticize their history. Instead, she intermediates the khipu form with elements of conceptual, visual, and performance art. In doing so, she participates in the colonial history of the khipu—just as Spanish authorities intermediated khipus with written Spanish in colonial courts and in khipu-based religious confessions. However, Vicuña in turn rejects the colonial violence imposed on the khipu in the same process, indicating that the possibilities of the form continue through the form's intermediation and growth.","PeriodicalId":42834,"journal":{"name":"FILM CRITICISM","volume":"150 1","pages":"285 - 300"},"PeriodicalIF":0.0,"publicationDate":"2022-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75759727","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Making Mary Ann Waters is a Free Black Woman: Critical Fabrication as Bibliographic Method 把玛丽·安·沃特斯塑造成一个自由的黑人女性:作为书目方法的批判性捏造

4区艺术学

FILM CRITICISM Pub Date : 2022-08-01 DOI: 10.1353/crt.2022.a899737

Kadin Henningsen

引用次数: 0

On Feminist Practice in the Rare Books and Manuscripts Trade: Buying, Cataloging, and Selling 女性主义在珍本书稿交易中的实践:购买、编目与销售

4区艺术学

FILM CRITICISM Pub Date : 2022-08-01 DOI: 10.1353/crt.2022.a899728

Rebecca Romney

{"title":"On Feminist Practice in the Rare Books and Manuscripts Trade: Buying, Cataloging, and Selling","authors":"Rebecca Romney","doi":"10.1353/crt.2022.a899728","DOIUrl":"https://doi.org/10.1353/crt.2022.a899728","url":null,"abstract":"Abstract:This article seeks to delineate principles for incorporating feminist practices into the three main roles of the antiquarian bookseller: buying, cataloging, and selling. While scholarship in feminist bibliography is growing in the academic sphere, and feminist movements for individuals in the rare book trade (such as the Antiquarian Booksellers' Association of America's Women's Initiative) have seen success in recent years, few formal explorations of feminism in the everyday practices of the trade have yet followed. Laying this groundwork is an important step in the wider efforts to build a more diverse, inclusive, and accessible rare book trade and body of avocational collectors, both of whom play critical roles in deciding what gets preserved, what ends up in institutional collections, and what is ultimately available for scholarly research. This article surveys principles for feminist practice with examples based on the author's own experience as an antiquarian book dealer and cofounder of a rare book firm. It outlines typically unspoken economic influences that have shaped the culture of the rare book trade, as well as how some traditions of the trade can perpetuate bias that results in unnecessary obstacles to attracting, welcoming, and maintaining relationships with collectors. In providing specific examples, this article also demonstrates how incorporating feminist principles into the fundamental skills of the rare book trade is beneficial to dealers, and thus why every bookseller should be a feminist bookseller. This practice benefits dealers in the short term by enabling them to buy in a more informed manner, as well as reducing the risk of needlessly alienating potential buyers of specific books in their cataloging and selling practices. Further, it benefits dealers in the long term by supporting the growth of a much bigger pool of buyers, as it is they who fundamentally keep the engine of the rare book trade running.","PeriodicalId":42834,"journal":{"name":"FILM CRITICISM","volume":"28 1","pages":"413 - 431"},"PeriodicalIF":0.0,"publicationDate":"2022-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83260615","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0