Comparative Technology Transfer and Society最新文献

{"title":"13th Dubai International Film Festival","authors":"Hend F. Alawadhi","doi":"10.1525/AFT.2017.44.5.4","DOIUrl":"https://doi.org/10.1525/AFT.2017.44.5.4","url":null,"abstract":"MADINAT JUMEIRAH CONFERENCE CENTRE DUBAI DECEMBER 7-14, 2016 [ILLUSTRATION OMITTED] The Dubai International Film Festival (DIFF) is an annual eight-day event that takes place at the Madinat Jumeirah Conference Centre in Dubai. Sponsored by a myriad of local and regional partners, the festival has consistently pledged to showcase cinema from the Arab world since its inception in 2004. This year DIFF presented 156 feature films, shorts, and documentaries from fifty-five countries, including seventy-three premieres from the Middle East and North Africa region, twelve premieres from the Middle East, and nine premieres from the Gulf Cooperation Council region. DIFF also featured fifty-seven world and international premieres, with special programs such as Nordic Spotlight, a segment dedicated to films from Iceland, Denmark, Sweden, Finland, and Norway; Oscar Glory, which featured a selection of films that are official submissions to the Academy Awards; and Last Chance, dedicated to the late Abbas Kiarostami and Andrzej Wajda and featuring their respective films Take Me Home (2016) and Afterimage (2016), which were screened alongside Seyfolah Samadian's documentary 76 Minutes and 15 Seconds with Abbas Kiarostami (2016). Aside from the usually stellar lineup of films, DIFF is also known for its nightly red carpet gala screenings and the scenic views surrounding its venues--one of which is at Jumeirah Beach, an open-air beach cinema open to the public at no cost. The DIFF also generates highly productive spaces for its participants. For example, each screening is followed by a lengthy QA and Hady Zaccak's Ya Omri (104 Wrinkles) (2016), a biographical feature about his aging grandmother, whose self-reflexivity and collaboration on the twenty-year project with her grandson makes for a compelling work exploring love and loss through her lapses of memory. Soleen Yusef's stunning film Haus ohne Doch (House without Roof) (2016), follows three siblings on their journey from Germany to bury their mother in her ancestral village in Iraqi Kurdistan. (The mother is played by Wedad Sabri, the director's mother.) Although Haus Ohne Dach is Yusef's first feature film, she masterfully captures the antagonisms between the siblings--who live very different lives in Germany--as they embark on a trip that forces them to confront questions of gender, identity, and belonging amid a highly volatile politicized backdrop, causing them at one point to lose their mother's coffin. An unsurprising yet intriguing theme at DIFF this year was that a number of films dealt with bodies of water in their narratives. As the migration crisis has escalated over the past couple of years, the Mediterranean sea has come to symbolize more tragedy than hope as hundreds of thousands of refugees attempt to cross it--often in unsafe and overcrowded rubber boats--on their journey to Europe's shores. …","PeriodicalId":443446,"journal":{"name":"Comparative Technology Transfer and Society","volume":"23 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2017-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128308315","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Mythology, Sex, and Cinema: A Conversation with Deborah Kampmeier","authors":"E. Ramos","doi":"10.1525/aft.2017.44.5.6","DOIUrl":"https://doi.org/10.1525/aft.2017.44.5.6","url":null,"abstract":"While it has been nine years since her second feature film, Hounddog (2007), was released in theaters, filmmaker Deborah Kampmeier has been at the forefront of a movement to include more female directors in a male-dominated profession. With few exceptions, it has been difficult for women to penetrate the film world. In her 2015 New York Times article, \"Lights, Camera, Taking Action,\" critic Manohla Dargis wrote, \"Women in film are routinely denied jobs, credits, prizes and equal pay.\" (1) Kampmeier is no stranger to the struggles women face in the film industry. Her position as an established director with a star-studded film that premiered at Sundance did not make it easier for her to produce her third film, SPLit (2017). Perseverance on her part, as well as on the part of her supporters, paid off, and Kampmeier's striking and provocative new feature film is now on its way to the public realm. SPLit is, to quote film critic Matt Fagerholm, \"An arrestingly raw howl of fury at the global stigmatization of female sexuality.