[UWcinema] Fwd: Feminist Media Histories - New Issue SPRING 2022 : Speculative Approaches to Media Histories I

[UW Cinema Studies List]

Dear UW film/media community — the spring issue of FMH is live and we’re delighted to share the news.  Please note the inclusion of work in this issue by our ‘very own’ Lauren Berliner!  Please also note the CFP (bottom left panel of newsletter) for this year’s graduate student writing competition, with submissions due Sept. 1, 2022.  Share at will—and take good care, Jennifer



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CURRENT ISSUE<https://r20.rs6.net/tn.jsp?f=001iw09l9T68AYjUl9JV5KgkEPmmlJuQdzlmafK9cv2v7yMOMT-EuJeuT-23bsZYdtksY0sj2exkOmJpW_dvB7tXwiViaJ9jAIz3tCoRkHQDA3BLNdY3-k-5EhzioPa0WbwaKis-A3McM75aD9LOhu22V20EFfMkuNAdSkkiJRa0xg=&c=T3nlF2VBmhZTOxikwQGfxKKW0cvPYIx1Oq8HRHnziYsFEjxJRXgI1A==&ch=9ZZWNG-CRIzR5GCfybVOfpZpPMr-hPAOo0BrY6I48uzCzu3aI7C6Gw==>


SPECULATIVE APPROACHES TO MEDIA HISTORIES I


Vol. 8 No. 2, SPRING 2022<https://r20.rs6.net/tn.jsp?f=001iw09l9T68AYjUl9JV5KgkEPmmlJuQdzlmafK9cv2v7yMOMT-EuJeuUCBBPAhJArBnmNiWv9wFqfyxrOi9_F2eB9cYG7lBZFXszXvXNTpKu-XBjhiwQi14Otdsubr-JYR3VtE_35BO7JuGrRrVhjfdKs5AnE6Tm-Vgyyb_L4NhfE=&c=T3nlF2VBmhZTOxikwQGfxKKW0cvPYIx1Oq8HRHnziYsFEjxJRXgI1A==&ch=9ZZWNG-CRIzR5GCfybVOfpZpPMr-hPAOo0BrY6I48uzCzu3aI7C6Gw==>



FEATURED ARTICLES


Editor's Introduction<https://r20.rs6.net/tn.jsp?f=001iw09l9T68AYjUl9JV5KgkEPmmlJuQdzlmafK9cv2v7yMOMT-EuJeuSoQxiINenJHDIXPj3aTuhjSjLQZrvRNXk3i9k6-nkRxc0WUQEpI1X6BhG24kXJ64Ewobdh-L_WpSudIPYJIciY0OqVeEQJM2ZdP0BQPKDxP16CPoq2ONoZIlABDk58xWjMwtZf3FR0kpHHmNH_oC2iXqR4s9HWLTrIGutQduAO9EYJg7_Q83m68eydfyyxREfAx5vcUpwg8oLcBdx3muXnJrXD9D-2frbmqjiSoVTwBQjnzNCjxE30eLajHE7ovcA==&c=T3nlF2VBmhZTOxikwQGfxKKW0cvPYIx1Oq8HRHnziYsFEjxJRXgI1A==&ch=9ZZWNG-CRIzR5GCfybVOfpZpPMr-hPAOo0BrY6I48uzCzu3aI7C6Gw==>: Sites of Speculative Encounter

ALLYSON NADIA FIELD


Changing the Subject: Lynn Nottage’s By the Way, Meet Vera Stark and the Making of Black Women’s Film History

SAMANTHA N. SHEPPARD


Narrating Looted and Living Palestinian Archives: Reparative Fabulation in Azza El-Hassan’s Kings and Extras

KAREEM ESTEFAN


The Vanishing Archive: Documentary Filmmaking, the Gaze,

and the Metamorphosis of Atteyat al-Abnoudy

YASMIN DESOUKI


The Film Image of Bessie Smith: St. Louis Blues (1929) in the Post-WWII Era and its Speculative Afterlives

CINTA PELEJÀ


Restoring the Technicolor Ornament: The Yellow Woman’s Death in The Toll of the Sea (1922)

PHOEBE CHEN


Lesbian Bars, Archival Media Bricolage and Research-Creation: Revisiting After Hours Chez Madame Arthur

JULIANNE PIDDUCK


Queer Archival Autoethnography in Ken Gonzales-Day’s Bone-Grass Boy

REN HEINTZ


Expanded Cinema, Recycled Cinema: A Ping-Pong Volley between VALIE EXPORT and Agnès Varda

JEFF SCHEIBLE


Researching as Searching: Refusing the Archival Lacunae

LIZ CZACH


Towards a Methodology of Unwatched Digital Media

LAUREN S. BERLINER



FUTURE ISSUES


Speculative Approaches to Media Histories II

Guest Editor Allyson Nadia Field


Theorizing Sensationalism

Guest Editors Amanda Frisken and Gretchen Soderlund


Media Histories of Care

Guest Editors Hannah Zeavin and Olivia Banner


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Dear colleagues,


We're pleased to announce the Spring 2022

issue of Feminist Media Histories<https://r20.rs6.net/tn.jsp?f=001iw09l9T68AYjUl9JV5KgkEPmmlJuQdzlmafK9cv2v7yMOMT-EuJeuWe73Zby18TOAOaOPXJpFfnYyQnERcT4G8GgEPUqJtkMJ_MmKcgLxPO1RHtKxBgUQIhypbFTziOiGrgYafkE-5NbO7GqO_E2WA==&c=T3nlF2VBmhZTOxikwQGfxKKW0cvPYIx1Oq8HRHnziYsFEjxJRXgI1A==&ch=9ZZWNG-CRIzR5GCfybVOfpZpPMr-hPAOo0BrY6I48uzCzu3aI7C6Gw==>, a special issue on Speculative Approaches to Media Histories.


