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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 <br>
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<p style="margin: 0;"><a href="https://r20.rs6.net/tn.jsp?f=001iw09l9T68AYjUl9JV5KgkEPmmlJuQdzlmafK9cv2v7yMOMT-EuJeuT-23bsZYdtksY0sj2exkOmJpW_dvB7tXwiViaJ9jAIz3tCoRkHQDA3BLNdY3-k-5EhzioPa0WbwaKis-A3McM75aD9LOhu22V20EFfMkuNAdSkkiJRa0xg=&c=T3nlF2VBmhZTOxikwQGfxKKW0cvPYIx1Oq8HRHnziYsFEjxJRXgI1A==&ch=9ZZWNG-CRIzR5GCfybVOfpZpPMr-hPAOo0BrY6I48uzCzu3aI7C6Gw==" target="_blank" style="font-family: Verdana, Geneva, sans-serif; font-weight: bold; color: #0000FF; text-decoration: underline; font-style: normal;">CURRENT
ISSUE</a></p>
<p style="margin: 0;"><br>
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<p style="margin: 0;"><span style="font-family: Verdana, Geneva, sans-serif;">SPECULATIVE APPROACHES TO MEDIA HISTORIES I</span></p>
<p style="margin: 0;"><br>
</p>
<p style="margin: 0;"><a href="https://r20.rs6.net/tn.jsp?f=001iw09l9T68AYjUl9JV5KgkEPmmlJuQdzlmafK9cv2v7yMOMT-EuJeuUCBBPAhJArBnmNiWv9wFqfyxrOi9_F2eB9cYG7lBZFXszXvXNTpKu-XBjhiwQi14Otdsubr-JYR3VtE_35BO7JuGrRrVhjfdKs5AnE6Tm-Vgyyb_L4NhfE=&c=T3nlF2VBmhZTOxikwQGfxKKW0cvPYIx1Oq8HRHnziYsFEjxJRXgI1A==&ch=9ZZWNG-CRIzR5GCfybVOfpZpPMr-hPAOo0BrY6I48uzCzu3aI7C6Gw==" target="_blank" style="color: rgb(255, 255, 255); font-family: Verdana, Geneva, sans-serif; font-weight: normal; text-decoration: underline; font-style: normal;">Vol.
8 No. 2, SPRING 2022</a></p>
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<p style="margin: 0;"><span style="font-size: 12px; color: rgb(255, 255, 255); font-weight: bold; font-family: Verdana, Geneva, sans-serif;">FEATURED ARTICLES</span></p>
<p style="margin: 0;"><br>
</p>
<p style="margin: 0;"><a href="https://r20.rs6.net/tn.jsp?f=001iw09l9T68AYjUl9JV5KgkEPmmlJuQdzlmafK9cv2v7yMOMT-EuJeuSoQxiINenJHDIXPj3aTuhjSjLQZrvRNXk3i9k6-nkRxc0WUQEpI1X6BhG24kXJ64Ewobdh-L_WpSudIPYJIciY0OqVeEQJM2ZdP0BQPKDxP16CPoq2ONoZIlABDk58xWjMwtZf3FR0kpHHmNH_oC2iXqR4s9HWLTrIGutQduAO9EYJg7_Q83m68eydfyyxREfAx5vcUpwg8oLcBdx3muXnJrXD9D-2frbmqjiSoVTwBQjnzNCjxE30eLajHE7ovcA==&c=T3nlF2VBmhZTOxikwQGfxKKW0cvPYIx1Oq8HRHnziYsFEjxJRXgI1A==&ch=9ZZWNG-CRIzR5GCfybVOfpZpPMr-hPAOo0BrY6I48uzCzu3aI7C6Gw==" target="_blank" style="font-size: 12px; font-weight: bold; font-family: Verdana, Geneva, sans-serif; color: rgb(255, 255, 255); text-decoration: underline; font-style: normal;">Editor's
Introduction</a><span style="font-size: 12px; font-family: Verdana, Geneva, sans-serif; color: rgb(255, 255, 255);">:
</span><span style="font-size: 12px; font-family: Verdana, Geneva, sans-serif; font-weight: bold; color: rgb(255, 255, 255);">Sites of Speculative Encounter</span></p>
<p style="margin: 0;"><span style="font-size: 12px; color: rgb(255, 255, 255); font-family: Verdana, Geneva, sans-serif;">ALLYSON NADIA FIELD</span></p>
<p style="margin: 0;"><br>
</p>
<p style="margin: 0;"><span style="font-size: 12px; color: rgb(255, 255, 255); font-family: Verdana, Geneva, sans-serif; font-weight: bold;">Changing the Subject: Lynn Nottage’s By the Way, Meet Vera Stark and the Making of Black Women’s Film History</span><span style="font-size: 12px; color: rgb(255, 255, 255); font-family: Verdana, Geneva, sans-serif;">
</span></p>
<p style="margin: 0;"><span style="font-size: 12px; color: rgb(255, 255, 255); font-family: Verdana, Geneva, sans-serif;">SAMANTHA N. SHEPPARD</span></p>
<p style="margin: 0;"><br>
</p>
<p style="margin: 0;"><span style="font-size: 12px; color: rgb(255, 255, 255); font-family: Verdana, Geneva, sans-serif; font-weight: bold;">Narrating Looted and Living Palestinian Archives: Reparative Fabulation in Azza El-Hassan’s Kings and Extras</span></p>
<p style="margin: 0;"><span style="font-size: 12px; color: rgb(255, 255, 255); font-family: Verdana, Geneva, sans-serif;">KAREEM ESTEFAN</span></p>