\" (2) It tells the story of a sexually repressed stripper who lands the lead role in a play about the Sumerian goddess Inanna's descent into the underworld. Kampmeier's protagonist becomes so immersed in the play that she, in a sense, becomes Inanna. As Inanna, through her descent, finds herself slowly stripped of her garments, Kampmeier's protagonist finds herself peeling away the layers of sexual repression imposed upon her by our patriarchal society. As a member of the Film Fatales, a global organization of female filmmakers, and the creator of Full Moon Films, Kampmeier continues to fight for female directors while making films that provoke closer inspection into the sexual lives of women. The following conversation took place via email on January 25, 2017. EMMA EDEN RAMOS: You have spoken openly about your anger over how female sexuality is portrayed in film. You argue, and I agree, that women are too often depicted as the object of desire, instead of as beings who have sexual cravings of their own. Is one of your goals as a female filmmaker to dismantle the misconception that women are sexually passive by nature? DEBORAH KAMPMEIER: I wouldn't call it a direct goal, but I think the dismantling of all of the misconceptions that the male gaze and male fantasy impose on the true expression of female sexuality is a direct outcome of a woman telling her story instead of a man telling her story. I'm trying to give voice to my story. And a big part of my story is my relationship to my own sexuality. The journey I have taken to reclaim it and move from a performed sexuality for the male gaze or male fantasy, to an embodied and authentic sexuality that is in response to my own desire and my own pleasure, is revealed in stages through all three of my films. I think the fact that approximately ninety-three percent of feature films have a man behind the camera (3) means there is a constant perpetuation and reinforcement of a false repre","PeriodicalId":443446,"journal":{"name":"Comparative Technology Transfer and Society","volume":"138 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2017-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121552574","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"In Dream and Soil: A Conversation with Bea Nettles","authors":"C. Edgington","doi":"10.1525/AFT.2017.44.5.15","DOIUrl":"https://doi.org/10.1525/AFT.2017.44.5.15","url":null,"abstract":"Bea Nettles rose to prominence at the beginning of 1970 with her autobiographical mixed-media and photographic work. During that year she had a solo show at the George Eastman House (now the George Eastman Museum, or GEM) in Rochester, New York, and was also included in the seminal exhibition Photography into Sculpture at the Museum of Modern Art (MoMA). In 2014, the show was re-mounted at Hauser & Wirth in New York City as the retitled The Photographic Object, 1970 and was accompanied by a publication of the same name from the University of Arizona and the University of California Press. Nettles has been exhibiting her work for nearly fifty years and is included in the collections of MoMA; the Metropolitan Museum of Art; the National Gallery of Canada; the Phillips Collection in Washington DC; the International Museum of Photography at the GEM; and the Center for Creative Photography at the University of Arizona, Tucson. Her newest book, Dante Enters Hell (2016), has sold out and is in nine special collections libraries including those of Yale, Duke, and Northwestern universities. In 2016, her early work began to pop up around the country in various exhibitions including at the Met, the Philadelphia Museum of Art, and the Portland Museum of Art. The recent reappearance of Nettles's early work--from the single pieces of the late 1960s to her Mountain Dream Tarot card deck (1975) and her visual autobiography Flamingo in the Dark (1979)--in museums and galleries is neither happenstance nor anomaly, but rather evidence of her importance in the history of American art. This work is visceral, poignant, humorous, and multivalent--and is as indicative of the experimental approach by many photographers of the 1960s and '70s as it is striking to twenty-first-century eyes. In particular, the return to materiality and the autobiographical in photography by many contemporary artists, as well as the mixed-media and photographic approach of painters today, prove Nettles was both ahead of her time and firmly situated within a legacy of artists (from Pictorialism to Victorian collage and book-making to Dada) in the history of photography. Although today artists must contend with the digital revolution, either embracing it or reacting against it, the impact of Nettles's layered approach, particularly in her early work, cannot be underestimated. [ILLUSTRATION OMITTED] I met Nettles in 2005 as an incoming photography student at the University of Illinois at Urbana-Champaign where she was teaching photography and book-arts classes and is now professor emerita. I gardened for her in exchange for books and time from 2007 to 2008, which I count as a pivotal year in my growth as an artist and being. In August of last year, I reconnected with Nettles at her home in Urbana for a conversation about the recent exhibitions of her early work and Dante Enters Hell. COLIN EDGINGTON: I had a student who saw your work recently at the Philadelphia Museum of Art (PMA). I think it i","PeriodicalId":443446,"journal":{"name":"Comparative Technology Transfer and Society","volume":"114 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2017-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123064959","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Review: