Book cover with green text of Demon Possession and Sexual Violence in Post-Great Recession American Horror Cinema
Contents page of Demon Possession and Sexual Violence in Post-Great Recession American Horror Cinema
The first copy of my monograph 'Demon Possession and Sexual Violence in Post-Great Recession American Horror Cinema' arrived and it's beautiful! I'm so proud. Thank you @uniwalespress.bsky.social
Bela Tarr in a pirated DVD store in Peru posing with the owner and a selection of his films
Béla Tarr visiting a store in Peru selling pirated DVDs and posing with the owner and bootlegs of his own work, one of the realest ones, RIP
A growing number of women and girls have been digitally “undressed” by X’s Grok as users prompt the chatbot to show subjects in lingerie, covered in liquid, with black eyes or fearful expressions.
Less than a week left to submit your abstracts for this!
“‘The body cam software and the AI report writing software picked up on the movie that was playing in the background, which happened to be ‘The Princess and the Frog…'”
Lovely piece on My Lovely Horse Rescue, named after the song that featured as Ireland’s Eurovision entry in Father Ted.
In case you missed it, Film @tcddublin.bsky.social & Dr Corey Cribb have a CfP out for an international conference on French Theory and Contemporary Screen Studies next June @tlrhub.bsky.social. Abstracts due in January. Please share with anyone who might be interested!
www.tcd.ie/ahss/news-an...
And this is why gen AI is by no means the beginning of some new era of 'democratized' cultural production, but just the obvious next step of the cultural industry making the mass production of branded & standardized content even more efficient & normative
Huge congratulations to Cáit on passing her PhD viva yesterday, with examiners Prof. Laura Rascaroli & Dr Paula Quigley. It's been such a privilege to supervise this project and I strongly encourage film and screen media scholars to look up Cáit's publications to date!
An excellent piece. Thanks to you all for writing it.
How did we get from "Do not use Wikipedia as a source" to "ask hallucinating chatbot everything"?
![‘Undeveloped property’: Mad Men, crisis, and real estate
Martha Shearer
ABSTRACT
Mad Men is perhaps the preeminent example of nostalgia television of the last 20 years. And yet its version of the Sixties is relatively uninterested in what Fredric Jameson has characterised as that decade’s ‘shared feeling that everything is possible’. Instead, its primary concern is the feeling of being unmoored in history, encapsulated in the falling man of its title sequence, but also in its formal shifts between delay, deferral and slowness and the shock of historical and narrative events. As a number of scholars have observed, that slowness calls attention instead to the image and to space, and especially to production design. In this essay, I argue that the show increasingly calls attention to that space as real estate, with seasons punctuated with domestic and commercial real estate sales and acquisitions, real estate transactions as major plot points, and the introduction of real estate agent and property developer characters in its final season. I suggest that real estate, in both aesthetic and narrative terms, is critical to the show’s ambivalence about the future, caught between optimism regarding the expansion of global capitalism and knowledge of crises that follow, both in the 1970s and in 2008.
[now attentive and loving readers of my posts will know that there is a typo in there that they've told me is getting fixed, and if you, dear reader, notice it can I please assure you that I am not illiterate, cheers]](https://cdn.bsky.app/img/feed_thumbnail/plain/did:plc:lb7qv32i2gf7egofrrumuk23/bafkreia74b3bhnoflnpnjsmghzl22p2tbc5l3hkqf7l7by7rvazdz3efe4)
‘Undeveloped property’: Mad Men, crisis, and real estate Martha Shearer ABSTRACT Mad Men is perhaps the preeminent example of nostalgia television of the last 20 years. And yet its version of the Sixties is relatively uninterested in what Fredric Jameson has characterised as that decade’s ‘shared feeling that everything is possible’. Instead, its primary concern is the feeling of being unmoored in history, encapsulated in the falling man of its title sequence, but also in its formal shifts between delay, deferral and slowness and the shock of historical and narrative events. As a number of scholars have observed, that slowness calls attention instead to the image and to space, and especially to production design. In this essay, I argue that the show increasingly calls attention to that space as real estate, with seasons punctuated with domestic and commercial real estate sales and acquisitions, real estate transactions as major plot points, and the introduction of real estate agent and property developer characters in its final season. I suggest that real estate, in both aesthetic and narrative terms, is critical to the show’s ambivalence about the future, caught between optimism regarding the expansion of global capitalism and knowledge of crises that follow, both in the 1970s and in 2008. [now attentive and loving readers of my posts will know that there is a typo in there that they've told me is getting fixed, and if you, dear reader, notice it can I please assure you that I am not illiterate, cheers]
here is my new article on mad men, real estate, the past, the future (open access!): www.tandfonline.com/doi/full/10....
