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<p class="MsoNormal">Dear colleagues and students,<o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal"><span style="color:#050505;background:white">Seattle University's Film and Media Studies program has a really exciting week of talks coming up in early March. Dr. Diana Flores Ruíz will speak on Wednesday March 8th, with a response from
SU's Dr. Natalie Cisneros; and Dr</span><span style="color:black;background:white">.
</span><span class="xt0psk2"><span style="color:black;border:none windowtext 1.0pt;padding:0in">Pooja Rangan</span></span><span style="color:black;background:white"> will speak on Friday March 10th, with a response from SU's
</span><span style="color:black"><a href="https://www.facebook.com/groups/398344665719853/user/1770709020/?__cft__%5B0%5D=AZV9gy9m62KbmVm74siHR4gT55FgpRwVIefKSjp_D_zkKYGNmhH6qmGBujw7gJOAwEqXXbyncFLPupTxn3lbIuvpfiAj_yimegB8C9IgK4uCzJWCCrICVcQjToSF642jbnTDg2vIegEjQ-ZwdzWhivUNZsJPJLzmej7kXrBI5oqURM7-FwsUMibdsCrK8TdoI-g&__tn__=-%5DK-R"><span class="xt0psk2"><span style="color:black;border:none windowtext 1.0pt;padding:0in;text-decoration:none">Nalini
Iyer</span></span></a><span style="background:white">. We are working on flyers, which I will send out soon, but details about the events can be found below.
</span></span><span style="color:#050505;background:white"> <o:p></o:p></span></p>
<p class="MsoNormal"><span style="color:#050505;background:white"><o:p> </o:p></span></p>
<p class="MsoNormal"><b><u><span style="color:#212121">Event 1:</span></u></b><span style="color:#212121"><o:p></o:p></span></p>
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<span style="color:#212121">Title: Self-Evident? Paradoxes and Struggles in Constructing Visual Arguments About Migration<o:p></o:p></span></p>
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<span style="color:#212121"> <o:p></o:p></span></p>
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<span style="color:black">Speaker: Dr.<span class="apple-converted-space"> </span><span style="background:white">Diana Flores Ruíz, Assistant Professor of Cinema and Media Studies, University of Washington</span><o:p></o:p></span></p>
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<span style="color:black;background:white"> </span><span style="color:black"><o:p></o:p></span></p>
<p class="MsoNormal" style="caret-color: rgb(33, 33, 33);font-variant-caps: normal;orphans: auto;text-align:start;widows: auto;-webkit-text-size-adjust: auto;-webkit-text-stroke-width: 0px;word-spacing:0px">
<span style="color:black;background:white">Respondent: Dr. Natalie Cisneros, Associate Professor of Philosophy, Seattle University<span class="apple-converted-space"> </span></span><span style="color:black"><o:p></o:p></span></p>
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<span style="color:black"> <o:p></o:p></span></p>
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<span style="color:black">Time/Place: March 8<sup>th</sup><span class="apple-converted-space"> </span>4:30pm at Casey Commons<o:p></o:p></span></p>
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<span style="color:#212121"><o:p> </o:p></span></p>
<p class="MsoNormal"><span style="color:#212121">Event Page: </span><a href="https://fb.me/e/2DURtscI2" target="_blank"><span style="border:none windowtext 1.0pt;padding:0in;text-decoration:none">https://fb.me/e/2DURtscI2</span></a><span style="color:#212121"><o:p></o:p></span></p>
<p class="MsoNormal"><span style="color:#212121"><br>
</span><span style="color:black">Description:<o:p></o:p></span></p>
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<span style="color:black">This talk examines how images of migrants’ belongings along the US-Mexico border became a popular visual trope, one which has amplified both anti- and pro-immigrant arguments. Discoveries of sunbleached, disintegrating items such as
water bottles, clothing, and toys increased following the 1995 strategy known as Prevention Through Deterrence, which pushed migrants’ journeys into more dangerous, remote parts of the border lands and waters. This presentation begins in 2005, a year that