The Seasons in Quincy: Four Portraits of John Berger, directed by Bartek Dziadosz, Colin MacCabe, Christopher Roth, and Tilda Swinton","authors":"Janina Ciezadlo","doi":"10.1525/AFT.2017.44.5.34","DOIUrl":"https://doi.org/10.1525/AFT.2017.44.5.34","url":null,"abstract":"","PeriodicalId":443446,"journal":{"name":"Comparative Technology Transfer and Society","volume":"33 5","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2017-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"120982349","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Review: Debates in the Digital Humanities 2016, edited by Matthew K. Gold and Lauren F. Klein","authors":"Daniel J. Worden","doi":"10.1525/AFT.2017.44.5.31","DOIUrl":"https://doi.org/10.1525/AFT.2017.44.5.31","url":null,"abstract":"","PeriodicalId":443446,"journal":{"name":"Comparative Technology Transfer and Society","volume":"14 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2017-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115484204","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Infrastructure Aesthetics and the Crisis of Migrancy","authors":"Nicholas Gamso","doi":"10.1525/AFT.2017.44.5.10","DOIUrl":"https://doi.org/10.1525/AFT.2017.44.5.10","url":null,"abstract":"Two years ago, off the coast of the small Italian island of Lampedusa, 368 people drowned. Their boat, which was headed north from Libya, ran aground offshore, capsized, and sank. Among the drowned were migrants from Somalia, Ghana, Eritrea, and elsewhere, fleeing violence and poverty. One was a woman who, officials concluded, had given birth at the moment when the vessel turned onto its side, her infant child still attached by an umbilical cord when she was found. The child's short life was ended--her body, with hundreds of others, caught beneath the upturned hull--before it had even begun. This ghastly image appears in a recent essay by Frances Stonor Saunders, published in the London Review of Books, which discusses borders and their centrality to worldly experience.' The implication--\"the longest journey is also the shortest journey\"--holds out the notion of a staggering alternative: Death is the easiest, fastest flight from the turmoil of a life between checkpoints, borders, and camps, a life without papers or visas. Death is the only escape from the worldly entanglements of displacement, isolation, and exposure, for these increasingly characterize what it means to be a living person: as our infrastructures are integrated and globalized, they are evolved, also, to catalog our fingerprints, scan our irises, and map our DNA. They are both, in this way, objects of an intimidating statecraft and passages from turmoil. They are necessary and intractable, sources of hope and fearsome specters of power and violence. These concerns find an exemplary grounding in the current crisis. Nearly two million migrants, moving into Mediterranean port cities and large metropolises as a result of the five-year Syrian Civil War and an array of other conflicts in Africa and the Middle East, have given form to longstanding fears over the vulnerability of global systems. The effects may take the form of a specific alarm or a generalized atmosphere of paranoia and dread. This became evident well before the \"Brexit\" vote, during the mediated panic over the closing of the Chunnel, and thus the vulnerability not only of England's own borders but the logics--free trade, free movement--of the new Europe. A more dominant strain of paranoid aesthetics appears in the use of aerial drone photography to document the \"surge\" and \"swell\" and \"tide\" of refugees in places like Cyprus and Lesbos, and to circulate images of the victims as they are washed ashore, unloaded from pallets and shipping containers. Even in popular mediations that seek to iconize migrancy, such themes are central. Artists who seem political, or for whom politics is a kind of general attitude or style--Banksy, M.I.A.--employ in their treatments of the crisis the simple reduction of migrant bodies to surplus objects, taking them as part of a new landscape of precariousness and abjection. The people are conflated with infrastructure in a great equivalency of matter. The scale of the individual is obscured, th","PeriodicalId":443446,"journal":{"name":"Comparative Technology Transfer and Society","volume":"85 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2017-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125577221","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"3rd Kochi-Muziris Biennale","authors":"Sabrina Deturk","doi":"10.1525/AFT.2017.44.5.2","DOIUrl":"https://doi.org/10.1525/AFT.2017.44.5.2","url":null,"abstract":"KOCHI, INDIA DECEMBER 12,2016-MARCH 29, 2017 [ILLUSTRATION OMITTED] With exhibitions spanning twelve venues and showing work by over one hundred regional and international artists, the Kochi-Muziris Biennale is deservedly recognized as \"the largest platform for visual arts engagement in Southeast Asia.