this is part of an upcoming special issue of rethinking history on "memories of the future" edited by louis bayman and tim vermeulen
Day 4: "The Masculine Surreal: Damon Packard's AI-Aided Authorship" by Jaka Lombar, Trinity College Dublin
mediacommons.org/imr/content/...
Day 3: “Jim Jarmusch as (Instagram) Collage Artist” by Jennifer O’Meara, Trinity College Dublin
mediacommons.org/imr/content/...
“The thing about most software startups, though, is that they fail. They take big risks and they don’t pay off and they leave the carcass of that failure behind and start cranking out a new pitch deck.”
Come join us for a conversation with Bluesky’s head of trust and safety on the future of social media, algorithms, and speech. dublininquirer.com/2...
today, for In Media Res, I wrote a short piece on my favorite artifact of internet culture, GONCHAROV, for a theme week on "Auteurs in the Age of Social Media" organized by @caitmurphy.bsky.social. So grateful to Cáit for putting this together! mediacommons.org/imr/content/...
It was great to co-ordinate a theme week for In Media Res. Curators responded to the call with great pieces on auteurs and auteurism in the age of social media.
The first post by @oliviastowell.bsky.social on the Goncharov meme is up today! Please share!
mediacommons.org/imr/content/...
list of banned keywords
🚨BREAKING. From a program officer at the National Science Foundation, a list of keywords that can cause a grant to be pulled. I will be sharing screenshots of these keywords along with a decision tree. Please share widely. This is a crisis for academic freedom & science.
Criterion Channel's listing of David Lynch theatrical releases and early avant-garde shorts.
Criterion's image for the David Lynch documentary Lynch/Oz.
Criterion's image for the David Lynch documentary The Art Life.
Criterion's image for David Lynch's animated web series DumbLand.
Criterion Channel has a whole bunch of David Lynch content at the moment, but you wouldn't know it if you clicked the link at the top of their page--which only shows you their current selection of Lynch's theatrical releases and early shorts.
There's a lot more that the website buries. 1/x
The Sonic Legacy of David Lynch: The Sound of Twin Peaks & beyond: https://www.asoundeffect.com/david-lynch-sound/ #sounddesign #soundeffects #filmsound #filmmaking #audiopost #postproduction #davidlynch #twinpeaks
Post-doc in my department - looking for someone with digital methods and media theory background to work on conspiracy theory/post-truth cultures werkenbij.uva.nl/en/vacancies...
🔊 New Tenure Track Assistant Professor in Film Studies post at Trinity College Dublin. With a specialism in Irish cinema and/or an aspect of non-Western cinema.
www.jobs.ac.uk/job/DLJ581/a...
🥁 Announcing the Public Domain Image Archive! 🥁
We are v excited to share our new sister-project, the Public Domain Image Archive (PDIA), a curated collection of 10k+ out-of-copyright historical images, all free to explore and reuse: pdimagearchive.org @pdimagearchive
“The OpenSubtitles data set… includes the work of many broadcast journalists, investigative reporters and documentarians... The documentaries in OpenSubtitles include films by Ken Burns, Ava DuVernay, Michael Moore, Asif Kapadia, Werner Herzog, Jehane Noujaim, and Errol Morris.”
If you see a website for a lab, research group, or scholarly organisation languishing, it's because the administrator needs to go through three levels of IT hell to access the back-end.
Soon in OpenAccess and paperback, my new book on urban screens - the trilogy on screen cultures with Amsterdam University Press will be complete! I am very grateful for the generous endorsements by Scott McQuire, Kristy Kang, Stephanie DeBoer and Dave Colangelo.
Montage of materials moving into the public domain in 2025. Duke Law Center for the Study of the Public Domain.
📢 Filmmakers: Our Public Domain Remix Contest is open!
🎥 Create a short film using public domain material from 1929.
🔜 Deadline: Jan 17
🥇 $1,500
👉 blog.archive.org/2024/12/16/2025-public-d...
