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Remediating Past Images. The Temporality of “Found Footage” in Gábor Bódy’s American Torso

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Pieldner J.

Acta Universitatis Sapientiae, Film and Media Studies

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2014

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vol. 8

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issue 1

59-78

EN

Along Laura U. Marks’s thoughts on the “disappearing image” as embodied experience, the article proposes to bring into discussion particular modes of occurrence of “past images,” whether in form of the use of archival/found footage or of creating visual archaisms in the spirit of archival recordings, within the practice of the Hungarian experimental film making of the 1970s and 1980s, more speciflcally, in Gábor Bódy’s films. The return to archival/found footage as well as the production of visual archaisms reveal an attempt of remediation (Bolter and Grusin) that goes beyond the cultural responsibility of preservation: it confronts the film medium with its materiality, historicity, and temporality, and creates productive tensions between the private and the historical, between the pre-cinematic and the texture of motion pictures, between the documentary value of the image and its rhetorical dimension. The paper argues that the authenticity of the moving image in Gábor Bódy’s American Torso (Amerikai anzix, 1975) is achieved through a special combination of the immediacy and the hypermediacy of experience. Bódy’s interest in “past images” goes beyond the intention of experimentation with the medium; it is aimed at a profound, reconsidered archaeology of the image and a distinct sensing of the cinema.

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fucking with grammar

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Aboim M.

InterAlia: Pismo poświęcone studiom queer

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2023

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issue 18

116-127

EN

Art practices occupy a space of liminality within academia, being valid, appropriate to illustrate questions and discourses in social sciences and humanities, and not sufficient in mainstream academia to assert what art foregrounds as ‘knowledge’. So, what happens when art has something to claim through non-academic methods of inquiry? Even more complicated, what happens when art allows putting forward theoretical hypothesis involving the immateriality of affect? Departing from a practice-led research focusing on the endurance of white, cisgender, and heteropatriarchic impositions, as well as the ways these impositions materialise themselves on the body, this paper explores the possibilities of Fucking with grammar, a writing method developed throughout the writing of my PhD research. Linguistics has been stretched for centuries by QUILTBAG individuals - queer and questioning, unsure, intersex, lesbian, transgender and two-spirit, bisexual, asexual and aromantic, gay and genderqueer; swardspeak, lavender, and code-switching all entail ways of reshaping and creating language as response to socio-political necessities, camouflage, or simply to access a jargon that can be more faithful to practices and embodiments of the group creating it. However, there is a different kind of reclaiming emerging, when performance artist, actress, and activist Linn da Quebrada utters “I am a cisgender woman with one breast and a penis,” she is committing the kind of epistemic disobedience that undoes epistemology. Here, I focus on disobediences that bring western epistemologies to collapse. These challenges that contribute to what Denise Ferreira da Silva calls “the end of the world as we know it” (2014). To end what ‘we’ know requires a different ‘how’, it entails methodological deployments that help bringing into crisis academic hierarchies regarding [research] corroborability. Questioning after Audre Lorde: how does one make tangible the immeasurable and unpredictable without being averted and undercut by the tools still sustaining the master’s house? The approach I propose here is Fucking with grammar. Fucking with is associated with messing with someone; fuck you or fuck me is negatively perceived; in sex, ‘fuck you’ or ‘fuck me’ is one-sided - the act of fucking should be fucking with, because even when saying ‘I want to fuck you’ it is still necessary more than one person for this ‘fucking’ to actually happen. Similarly, in English, the correct preposition following the verb ‘to dream’ is ‘of’ or ‘about’, which makes absolutely no sense: because when one is dreaming, one is embedded in a withness that ‘of’ or ‘about’ cannot account for. This piece shares how I fuck with grammar within a practice-led PhD research: applying Portuguese and Turkish grammar structures to English, generating verbs or nouns out of adjectives and vice versa[s]. Fucking with grammar is a mode of surpassing some of language’s limitations when speaking of that which is immaterial; it is a semantic slap in the face calling for decolonisation of one’s immediacy of logic when assuming typos and linguistic ignorance within writings not following English normativities. I t is a method that contributes to a broader challenge to formats sustaining hierarchies around what is considered ‘academic’ research.