\" (1) Artist Sudarshan Shetty curated the Biennale (his first curatorial project) and has sensitively and adroitly selected and positioned a compelling array of contemporary work across a wide variety of media, including painting, sculpture, video art, sound art, and performance art. According to Shetty, the Biennale--subtitled \"Forming in the Pupil of an Eye--\"is an assembly and layering of multiple realities\" that offers the possibility for connections between the spaces of \"immediate experience\" and \"multiple other consciousnesses.\" (2) This approach seems appropriate for the first and only biennial held in India, a country long associated with spiritual and meditative practices intended to facilitate such bridging of reality with higher consciousness. Aspinwall House, a sprawling sea-front compound that was originally the headquarters of a nineteenth-century English trading company, is the venue for the majority of the works in the Biennale and the location where most visitors will begin their experience of the event. A number of the artists represented at Aspinwall House have created works that respond to the site's historical associations and its orientation toward the fishing and shipping harbors of Kochi. The placement of Camille Norment's haptic sound installation Prime (2016) offers a particularly compelling example of this synergy. This deceptively simple piece consists of five wooden benches placed in a large, empty warehouse space with a view onto a pier jutting into the harbor. As visitors enter the room they are enveloped by a low, almost rumbling, chorus of voices--not singing, per se, but chanting and moaning, creating a sound that ebbs and flows like the water outside. When one sits on a bench, the experience of the work is completed as the voices' vibrations are transmitted through one's body, engaging the viewer physically with the hypnotic tones. The work becomes meditative, the viewer at one with the sound, the water, and the sensation. Another work that engages the sea-front location of Aspinwall House and its historical association with trade routes through both placement and content is Pedro Gomez-Egana's Aphelion (2016). This mixed-media installation is also placed in a room facing the harbor; yet rather than offering an immediate view of the water, as viewers enter and take their seats an attendant draws the curtains across the windows and turns out the lights, plunging the room into complete blackness. Slowly, a circular image is projected that morphs into sun and moon and appears and disappears in lapping waves. The soundtrack for the work speaks, in a low, rhythmic voice, of ships and water and sea. The voice intones, s","PeriodicalId":443446,"journal":{"name":"Comparative Technology Transfer and Society","volume":"23 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2017-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128229201","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Review: Basim Magdy: The Stars Were Aligned for a Century of New Beginnings","authors":"C. Swindell","doi":"10.1525/AFT.2017.44.5.24","DOIUrl":"https://doi.org/10.1525/AFT.2017.44.5.24","url":null,"abstract":"What pervades Basim Magdy's artistic practice and his first United States survey exhibition on view at the Museum of Contemporary Art, Chicago (MCA) is an exploration of time, space, and the universe that addresses humanity's collective failures and arguably imprudent aspirations. Magdy engages each of these broad themes through a nuanced use of language and a carefully constructed approach to layering and manipulating materials. As a result, his works allow for seemingly infinite possibilities of interpretation, much like the conceptions of utopia and science fiction that piqued his interest as a child. Magdy's use of bright colors and pop art sensibility are realized through his representation of images of mass media popular culture including cars, structures, spaceships, and other technologies. These images, when paired with their pessimistic titles, demonstrate one of the ways in which Magdy critiques humanity's simultaneous obsession with progress and avoidance in resolving or making sense of its own history. Titles such as Time Laughs Back at You Like a Sunken Ship and Every Decade Memory Poses as a Container Heavier than its Carrier exemplify Magdy's poetic and humorous approach to complicating narratives for viewers. Basim Magdy: The Stars Were Aligned for a Century of New Beginnings was curated by MCA Manilow Senior Curator Omar Kholeif. The exhibition features Magdy's work in several media, including paper with gouache, acrylic, spray paint, and collage, as well as photographs, installations, videos, and slides captured from Kodak carousel projectors. Unlike a traditional chronological survey, this exhibition features a significant display of twenty-three of Magdy's works on paper set salon-style in the center of a small portion of a bright pink wall, the titles of which can be read from a corresponding wall label that is placed at the lower left. Next to this arrangement is an installation entitled The Future of Your Head (2008), comprised of a standing two-way mirror sign with an illuminated text displayed in capital