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  5. Volume 11, Issue 1, 2022

Moving Image Review & Art Journal (MIRAJ), The - Volume 11, Issue 1, 2022

Volume 11, Issue 1

Volume 11, Issue 1, 2022

Language: English
  • Articles

      • ‘A long meandering slide’: Feminist critique, genderqueerness, sexual agency and Crip subjectivity in Stephen Dwoskin’s late works

        https://doi.org/10.1386/miraj_00081_1

        Stephen Dwoskin was a prolific experimental filmmaker from the mid-1960s until his death in 2012. Commonly associated with the New York underground film scene and the London Filmmakers’ Co-Op, which he co-founded in 1966, Jewish-American Dwoskin was also a childhood survivor of polio and a disability rights activist. Though an enduring oral legacy of feminist criticism of Dwoskin’s work remains since the 1980s, Dwoskin’s later work from the 1990s and 2000s is acutely understudied. In this article, I recontextualize earlier feminist positions in light of the ‘cripping’ of sexuality and gender proposed by recent critical disability studies, applied to two of Dwoskin’s later works. Adopting archival evidence of feminist critique, feminist art histories and Crip approaches to sexuality, I examine androgyny and genderqueerness in Dwoskin’s photomontages from (1993) and conflations of critical medical and BDSM-structured care in the film (2001). I conclude that Dwoskin’s work invites rich epistemological re-evaluation of both feminist critique and entrenched sociocultural conceptions of gendered subjectivity, intimacy and sexual agency.

    • Exhibition as cinema, cinema as exhibition: Philippe Parreno and the moving image in the museum

      https://doi.org/10.1386/miraj_00082_1

      This article situates a number of Philippe Parreno’s moving image installations within the developments that led in the 1990s to the establishment of film as one of the pre-eminent forms of display in the museum of contemporary art. From here, a clear yet unexplored relation is established between cinema’s relocation to the museum and artistic practices promoted under the conceptual label of relational aesthetics, with which Parreno was closely associated throughout the 1990s. Conceived as a part of the structural whole comprising an exhibition and embedded in a specific location, film installation was used by Parreno to raise questions concerning the visibility of the artwork and the duration of the viewing encounter. The fluid interactions between temporal and spatial categories in these installations invite a re-examination of the categories of museum and exhibition, as well as the material limits of the medium of the moving image.

    • Between presence and absence in Tuni Chatterji’s

      https://doi.org/10.1386/miraj_00083_1

      This article examines the layers of vistas of landscape, archival audio, ambient sound and documentation of history and culture in Los Angeles–based filmmaker Tuni Chatterji’s experimental documentary film () (2012). Chatterji’s film consists mainly of luminous shots of boatmen travelling along Bangladeshi rivers. During key sequences, recordings of Bangladeshi boatmen’s songs known as are heard on the soundtrack. Interspersed among these shots and tracks are brief interview scenes with anthropologists and archivists of this musical form and musicians who perform or study the genre. This article shows how the film fuses experimental filmic approaches from artisanal to structural with documentary, ethnographic and archival modes, including that of ‘ecocinema’, highlighting questions of seeing and knowing. It also traces how the film obliquely brings to light a history of twentieth-century engagement with and archiving of this musical genre on the part of collectors of folk and Indigenous music, as well as radical subcontinental modern artists, thinkers and activists across Partition’s borders.

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