Shooting with intent

The essay "Shooting with Intent" explores the relationship between the documentary camera and the gun, forging new ground in film studies which has amply covered the terrain of fiction film and warfare, but has done little to address the documentary camera in situations of conflict. The volume includes the best-known names in the field and is already being taught widely

Identity slips: the autobiographical register in the work of Chantal Akerman

No description supplie

Seeing revolution non-linearly: www.filmingrevolution.org

Filming Revolution, launched in 2015, is an online interactive data base documentary tracing the strands and strains of independent (mostly) documentary filmmaking in Egypt since the revolution. Consisting of edited interviews with 30 filmmakers, archivists, activists, and artists based in Egypt, the website is organised by the themes that emerged from the material, allowing the viewer to engage in an unlimited set of “curated dialogues” about issues related to filmmaking in Egypt since 2011. With its constellatory interactive design, Filming Revolution creates as much as documents a community of makers, as it attempts to grapple with approaches to filmmaking in the wake of such momentous historical events. The non-hierarchical polysemous structure of the project is meant to echo the rhizomatic, open-ended aspect of the revolution and its aftermath, in yet another affirmation and instantiation of contemporary civil revolution as a non-linear, ever-unfolding, on-going, event

Finishing the euchromatic sequence of the human genome

The sequence of the human genome encodes the genetic instructions for human physiology, as well as rich information about human evolution. In 2001, the International Human Genome Sequencing Consortium reported a draft sequence of the euchromatic portion of the human genome. Since then, the international collaboration has worked to convert this draft into a genome sequence with high accuracy and nearly complete coverage. Here, we report the result of this finishing process. The current genome sequence (Build 35) contains 2.85 billion nucleotides interrupted by only 341 gaps. It covers ∼99% of the euchromatic genome and is accurate to an error rate of ∼1 event per 100,000 bases. Many of the remaining euchromatic gaps are associated with segmental duplications and will require focused work with new methods. The near-complete sequence, the first for a vertebrate, greatly improves the precision of biological analyses of the human genome including studies of gene number, birth and death. Notably, the human enome seems to encode only 20,000-25,000 protein-coding genes. The genome sequence reported here should serve as a firm foundation for biomedical research in the decades ahead

Filming revolution

Filming Revolution investigates documentary and independent filmmaking in Egypt since the Egyptian Revolution began in 2011. It brings together the collective wisdom and creative strategies of thirty filmmakers, artists, activists, and archivists who share their thoughts and experiences of filmmaking in those heady times. Rather than merely building an archive of video interviews, Alisa Lebow constructs a collaborative project, joining her interviewees in conversation to investigate questions about the evolving forms of political filmmaking. The interviews can be explored via their connections to each other, across parameters such as themes, projects, or people. Each constellation of material allows users to engage in a curated conversation that creates a dialogue between filmmakers operating in the same space but who may not necessarily know of each other's work or ideas. Topics highlighted range from the role of activism in filming to the limits of representation or the impact of practical considerations of production and distribution. The innovative constellatory design of Filming Revolution makes an aesthetic commentary about the experience of the revolution, its fragmented development, and its shifting meanings, thereby advancing arguments about political documentary via both content and form, simultaneously re-imagining formats of political documentary and scholarly communication

The unwar film

While the pro- and anti-war documentaries remain locked in a tense stand-off, the one priming the pump for any given war effort, the other taking the cinematic counter-offensive, two further forms have emerged: what I call the “para-militarist” war documentary and the “unwar” documentary. This essay explores these two modes, the former whic comprises the latest addition to the militarist tradition, and the latter, which poses a laudable antidote to this trend. The “unwar” documentary, it is argued, works to undo very logic that subtends the war documentary, paramilitarist or otherwise, which operates within a direct sphere of “engagement” with militarism, never entirely outside of its bellicose imperatives

AVPHD: supervising in the dark

This article gives a brief background, history of AVPhDs as well as some sense of the debates and the concerns surrounding the practice. It is aimed at novice supervisors who may not be as well versed in these practices as those who have supervised AVPhDs in the past. The author notes the interpretive approach to practice-led PhDs seems to be valued by students and supervisors alike, yet she also makes some recommendations based on testimonies from AVPhD supervisors and students that might help clarify best practice in this dynamic but somewhat amorphous area of postgraduate research

Faking what?: Making a mockery of documentary

No description supplie

The Self at a distance: Simone Fattal's autoportrait (1972/2012)

No description supplie

Stratigic sentimentality: nostalgia and the work of Eleanor Antin

No description supplie