saw a nativist surge in border spectacles and the advent of YouTube, and concludes with contemporary QAnon social media posts and live streaming platforms. In tracing the proliferation of this visual trope, I analyze its appeal to humanitarian organizations,
politicians, artists, and environmentalists on the far right and left. Throughout, I demonstrate how the desire to make this visual trope self-evident is bound up in the enduring historical relationship between images and policing the US-Mexico border.<o:p></o:p></span></p>
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<span style="color:black"> <o:p></o:p></span></p>
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<span style="color:black">Bio:<span class="apple-converted-space"> </span><span style="background:white">Diana Flores Ruíz examines forms of mediation that produce and facilitate structures of racialized violence, as well as artistic and activist modes of visual
resistance. Her current book project investigates the technological construction of the U.S.-Mexico border through the lenses of apprehension and Latinx visual critique. Spanning from the border’s cartographic founding to its current virtual, biometric capacity,
Dr. Ruíz analyzes a constellation of photography, cinema, surveillance, and machine vision to demonstrate how visual cultures of the border constitute differential racial emplacements of mobility and itinerant political subjectivities. Her work appears in<span class="apple-converted-space"> </span></span><em><span style="font-family:"Calibri",sans-serif">Film
Quarterly</span></em><span style="background:white">,<span class="apple-converted-space"> </span></span><em><span style="font-family:"Calibri",sans-serif">The Matter of Photography in the Americas</span></em><span class="apple-converted-space"><span style="background:white"> </span></span><span style="background:white">(Stanford
UP, 2018), and a forthcoming anthology on materiality and performance in the built environments of Mexico City (UAM Cuajimalpa). Her research has been funded by the Institute for Citizens and Scholars (formerly the Woodrow Wilson National Fellowship Foundation),
the Mellon Foundation, the Social Science Research Council, and UC Berkeley’s Center for Latin American Studies.</span><o:p></o:p></span></p>
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<span style="color:black"> <o:p></o:p></span></p>
<p class="MsoNormal"><span style="color:black"><o:p> </o:p></span></p>
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<b><u><span style="color:#212121">Event 2:</span></u></b><span style="color:#212121"><o:p></o:p></span></p>
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<span style="color:#212121">Title:<span class="apple-converted-space"> </span></span><span style="color:black">Listening with an Accent: The Documentary Audit as Raciolinguistic Pedagogy</span><span style="color:#212121"><o:p></o:p></span></p>
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<span style="color:#212121"> <o:p></o:p></span></p>
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<span style="color:#212121">Speaker: Dr. Pooja Rangan,<span class="apple-converted-space"> </span></span><span style="color:black">Associate Professor of English & Chair of Film and Media Studies, Amherst College</span><span style="color:#212121"><o:p></o:p></span></p>
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<span style="color:black"> </span><span style="color:#212121"><o:p></o:p></span></p>
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<span style="color:black">Respondent: Nalini Iyer, Professor of English, Seattle University</span><span style="color:#212121"><o:p></o:p></span></p>
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<span style="color:black"> </span><span style="color:#212121"><o:p></o:p></span></p>
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<span style="color:black">Time/Place: March 10<sup>th</sup><span class="apple-converted-space"> </span>4:30pm at the Stuart T. Rolfe Community Room</span><span style="color:#212121"><o:p></o:p></span></p>
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<span style="color:#212121"><o:p> </o:p></span></p>