<p style="margin: 0;"><br>
</p>
<p style="margin: 0;"><span style="font-size: 12px; color: rgb(255, 255, 255); font-family: Verdana, Geneva, sans-serif; font-weight: bold;">The Vanishing Archive: Documentary Filmmaking, the Gaze,</span></p>
<p style="margin: 0;"><span style="font-size: 12px; color: rgb(255, 255, 255); font-family: Verdana, Geneva, sans-serif; font-weight: bold;">and the Metamorphosis of Atteyat al-Abnoudy </span></p>
<p style="margin: 0;"><span style="font-size: 12px; color: rgb(255, 255, 255); font-family: Verdana, Geneva, sans-serif;">YASMIN DESOUKI</span></p>
<p style="margin: 0;"><br>
</p>
<p style="margin: 0;"><span style="font-size: 12px; color: rgb(255, 255, 255); font-family: Verdana, Geneva, sans-serif; font-weight: bold;">The Film Image of Bessie Smith: St. Louis Blues (1929) in the Post-WWII Era and its Speculative Afterlives </span></p>
<p style="margin: 0;"><span style="font-size: 12px; color: rgb(255, 255, 255); font-family: Verdana, Geneva, sans-serif;">CINTA PELEJÀ</span></p>
<p style="margin: 0;"><br>
</p>
<p style="margin: 0;"><span style="font-size: 12px; color: rgb(255, 255, 255); font-family: Verdana, Geneva, sans-serif; font-weight: bold;">Restoring the Technicolor Ornament: The Yellow Woman’s Death in The Toll of the Sea (1922) </span></p>
<p style="margin: 0;"><span style="font-size: 12px; color: rgb(255, 255, 255); font-family: Verdana, Geneva, sans-serif;">PHOEBE CHEN</span></p>
<p style="margin: 0;"><br>
</p>
<p style="margin: 0;"><span style="font-size: 12px; color: rgb(255, 255, 255); font-family: Verdana, Geneva, sans-serif; font-weight: bold;">Lesbian Bars, Archival Media Bricolage and Research-Creation: Revisiting After Hours Chez Madame Arthur</span><span style="font-size: 12px; color: rgb(255, 255, 255); font-family: Verdana, Geneva, sans-serif;"> </span></p>
<p style="margin: 0;"><span style="font-size: 12px; color: rgb(255, 255, 255); font-family: Verdana, Geneva, sans-serif;">JULIANNE PIDDUCK</span></p>
<p style="margin: 0;"><br>
</p>
<p style="margin: 0;"><span style="font-size: 12px; color: rgb(255, 255, 255); font-family: Verdana, Geneva, sans-serif; font-weight: bold;">Queer Archival Autoethnography in Ken Gonzales-Day’s Bone-Grass Boy</span></p>
<p style="margin: 0;"><span style="font-size: 12px; color: rgb(255, 255, 255); font-family: Verdana, Geneva, sans-serif;">REN HEINTZ</span></p>
<p style="margin: 0;"><br>
</p>
<p style="margin: 0;"><span style="font-size: 12px; color: rgb(255, 255, 255); font-family: Verdana, Geneva, sans-serif; font-weight: bold;">Expanded Cinema, Recycled Cinema: A Ping-Pong Volley between VALIE EXPORT and Agnès Varda </span></p>
<p style="margin: 0;"><span style="font-size: 12px; color: rgb(255, 255, 255); font-family: Verdana, Geneva, sans-serif;">JEFF SCHEIBLE</span></p>
<p style="margin: 0;"><br>
</p>
<p style="margin: 0;"><span style="font-size: 12px; color: rgb(255, 255, 255); font-family: Verdana, Geneva, sans-serif; font-weight: bold;">Researching as Searching: Refusing the Archival Lacunae </span></p>
<p style="margin: 0;"><span style="font-size: 12px; color: rgb(255, 255, 255); font-family: Verdana, Geneva, sans-serif;">LIZ CZACH</span></p>
<p style="margin: 0;"><br>
</p>
<p style="margin: 0;"><span style="font-size: 12px; color: rgb(255, 255, 255); font-family: Verdana, Geneva, sans-serif; font-weight: bold;">Towards a Methodology of Unwatched Digital Media</span></p>
<p style="margin: 0;"><span style="font-size: 12px; color: rgb(255, 255, 255); font-family: Verdana, Geneva, sans-serif;">LAUREN S. BERLINER</span></p>
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<img alt="" width="5" height="1" border="0" hspace="0" vspace="0" src="https://imgssl.constantcontact.com/letters/images/1101116784221/S.gif" style="display: block; height: 1px; width: 5px;" data-unique-identifier="">