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SZIR ha-SZIRIM (pieśń najpiękniejsza). Obrazowanie za pomocą metafory Sacrum i profanum na przykładzie „Pieśni nad pieśniami” – analiza kognitywna

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Łukiewicz-Kostro R.

Kultura i Wartości

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2016

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issue 20

DE

Das im alttestamentarischen Buch der Weisheit Salomos enthaltene Hohelied ist ein leidenschaftliches erotisches Liebesgedicht, das Prototyp der Liebeslyrik, das uralte, faszinierende, sinnliche Empfindungen und Wünsche von Mensch und ... Gott ausdrückt. Der Text hat zahlreiche Interpretationen in unterschiedlichen Strömungen erfahren, u.a. natürliche, kultisch-mythische, allegorische oder auch theologische Interpretation. Der Artikel verfolgt das Ziel, die einzigartige, multisensorische Veranschaulichung der Liebe zwischen Mann und Frau in körperlich-seelischer Dimension mit Hilfe der Metapher einer verkörperten Erfahrung von Sacrum und Profanum aufzuzeigen und zu beweisen, dass es keinen Dualismus dieser zwei Dimensionen gibt, sondern nur gegenseitige Beeinflussung. Die Verfasserin führt eine Analyse ausgewählter Metaphern und Metonymien des Textes in der Übersetzung von Czesław Miłosz unter Verwendung der kognitiven Methode von G. Lakoff und M. Johnson durch.

EN

Song of Songs, included in the Old Testament Book of Wisdom is a passionate erotic poem, a prototype of love lyrical poetry which expresses perennial, fascinating, sensual sensations and human desires. The text has been the subject of numerous interpretations in various perspectives, among others: natural (pastoral), cult and mystical, allegorical or theological. It also stimulated quite provocative radical interpretations as it is a text one cannot go by indifferently. The aim of this paper is to analyze briefly a selected Sacrum/profanum metaphor via cognitive approach and indicate there is no dualism but rather mutual overlapping of those two spheres.

PL

Pieśń nad Pieśniami zawarta w starotestamentowej księdze mądrościowej Salomona to namiętny erotyk, prototyp liryki miłosnej, który wyraża odwieczne, fascynujące, zmysłowe doznania i pragnienia człowieka i …Boga. Tekst doczekał się licznych interpretacji w różnych nurtach , m.in. interpretacja naturalna, kultowo-mityczna, alegoryczna, czy też teologiczna. Celem artykułu jest pokazanie unikatowego, wielosensorycznego obrazowania miłości pomiędzy mężczyzną a kobietą w wymiarze fizyczno-duchowym za pomocą metafory ucieleśnionego doświadczenia Sacrum i profanum i wykazanie, że nie istnieje dualizm tych dwóch wymiarów, a jedynie wzajemne przenikanie. Autorka dokonuje analizy wybranych metafor i metonimii tekstu w przekładzie Czesława Miłosza z zastosowaniem metody kognitywnej G. Lakoffa i M. Johnsona.

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1 Acta Universitatis Sapientiae, Film and Media Studies

1 InterAlia: Pismo poświęcone studiom queer

1 Kultura i Wartości

1 Aboim M.

1 Pieldner J.

1 Łukiewicz-Kostro R.

1 2023

1 2016

1 2014

Remediating Past Images. The Temporality of “Found Footage” in Gábor Bódy’s American Torso

fucking with grammar

SZIR ha-SZIRIM (pieśń najpiękniejsza). Obrazowanie za pomocą metafory Sacrum i profanum na przykładzie „Pieśni nad pieśniami” – analiza kognitywna