Becoming Nonhuman Cristóbal Escobar & Barbara Creed May 2024 Film and the Nonhuman The cinema is a marvellous apparatus for taking us outside ourselves and outside of the world in which we believe ourselves to live. – Jean Epstein What does ‘becoming nonhuman’ mean in relation to the cin...
Multiple Knowledges and the Non-human in Leviathan: Michel Serres and the Power of Creative Practice Kevin Hunt May 2024 Film and the Nonhuman Introduction: Intuitions and Intersensoriality The multiple. Water, the sea. Perceptional bursts, inner and outer, how can they be told apart? In ‘Science and the Humanities’, Michel Serres discusses the pain...
A Tale of Two Donkeys: Transcendent Creatures and Transcendental Style in Au Hasard Balthazar and EO Dr. Matthew Cipa May 2024 Film and the Nonhuman Robert Bresson’s Au Hasard Balthazar (1966) and Jerzy Skolimowski’s EO (2022) both tell emotionally compelling, immersive stories that prominently feature donkeys. Bresson’s film follows the titular Balthazar a...
Play with Man Ray: Human-canine intra-action in William Wegman’s video art Claire Henry May 2024 Film and the Nonhuman During the 1970s, American artist William Wegman created seven reels of short video works including many created in collaboration with his canine companion, Man Ray. Distinctive from both other artists’ use of ...
The Agency of Resource: Alanis Obomsawin’s Relational Vision Lloyd Alimboyao Sy May 2024 Film and the Nonhuman Place names accrue meaning and thus become the loci of contradictions. The beginning of Alanis Obomsawin's The People of the Kattawapiskak River (2012) points out such a misalignment of reading in the place men...
Change Not Mummified: A Conversation with Tiffany Deater Bennet Schaber May 2024 Film and the Nonhuman Writing in 1926 of some of her early experiences of the cinema, in this case pre-WWI actualities, Virginia Woolf made some observations that might yet contribute to an ongoing discussion or even creation of a ‘...
The Animal Side: Interview with Katherine Waugh & Fergus Daly Ruairí McCann May 2024 Film and the Nonhuman I See a Darkness (2023) delves into the shadow archive of image-capture technologies, and, with an emphasis on the non-human and animal, raises questions about the streamlining of cinematographic technologies i...
Film and the Nonhuman Technology of Photography: Blowup and Godland David McCooey & Oscar Bloomfield May 2024 Film and the Nonhuman Filmmakers have long been fascinated with photography’s ability to thematise the productive, typically resistant, interplay between the human and the nonhuman, where the ‘nonhuman’ can refer to both technology ...
Ethics of Dissociation. The Films of Véréna Paravel and Lucien Castaing-Taylor Reinhold Görling May 2024 Film and the Nonhuman At the end of the 19th century, the emerging field of psychology adopted the concept of dissociation to describe mental processes that run counter to the assumed endeavour of the subject and its ego to combine ...
É Noite Na América (Ana Vaz, 2022): Towards an Integral Politics of Animality Cristóbal Escobar & Valeria de los Ríos Escobar May 2024 Film and the Nonhuman Animals are visual thinkers. We are verbal thinkers. – Vinciane Despret, What Would Animals Say If We Asked Them the Right Questions? An aerial view of Brasilia draped in shades of midnight blue. The sound ...
Is the Earth Fucked? Lars von Trier’s Melancholia (2011) & Albrecht Durer’s Melencolia 1 (1514) Laleen Jayamanne May 2024 Film and the Nonhuman Real depression is boring, there’s not usually a lot of cinematic stuff going on. And Lars had a very creative way of making it not boring. – Kirsten Dunst ‘Why is it’, the author asked ‘that all men who ...
Being Animal in Robert Bresson’s Au Hasard Balthazar Zina Giannopoulou May 2024 Film and the Nonhuman would have us be concerned not with the psychology but with the physiology of existence. – André Bazin, “Le journal d’ un curé de campagne and the Stylistics of Robert Bresson” I wanted to be raw material...
Multispecies filmography: networks of kin in the films of Ana Vaz, Sriwhana Spong, and Tina Stefanou Tessa Laird May 2024 Film and the Nonhuman At the end of Brazilian filmmaker Ana Vaz’s It is Night in America, (2022), it is not just the human contributors who are credited. Vaz lists the various filmstocks and cameras used in the production of the fil...
Beyond the Anthropocene by different scales: nonhuman and temporality in Patricio Guzmán’s essay films Eduardo Ferraz Felippe May 2024 Film and the Nonhuman Patricio Guzmán is widely recognised as one of the most eminent Latin American filmmakers. Approaching his eighty-third birthday, he remains committed to research and cinematic production. Since the 1970s, his ...
Black Wave: The Legacy of the Exxon Valdez Transcending the Anthropocene/Responding to Nature’s Ethical Call James M. Magrini May 2024 Film and the Nonhuman Bill Nichols presents six conceptual lenses through which to examine the ways in which documentary film functions to invoke and convey its meaning or message, and they are the poetic, expository, observatio...
Girardet and Electricity—Video as Vibrant Matter J. Ronald Green May 2024 Film and the Nonhuman It was natural to think of connections above the ground—roads, electric cables, forests, and seas—but more disturbing to think of them being beneath the ground as well. What we stood on, shouldn’t that be abs...
Ugliness, Poethical Bodies, and Nonhuman Phenomenologies in Border Nonie May May 2024 Film and the Nonhuman Ali Abbasi’s 2018 film Border situates the central character, Tina (Eva Melander), as a liminal figure: lonely, strange, ugly. This is evident from the opening shot of the film, which frames Tina’s broad body ...