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Editor's Introduction: Sites of Speculative Encounter


"This issue of Feminist Media Histories is the first of two issues that bring together essays invested in work that challenges the empirical, leans into the unverifiable, engages the absent, and trains a lens on the unseeable. Regardless of the many ways the discipline has become more expansive and inclusive, film and media history remains a history of survivors. The project of these issues (the companion issue is forthcoming in Summer 2022) is to propose speculation as a key method for thinking about questions of material loss and inaccessibility in new ways. The essays gathered in these pages attempt alternative methods for working with the paucity of evidence and forge innovative ways of accounting for media history’s obfuscated aspects.While their approaches are as different as the subjects they cover, the essays in these special issues reflect on and explore modes of speculation as a practice of media making, curatorship, or as a strategy necessitated by the archive’s limits.

...

Speculation as a strategy, even a methodology, allows for the possibility of a film history that is neither driven nor determined by the vicissitudes of chance survival of filmic elements or extrafilmic artifacts. To an overwhelming extent, the field of cinema and media studies has been organized around extant material, with histories closely tethered to surviving evidence. Film history is a history of survivors, written at the expense of alternative voices and practices that risk being dismissed or marginalized if we can’t readily access them. When scholars aim at a broader and more inclusive film history, we often hit a wall. Instead of working with archival abundance we are faced with degrees of archival silence; what survives is often fragmentary at best and deliberately elided or effaced at worst.

...

Beyond classical Hollywood cinema, the issue of survivor bias is alive for multiple media, including media made outside of mainstream spheres, the

work of women and LGBTQ. and nonwhite makers, and media made in areas that have experienced or are experiencing conflict, or where media archiving is precarious at best. The result is that surviving media dominates scholarship in disproportion to produced media. This is indisputable and uncontroversial—indeed, I am trying to trouble the very acceptability of

this premise in our field. When we overlook the overwhelming percentage of moving image media that does not survive or is at risk, is fragmentary, is in danger of technological obsolescence, or whose survival is contingent on

specialized preservation practices, we further reify media history’s survivors and further reinforce the obfuscations of archival precarity. There is an irony to the fragility of a medium whose ontology rests on the notion

of fixity.

...

The topic for these special issues was conceived, then, as a way of gathering

scholars who work in interstices, grapple with unseeable material, address erasures, or who are interested in artists and filmmakers working in speculative modes—out of necessity or for the generative possibilities afforded by imaginative engagement. The invitation was for work that is responding to the field’s broadening and more inclusive scope and purview by adapting and

developing methodologies to better respond to new issues and concerns. Just as nonextant film requires different tools than we might bring to the study of a film print (or its digital copy), I anticipated there would be many other areas of inquiry that likewise called for forms of speculative engagement. Put another way, what methods were being developed to address archival lacunae? How are scholars finding innovative ways of working with absence, erasure, silences, and loss? Methods derived from working with images, figures, and

other material might certainly be inadequate for work that looks at what can’t be seen, is immaterial, effable, or ephemeral. Or, in some cases, speculation enhances established methods by pushing against the bounds of the

verifiable.

...

As I’ve noted, this volume is the first of two. The essays in this Spring 2022 issue offer a range of approaches to the idea of speculation as a method and a strategy both for scholarship and artistic practice. Together, the essays

investigate speculative practices, experiment in speculative methodologies, and suggest avenues for approaching questions of film and media history that are obfuscated, elusive, or otherwise non-evident. The Summer 2022 issue will emphasize creative, fabulative, and experimental forms of speculative scholarship."



Feminist Media Histories is a scholarly journal devoted to feminist histories of film, video, audio, and digital technologies across a range of periods and global contexts. Inter-medial and trans-national in approach, Feminist Media Histories examines the historical role gender has played in varied media technologies, and documents women's engagement with these media as audiences and users, creators and executives, critics and theorists, technicians and laborers, educators and activists.



Feminist Media Histories is published quarterly by the University of California Press.

More information is available here<https://r20.rs6.net/tn.jsp?f=001iw09l9T68AYjUl9JV5KgkEPmmlJuQdzlmafK9cv2v7yMOMT-EuJeufe3JolC1Caw2o7CxM-GuXYTmjZXvwpQw_7x8_YZWtbtyaFtJJvHsRLPMx-hAKrDWaG8CYPphOjmUrGYZGrnPvGuCG4lGKlCEA==&c=T3nlF2VBmhZTOxikwQGfxKKW0cvPYIx1Oq8HRHnziYsFEjxJRXgI1A==&ch=9ZZWNG-CRIzR5GCfybVOfpZpPMr-hPAOo0BrY6I48uzCzu3aI7C6Gw==>.

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