<p class="MsoNormal"><span style="color:#212121">Event Page: </span><a href="https://fb.me/e/4dK6AHxX5" target="_blank"><span style="border:none windowtext 1.0pt;padding:0in;text-decoration:none">https://fb.me/e/4dK6AHxX5</span></a><span style="color:#212121"><o:p></o:p></span></p>
<p class="MsoNormal"><span style="color:#212121"> <o:p></o:p></span></p>
<p class="MsoNormal" style="caret-color: rgb(33, 33, 33);font-variant-caps: normal;orphans: auto;text-align:start;widows: auto;-webkit-text-size-adjust: auto;-webkit-text-stroke-width: 0px;word-spacing:0px">
<span style="color:#212121">Description:<o:p></o:p></span></p>
<p style="margin:0in;caret-color: rgb(33, 33, 33);font-variant-caps: normal;orphans: auto;text-align:start;widows: auto;-webkit-text-size-adjust: auto;-webkit-text-stroke-width: 0px;word-spacing:0px">
<span style="color:black">This talk explores the role of documentary forms in cultivating “neutral” listening habits that justify linguistic profiling and discrimination, and their capacity to engage audiences in<span class="apple-converted-space"> </span><i>listening
with an accent</i>, or listening with a relational awareness of one’s embodied social vantage. To that end, I offer a history, a method drawn from my co-edited anthology<span class="apple-converted-space"> </span></span><span style="color:#212121"><a href="https://www.ucpress.edu/book/9780520389731/thinking-with-an-accent" title="https://www.ucpress.edu/book/9780520389731/thinking-with-an-accent"><i><span style="color:#1155CC">Thinking
with an Accent</span></i></a></span><span class="apple-converted-space"><span style="color:black"> </span></span><span style="color:black">(UC Press 2023), and an illustration of that method in practice. Early sound documentaries by the British GPO Film Unit
were instrumental in shaping the “objective” listening vantage that has become the habitualized locus of documentary listening, or what I call<span class="apple-converted-space"> </span><i>the documentary audit</i>. Pioneers of the neutral commentator voice,
these films exported a supralocal accent as a national-imperial norm and gave audiovisual form to raciolinguistic ideals. I trace the postcolonial resonances of the documentary audit in the evidentiary logic of forensic speech analysis through an engagement
with works by artist Lawrence Abu Hamdan. Abu Hamdan’s investigations of the linguistic profiling of asylum seekers by UK immigration authorities are both diagnostic and propositional: they show how documentary forms and comportments are complicit in listening<span class="apple-converted-space"> </span><i>for</i><span class="apple-converted-space"> </span>an
accent, and simultaneously cultivate a perceptual and interpretive mode that does not listen<span class="apple-converted-space"> </span><i>for</i><span class="apple-converted-space"> </span>so much as<span class="apple-converted-space"> </span><i>with</i><span class="apple-converted-space"> </span>an
awareness of the place from which one has been taught to listen. </span><span style="color:#212121"><o:p></o:p></span></p>
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<span style="color:#212121"> <o:p></o:p></span></p>
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<span style="color:black">Bio:</span><span style="color:#212121"><o:p></o:p></span></p>
<p style="margin:0in;caret-color: rgb(33, 33, 33);font-variant-caps: normal;orphans: auto;text-align:start;widows: auto;-webkit-text-size-adjust: auto;-webkit-text-stroke-width: 0px;word-spacing:0px">
<span style="color:black">Pooja Rangan is a scholar of documentary media based in Amherst College, where she is Associate Professor of English and Chair of Film and Media Studies. Rangan is the author of the award-winning book<span class="apple-converted-space"><i> </i></span></span><span style="color:#212121"><a href="https://www.dukeupress.edu/immediations" title="https://www.dukeupress.edu/immediations"><i><span style="color:#1155CC">Immediations:
The Humanitarian Impulse in Documentary</span></i></a></span><span class="apple-converted-space"><span style="color:black"> </span></span><span style="color:black">(Duke UP 2017), and co-editor of the anthology<span class="apple-converted-space"> </span></span><span style="color:#212121"><a href="https://www.ucpress.edu/book/9780520389731/thinking-with-an-accent" title="https://www.ucpress.edu/book/9780520389731/thinking-with-an-accent"><i><span style="color:#1155CC">Thinking
with an Accent: Toward a New Object, Method, and Practice</span></i></a></span><span class="apple-converted-space"><span style="color:black"> </span></span><span style="color:black">(UC Press 2023, now available in print and as a free open access ebook). Her
new book-in-progress,<span class="apple-converted-space"> </span><i>The Documentary Audit</i>, explores how listening has come to be equated, in documentary discourse, with accountability.</span><span style="color:#212121"><o:p></o:p></span></p>
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<span style="color:#050505;background:white"><o:p> </o:p></span></p>
<p class="MsoNormal"><span style="color:#050505;background:white"><o:p> </o:p></span></p>
<p class="MsoNormal"><span style="color:#050505;background:white"><o:p> </o:p></span></p>
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<p class="MsoNormal">Sincerely,</p>
<p class="MsoNormal"><o:p> </o:p></p>
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<p class="MsoNormal" style="background:white"><b><span style="font-size:13.5pt;font-family:"Arial",sans-serif;color:black;border:none windowtext 1.0pt;padding:0in">Benjamin Schultz-Figueroa (he, him, his)</span></b><span style="font-size:13.5pt;color:black"><o:p></o:p></span></p>
<p class="MsoNormal" style="background:white"><span style="font-size:13.5pt;font-family:"Arial",sans-serif;color:black;border:none windowtext 1.0pt;padding:0in">Assistant Professor of Film Studies</span><span style="font-size:13.5pt;color:black"><o:p></o:p></span></p>
<p class="MsoNormal" style="background:white"><span style="font-size:13.5pt;font-family:"Arial",sans-serif;color:black;border:none windowtext 1.0pt;padding:0in">Seattle University</span><span style="font-size:13.5pt;color:black"><o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size:13.5pt;font-family:"Arial",sans-serif;color:#212121;border:none windowtext 1.0pt;padding:0in">901 12</span><span style="font-size:10.0pt;font-family:"Arial",sans-serif;color:#212121;border:none windowtext 1.0pt;padding:0in">th</span><span style="font-size:13.5pt;font-family:"Arial",sans-serif;color:#212121;border:none windowtext 1.0pt;padding:0in">Ave</span><span style="font-size:13.5pt;color:black"><o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size:13.5pt;font-family:"Arial",sans-serif;color:#212121;border:none windowtext 1.0pt;padding:0in">Seattle, WA 98122</span><span style="font-size:13.5pt;color:black"><o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size:13.5pt;font-family:"Arial",sans-serif;color:#212121;border:none windowtext 1.0pt;padding:0in">schultzfigub@seattleu.edu</span><span style="font-size:13.5pt;color:black"><o:p></o:p></span></p>
<p class="MsoNormal"><a href="https://www.benjaminschultzfigueroa.com"><span style="font-size:13.5pt;font-family:inherit;border:none windowtext 1.0pt;padding:0in">https://www.benjaminschultzfigueroa.com</span></a><span style="font-size:13.5pt;color:black"><o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size:13.5pt;font-family:"Arial",sans-serif;color:black;border:none windowtext 1.0pt;padding:0in"><o:p> </o:p></span></p>
<p class="MsoNormal"><span style="font-size:13.5pt;font-family:"Arial",sans-serif;color:black;border:none windowtext 1.0pt;padding:0in">Author of
<i>The Celluloid Specimen: Moving Image Research into Animal Life</i> available for pre-order from UC Press here:<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size:13.5pt;font-family:"Arial",sans-serif;color:black;border:none windowtext 1.0pt;padding:0in"><o:p> </o:p></span></p>
<p class="MsoNormal"><a href="https://www.ucpress.edu/book/9780520342347/the-celluloid-specimen"><span style="font-size:13.5pt">https://www.ucpress.edu/book/9780520342347/the-celluloid-specimen</span></a><span style="font-size:13.5pt;color:black">
<o:p></o:p></span></p>
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