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<p style="margin: 0;"><span style="font-size: 12px; color: rgb(255, 255, 255); font-weight: bold; font-family: Verdana, Geneva, sans-serif;">FUTURE ISSUES</span></p>
<p style="margin: 0;"><br>
</p>
<p style="margin: 0;"><span style="font-size: 12px; color: rgb(255, 255, 255); font-weight: bold; font-family: Verdana, Geneva, sans-serif;">Speculative Approaches to Media Histories II</span></p>
<p style="margin: 0;"><span style="font-size: 12px; color: rgb(255, 255, 255); font-family: Verdana, Geneva, sans-serif;">Guest Editor Allyson Nadia Field</span></p>
<p style="margin: 0;"><br>
</p>
<p style="margin: 0;"><span style="font-size: 12px; color: rgb(255, 255, 255); font-family: Verdana, Geneva, sans-serif; font-weight: bold;">Theorizing Sensationalism</span></p>
<p style="margin: 0;"><span style="font-size: 12px; color: rgb(255, 255, 255); font-family: Verdana, Geneva, sans-serif;">Guest Editors Amanda Frisken and Gretchen Soderlund</span></p>
<p style="margin: 0;"><br>
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<p style="margin: 0;"><span style="font-size: 12px; color: rgb(255, 255, 255); font-family: Verdana, Geneva, sans-serif; font-weight: bold;">Media Histories of Care</span></p>
<p style="margin: 0;"><span style="font-size: 12px; color: rgb(255, 255, 255); font-family: Verdana, Geneva, sans-serif;">Guest Editors Hannah Zeavin and Olivia Banner</span></p>
<p style="margin: 0;"><span style="font-family: Verdana, Geneva, sans-serif; font-size: 12px; color: rgb(255, 255, 255);"></span></p>
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<p style="margin: 0;"><span style="font-size: 16px; color: rgb(71, 79, 85); font-family: Calibri, Helvetica, Arial, sans-serif;">Dear colleagues,</span></p>
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<p style="margin: 0;"><span style="font-size: 16px; color: rgb(71, 79, 85); font-family: Calibri, Helvetica, Arial, sans-serif;">We're pleased to announce the Spring 2022</span></p>
<p style="margin: 0;"><span style="font-size: 16px; color: rgb(71, 79, 85); font-family: Calibri, Helvetica, Arial, sans-serif;">issue of
</span><a href="https://r20.rs6.net/tn.jsp?f=001iw09l9T68AYjUl9JV5KgkEPmmlJuQdzlmafK9cv2v7yMOMT-EuJeuWe73Zby18TOAOaOPXJpFfnYyQnERcT4G8GgEPUqJtkMJ_MmKcgLxPO1RHtKxBgUQIhypbFTziOiGrgYafkE-5NbO7GqO_E2WA==&c=T3nlF2VBmhZTOxikwQGfxKKW0cvPYIx1Oq8HRHnziYsFEjxJRXgI1A==&ch=9ZZWNG-CRIzR5GCfybVOfpZpPMr-hPAOo0BrY6I48uzCzu3aI7C6Gw==" target="_blank" style="font-size: 16px; color: rgb(0, 0, 255); font-family: Calibri, Helvetica, Arial, sans-serif; font-style: italic; font-weight: normal; text-decoration: underline;">Feminist
Media Histories</a>, <span style="font-size: 16px; color: rgb(71, 79, 85); font-family: Calibri, Helvetica, Arial, sans-serif;">
a special issue on </span><span style="font-size: 16px; color: rgb(71, 79, 85); font-weight: bold;">Speculative Approaches to Media Histories</span><span style="font-size: 16px; color: rgb(71, 79, 85);">.</span></p>
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<p style="margin: 0;"><span style="font-size: 16px; color: rgb(209, 107, 4); font-weight: bold;">Editor's Introduction: Sites of Speculative Encounter</span></p>
<p style="margin: 0;"><br>
</p>
<p style="margin: 0;"><span style="font-size: 16px; font-family: Arial, Verdana, Helvetica, sans-serif;">"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.</span></p>
<p style="margin: 0;"><span style="font-size: 16px;">...</span></p>
<p style="margin: 0;"><span style="font-size: 16px; font-family: Arial, Verdana, Helvetica, sans-serif;">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.</span></p>
<p style="margin: 0;"><span style="font-size: 16px;">...</span></p>
