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| Literature Grad: Publications since January 2023List all publications in the database. :chronological combined listing:%% 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} } | |
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