letters that reads: YOUR HEAD IS A SPARE PART IN OUR FACTORY OF PERFECTION. At the center of this first central gallery space is a low pedestal with copies of two different posters accumulated in piles; a small written text on the floor prompts viewers to leave the exhibition with one poster of their choice. While at first glance the two poster images appear nearly identical, the text is what separates the work and provides a choice for the participant. In each poster a man stands on top of a car, his arm outstretched holding a pole, at the top of which appears a mannequin hand continuing the diagonal extension of the body. Both posters read \"KNOWING HE COULD DIE THE NEXT DAY, A MAN DESPERATELY TRIES TO TICKLE HEAVEN\" but one adds \"BUT HEAVEN DOESN'T LAUGH. INSTEAD, FROGS START FALLING FROM THE SKY.\" This work, much like the exhibition as a whole, encourages viewers to look carefully and consider Magdy's constructed ficti","PeriodicalId":443446,"journal":{"name":"Comparative Technology Transfer and Society","volume":"12 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2017-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127918485","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"The Pregnant Avatar: Seeing Oneself in C-Sections, Surrogates, and Sonograms","authors":"T. Walsh","doi":"10.1525/AFT.2017.44.5.20","DOIUrl":"https://doi.org/10.1525/AFT.2017.44.5.20","url":null,"abstract":"","PeriodicalId":443446,"journal":{"name":"Comparative Technology Transfer and Society","volume":"44 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2017-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130446187","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Nude Animal: Vanessa Renwick and the Wild","authors":"Bernard Roddy","doi":"10.1525/aft.2016.44.3.16","DOIUrl":"https://doi.org/10.1525/aft.2016.44.3.16","url":null,"abstract":"In The Animal That Therefore I Am (2006) Jacques Derrida remarks on texts by Rene Descartes concerning the animal. His attention is drawn to the look the animal returns. Standing naked before his cat, the philosopher sees it looking back at him. If now we introduce this mutual look into an account of screen work by Portland-based film and video artist Vanessa Renwick, the opportunity arises to think in terms of animality and women. I could not do her work justice if I were to attempt a survey of Renwick's practice, which I have been aware of for over ten years. Her name was familiar to me long before 1 saw anything she had made. Nor would it seem to me an improvement if I were to exclude from my remarks commentary on the work of other artists. What follows, then, is an attempt to substantiate a thinking about animality by means of a single work by Renwick. I try to do this in a way that also recognizes the achievements of two others working with the moving image: Benjamin Pearson and Shehrezad Maher. [ILLUSTRATION OMITTED] A comparison of Renwick's 9 is a Secret (2002) with Pearson's Former Models (2013) will raise the question of our relation to death. In 9 is a Secret, Renwick describes the experience of being an assistant in a friend's suicide. Before removing the plastic from the head of his dead body, she hears herself saying, and we hear her repeat aloud, \"You better be dead, motherfucker.\" It is as if we share Renwick's responsibility for his death, even bear the risks she took to assist hint. To be a survivor here is not to survive death oneself. Such a suicide commands a certain respect from the living, we who have not died, for we feel somehow humiliated by the departed, insofar as we agree to carry on in a world so decisively rejected by the friend. Renwick created a voiceover using a children's nursery rhyme, each line associated with a number less than nine. The lines of the rhyme number and characterize crows. Each line has the kind of significance for adults that such rhymes often do. Renwick shows us the young man who wants to die in beautiful black-and-white, high-contrast still images. They could be photographs, but there is often quiet movement. Like photocopies after several generations, the fragments consist of fixed poses cut from a strip of movement, a solitary black crow against a white ground. Carefully framed shots of a handsome young man, also in black-and-white, present a nude in parts, sculpted in the gray stone of what photographers would call, by comparison, images of greater latitude. Now immobile only because held in place, the fragments of the deceased before his death show signs of calculated movement. A viewer might be reminded of Chris Marker's La jetee (1962), in which subterranean victims of time-travel experiments are shown shell-shocked and fixed forever in black-and-white stills. The relationship between predator and victim in the animal world could be said to be a preoccupation in Renwick's screen work. ","PeriodicalId":443446,"journal":{"name":"Comparative Technology Transfer and Society","volume":"43 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2016-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133838370","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}