<p style="margin: 0;"><span style="font-size: 16px; font-family: Arial, Verdana, Helvetica, sans-serif;">Beyond classical Hollywood cinema, the issue of survivor bias is alive for multiple media, including media made outside of mainstream spheres, the</span></p>
<p style="margin: 0;"><span style="font-size: 16px; font-family: Arial, Verdana, Helvetica, sans-serif;">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</span></p>
<p style="margin: 0;"><span style="font-size: 16px; font-family: Arial, Verdana, Helvetica, sans-serif;">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</span></p>
<p style="margin: 0;"><span style="font-size: 16px; font-family: Arial, Verdana, Helvetica, sans-serif;">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</span></p>
<p style="margin: 0;"><span style="font-size: 16px; font-family: Arial, Verdana, Helvetica, sans-serif;">of fixity.</span></p>
<p style="margin: 0;"><span style="font-size: 16px;">...</span></p>
<p style="margin: 0;"><span style="font-size: 16px; font-family: Arial, Verdana, Helvetica, sans-serif;">The topic for these special issues was conceived, then, as a way of gathering</span></p>
<p style="margin: 0;"><span style="font-size: 16px; font-family: Arial, Verdana, Helvetica, sans-serif;">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</span></p>
<p style="margin: 0;"><span style="font-size: 16px; font-family: Arial, Verdana, Helvetica, sans-serif;">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</span></p>
<p style="margin: 0;"><span style="font-size: 16px; font-family: Arial, Verdana, Helvetica, sans-serif;">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</span></p>
<p style="margin: 0;"><span style="font-size: 16px; font-family: Arial, Verdana, Helvetica, sans-serif;">verifiable.</span></p>
<p style="margin: 0;"><span style="font-size: 16px; font-family: Arial, Verdana, Helvetica, sans-serif;">...</span></p>
<p style="margin: 0;"><span style="font-size: 16px; font-family: Arial, Verdana, Helvetica, sans-serif;">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</span></p>
<p style="margin: 0;"><span style="font-size: 16px; font-family: Arial, Verdana, Helvetica, sans-serif;">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."</span></p>
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<p style="text-align: left; margin: 0;" align="left"><span style="font-size: 14px; font-style: italic; font-weight: normal;">Feminist Media Histories</span><span style="font-size: 14px; font-weight: normal;"> 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,
</span><span style="font-size: 14px; font-weight: normal; font-style: italic;">Feminist Media Histories
</span><span style="font-size: 14px; font-weight: normal;">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. </span></p>
<p style="text-align: left; margin: 0;" align="left"><span style="font-size: 14px; font-weight: normal;"><span class="ql-cursor"></span></span></p>
<p style="text-align: left; margin: 0;" align="left"><span style="font-size: 14px; font-weight: normal; font-style: italic;">Feminist Media Histories</span><span style="font-size: 14px; font-weight: normal;"> is published quarterly by the University of California
Press. </span></p>
<p style="text-align: left; margin: 0;" align="left"><span style="font-size: 14px; font-weight: normal;">More information is available </span><a href="https://r20.rs6.net/tn.jsp?f=001iw09l9T68AYjUl9JV5KgkEPmmlJuQdzlmafK9cv2v7yMOMT-EuJeufe3JolC1Caw2o7CxM-GuXYTmjZXvwpQw_7x8_YZWtbtyaFtJJvHsRLPMx-hAKrDWaG8CYPphOjmUrGYZGrnPvGuCG4lGKlCEA==&c=T3nlF2VBmhZTOxikwQGfxKKW0cvPYIx1Oq8HRHnziYsFEjxJRXgI1A==&ch=9ZZWNG-CRIzR5GCfybVOfpZpPMr-hPAOo0BrY6I48uzCzu3aI7C6Gw==" target="_blank" style="font-size: 14px; font-weight: normal; color: #0000FF; text-decoration: underline; font-style: normal;">here</a><span style="font-size: 14px; font-weight: normal;">.</span></p>
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