In Search of Ambiguity

Balsom, E. ,, & H. Peleg .. ( 2016). Introduction: The documentary attitude. . In E. Balsom , & H. Peleg . (Eds.), Documentary across disciplines (pp. 10–19). Haus der Kulturen der Welt/The MIT Press;.

Bazin, A. . ( 2004). The ontology of the photographic image. . In What is cinema (Vol. 1, pp. 9–16). University of California Press;.

Biemann, U. . ( 2013). Geochemistry and other planetary perspectives. . In H. Davis , & E. Turpin . (Eds.), Art in the anthropocene: Encounters among aesthetics, politics, environments and epistemologies (pp. 117–130). Open Humanities Press;.116

Cartelli, P. . (Director). ( 2021). Slow Return [Film]. Nusquam.

Castaing-Taylor, L. . ( 1996;). Iconophobia. . Transition, 69 , 64–88.

Elhaik, T. . ( 2016). The incurable-image: Curating post-Mexican film and media arts. Edinburgh University Press;.

Enwezor, E. . ( 2021). Introduction. . La Triennale: Intense Proximité, Guide de l'exposition (pp. 15–17). Palais de Tokyo;.

Farocki, H. . ( 2014). Another kind of empathy. Fundacio Tapies;.

Handke, P. . ( 1979). Slow homecoming. New York Review Books;.

Hanoun, M. . ( 2001). Cinéma cineaste: notes sur l'image écrite. Yellow Now;.

Macdougall, D. . ( 1998). Transcultural cinema. Princeton University Press;.

Westerkamp, H. . ( 2007). Soundwalking. . In A. Carlyle . (Ed.), Autumn leaves: Sound and the environment in artistic practice (pp. 49–54). Double Entendre;.

Van de Port, M. . ( 2018;). In love with my footage: Desirous undercurrents in the making of an essay film on Candomblé. . Visual Anthropology Review, 34 (2), 136–146.

Vaughan, D. . ( 1999). For documentary. University of California Press;.

Balsom, E. ,, & H. Peleg .. ( 2016). Introduction: The documentary attitude. . In E. Balsom , & H. Peleg . (Eds.), Documentary across disciplines (pp. 10–19). Haus der Kulturen der Welt/The MIT Press;.

Bazin, A. . ( 2004). The ontology of the photographic image. . In What is cinema (Vol. 1, pp. 9–16). University of California Press;.

Biemann, U. . ( 2013). Geochemistry and other planetary perspectives. . In H. Davis , & E. Turpin . (Eds.), Art in the anthropocene: Encounters among aesthetics, politics, environments and epistemologies (pp. 117–130). Open Humanities Press;.116

Cartelli, P. . (Director). ( 2021). Slow Return [Film]. Nusquam.

Castaing-Taylor, L. . ( 1996;). Iconophobia. . Transition, 69 , 64–88.

Elhaik, T. . ( 2016). The incurable-image: Curating post-Mexican film and media arts. Edinburgh University Press;.

Enwezor, E. . ( 2021). Introduction. . La Triennale: Intense Proximité, Guide de l'exposition (pp. 15–17). Palais de Tokyo;.

Farocki, H. . ( 2014). Another kind of empathy. Fundacio Tapies;.

Handke, P. . ( 1979). Slow homecoming. New York Review Books;.

Hanoun, M. . ( 2001). Cinéma cineaste: notes sur l'image écrite. Yellow Now;.

Macdougall, D. . ( 1998). Transcultural cinema. Princeton University Press;.

Westerkamp, H. . ( 2007). Soundwalking. . In A. Carlyle . (Ed.), Autumn leaves: Sound and the environment in artistic practice (pp. 49–54). Double Entendre;.

Van de Port, M. . ( 2018;). In love with my footage: Desirous undercurrents in the making of an essay film on Candomblé. . Visual Anthropology Review, 34 (2), 136–146.

Vaughan, D. . ( 1999). For documentary. University of California Press;.