Literature Grad: Publications since January 2023
%% Beaver, Blake
@article{fds375523,
Author = {Beaver, BK},
Title = {The Kardashians, Live! Fabricating Liveness in the
Sex-Tape-Derived Reality Series},
Journal = {Television and New Media},
Year = {2024},
Month = {January},
url = {http://dx.doi.org/10.1177/15274764231221764},
Abstract = {This article explores the fabrication of liveness,
understood as a category of affective urgency and narrative
motivation, in two reality series derived from a sex tape
scandal: Keeping Up with the Kardashians and The
Kardashians. The reality programs narratively incorporate
Kim’s live TV appearances to compensate for the sex tape
intertext’s incomplete liveness. Consequently, the
Kardashian series suggest that live TV might imbue other
media genres, like reality TV and sex tapes, with the
liveness those genres only partially replicate. At the same
time, the Kardashian series indicate a deficiency in live
TV’s intertextual influence. The two series necessitate
artificial liveness, produced through esthetic techniques,
and simulated liveness, manufactured from imitations of live
TV, to bolster the liveness of Kim’s live TV appearances.
The Kardashians’s intertext, Saturday Night Live,
clarifies this complication in live TV’s intertextual
impact by parodying live TV’s decline as the dominant
medium for liveness.},
Doi = {10.1177/15274764231221764},
Key = {fds375523}
}
%% Collier, Madeleine
@article{fds370951,
Author = {Collier, M},
Title = {Black box universe: the mind-game phenomenon, the hacker
film, and the new millennium},
Journal = {New Review of Film and Television Studies},
Volume = {21},
Number = {3},
Pages = {544-566},
Publisher = {Informa UK Limited},
Year = {2023},
Month = {January},
url = {http://dx.doi.org/10.1080/17400309.2023.2207425},
Abstract = {It is the beginning of the new millennium. Globalization is
picking up the pace, and Marxist media theorists warn about
affective and ‘immaterial’ modes of extraction, as well
as the rise of the attention economy. It is within this web
of post-Fordist anxieties and chameleonic, flexible
mechanisms of control that Thomas Elsaesser first charts the
rise of the mind-game phenomenon, in his 2009 article ‘The
Mind-Game Film’. Elsaesser and his successors perceptively
trace the mind-game film back to a range of global
conditions and technological innovations which marked the
passage from the twentieth to twenty-first centuries, from
interactive VCR and DVD technology to confrontations with
post-colonial Others. However, little-to-no mind-game
scholarship thus far has centered the rise of Web 2.0 and
the concurrent privatization of the Internet; furthermore,
with the obvious exception of the Matrix trilogy, the
mind-bending hacker films of the 1980s and 1990s (e.g.
WarGames, Sneakers, The Net) have been largely overlooked as
mind-game and mind-game-adjacent films. Accordingly, this
paper examines whether and how the hacker film might be
folded into the broader field of mind-game
scholarship.},
Doi = {10.1080/17400309.2023.2207425},
Key = {fds370951}
}
%% Crais, Benjamin
@article{fds372460,
Author = {Crais, B},
Title = {Cultivating History: Sergei Eisenstein’s The General Line
and the Cinema of Agrarian Transition},
Journal = {Discourse},
Volume = {45},
Number = {1-2},
Pages = {138-169},
Publisher = {Wayne State University Press},
Year = {2023},
url = {http://dx.doi.org/10.1353/dis.2023.a907670},
Doi = {10.1353/dis.2023.a907670},
Key = {fds372460}
}
@article{fds369979,
Author = {Crais, B},
Title = {The Traveller—On Robert Kramer},
Publisher = {Sidecar (New Left Review)},
Year = {2023},
Key = {fds369979}
}
%% Karp, Melissa
@article{fds370927,
Author = {Karp, M},
Title = {“Let me be dust”: Memory beyond testimony in Gwangju,
South Korea},
Journal = {Memory Studies},
Volume = {16},
Number = {3},
Pages = {546-560},
Publisher = {SAGE Publications},
Year = {2023},
Month = {June},
url = {http://dx.doi.org/10.1177/17506980231162329},
Abstract = {Archives of the 5·18 Gwangju People’s Uprising—a 1980
pro-democracy protest in South Korea—entered UNESCO’s
Memory of the World Register in 2011. UNESCO’s inclusion
provided international recognition for the Uprising after
censorship under the Chun Doo-hwan regime; however, the
narrative clarity presented through photographs, documents,
and testimony in the museum now defines and limits
memorialization. By contrast, Ch’oe Yun’s 1988 novella
There a Petal Silently Falls imagines what lies beyond
archives. With its silent protagonist and fragmented,
sometimes illegible prose, Petal interrogates the coherence
of memory when stripped of testimony. Reading Petal and the
Archives as distinct memory sites, this article questions
how memory projects privilege evidentiary archives, which
might perpetuate the very patterns of violence such projects
seek to uncover. As human rights ideologies become
increasingly predominant, Ch’oe’s novella reasserts not
only that the agony of memory can exceed the intelligibility
of the archive, but that it must.},
Doi = {10.1177/17506980231162329},
Key = {fds370927}
}
%% Morris Levine, R
@article{fds376793,
Author = {Levine, RM},
Title = {Freely Espousing: James Schuyler, Surveillance Poetry, and
the Queer Otic},
Journal = {Diacritics},
Volume = {51},
Number = {1},
Pages = {32-48},
Publisher = {Project MUSE},
Year = {2023},
url = {http://dx.doi.org/10.1353/dia.2023.a923442},
Abstract = {<jats:p xml:lang="en"> Abstract: Amidst the “lavender
scare” of the Cold War, James Schuyler, “the great queer
voice of the New York School,” subverted the state’s
auditory surveillance of queer life. Refunctionalizing its
tools of espionage as poetic tactics, Schuyler eavesdrops on
errant conversations (the espoused) and joining (espousing)
them in paratactic assembly. In so doing, Schuyler expands
José Esteban Muñoz’s “queer optic,” the utopian
capacity to see beauty amidst ruins, beyond the visual into
a queer otic that drags into being a world of freer
espousal. I survey the aural surveillance of mid-century
queer life before tracing Schuyler’s détournement of
bugging, wiretapping, and overhearing in his 1969 Freely
Espousing . In turn, I uncover the queer political
commitments lurking beneath Schuyler’s classification as a
pastoral lyricist concerned only with “leaves and flowers
and weather.”</jats:p>},
Doi = {10.1353/dia.2023.a923442},
Key = {fds376793}
}