Public - Volume 36, Issue 71, 2025
Volume 36, Issue 71, 2025
- Articles
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Beyond an ‘Act of Faith’: An Inquiry into Saving Ray’s Films
show More to view fulltext, buy and share links for:Beyond an ‘Act of Faith’: An Inquiry into Saving Ray’s Films show Less to hide fulltext, buy and share links for: Beyond an ‘Act of Faith’: An Inquiry into Saving Ray’s FilmsEngaging with a video uploaded to the Academy Originals’ YouTube channel, An Act of Faith: Saving the Apu Trilogy (Academy of Motion Picture Arts and Sciences, A.M.P.A.S., 2015), this article foregrounds the institutional narratives surrounding the restoration of Indian director Satyajit Ray’s films. It subsequently analyzes the YouTube video, in conjunction with archival documents, to underline the ellipses in the publicized narratives. Contextualizing the archival materials with interviews affords a re-interpretation of the institutional gesture of saving Ray’s films. This aids to critically position the need for restitution that the India-based producer of Ray’s films—Aparajito (The Unvanquished, part of the Apu Trilogy, 1956) and Jalsaghar (The Music Room, 1958)—demanded. The article argues that the act of faith is also an act of artefact acquisition which eventually enables institutions to position themselves as value-generators—converting sacred value into heritage value by mobilizing diverse resources.
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The Bibliographic Diaspora of African Cinema: Paulin S. Vieyra, “Shared” Film Heritage, and the Politics of Archival Cooperation
show More to view fulltext, buy and share links for:The Bibliographic Diaspora of African Cinema: Paulin S. Vieyra, “Shared” Film Heritage, and the Politics of Archival Cooperation show Less to hide fulltext, buy and share links for: The Bibliographic Diaspora of African Cinema: Paulin S. Vieyra, “Shared” Film Heritage, and the Politics of Archival CooperationThis article examines the global dispersal of African film heritage through the case of the Paulin S. Vieyra Collection at Indiana University. Situating the paradigm of “shared heritage” within a broader context of archival displacement, the article interrogates both the promise and limitations of digitization and access as key modalities of North-South archival cooperation. Paulin S. Vieyra, a foundational figure in African cinema and one of its earliest historians, called for archival restitution and self-determination as early as the 1950s; his estate, which has recently been donated to the Black Film Center & Archive at IU, exemplifies the “bibliographic diaspora” of African cinema. The article explores the ethical, political, and epistemic stakes of curatorial authority, digital infrastructure, and access equity. Drawing on Vieyra’s own writings, it advocates for renewed transnational archival models that envision more equitable futures for African audiovisual heritage.
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- Reviews
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Grounding
show More to view fulltext, buy and share links for:Grounding show Less to hide fulltext, buy and share links for: GroundingA review of the 2025 exhibition GROUNDING at The Rooms in St John’s, Newfoundland and Labrador that focuses on the archival and place-making characteristics of the exhibition drawn from the museum’s permanent collection.
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Sheilah ReStack: Susan’s Sword
show More to view fulltext, buy and share links for:Sheilah ReStack: Susan’s Sword show Less to hide fulltext, buy and share links for: Sheilah ReStack: Susan’s SwordBy Maeve HannaExhibition review of Nova Scotia-born, Ohio-based artist Sheilah ReStack’s solo exhibition Susan’s Sword at The Blue Building Gallery, Halifax. The exhibition continues to explore ReStack’s long-term research into experimental photography.
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Labour
show More to view fulltext, buy and share links for:Labour show Less to hide fulltext, buy and share links for: LabourBy Abisola OniCurated by Ingrid Jones, Labour invites reflection on the intent and impact of racialized inclusion in dominant institutions. Though the exhibition’s contents offer knowledge to any visitor who is willing to learn, it also speaks directly to a Black, Indigenous, and persons of colour (BIPOC) public by bringing together artists’ dedicated resources for collective survival. In so doing, the exhibition constructs a counter-archive that its racialized counter-public encounters through a diverse range of audio, visual, and tactile media that document Black and Indigenous resistance to historical and contemporary socio-economic exploitation.
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- Exhibition Review Afterword
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Richard Mosse: Broken Spectre at Centre Phi - Afterword
show More to view fulltext, buy and share links for:Richard Mosse: Broken Spectre at Centre Phi - Afterword show Less to hide fulltext, buy and share links for: Richard Mosse: Broken Spectre at Centre Phi - AfterwordAn update on an exhibition review of Richard Mosse: Broken Spectre at Centre Phi, Montreal.
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- Book Reviews
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Glitchy Vision: A Feminist History of the Social Photo
show More to view fulltext, buy and share links for:Glitchy Vision: A Feminist History of the Social Photo show Less to hide fulltext, buy and share links for: Glitchy Vision: A Feminist History of the Social PhotoBy Jin Sol KimAmanda K. Greene’s Glitchy Vision is a critical excavation of social photography that offers a much-needed historical map for reading the 21st century’s digitally mediated experiences. In this book, Greene skillfully weaves her feminist methodology of “glitchy vision” through an analysis of interwar subjects and visual media objects to contest dominant linear narratives of technological progress. An invaluable resource for visual media and photography scholars, and an overall roadmap for reading the blurry lines of contemporary digitality, this excavation into photography’s social history offers readers with an encouraging look at our digital future by reflecting on our analogue past.
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Dissonant Records: Close Listening to Literary Archives
show More to view fulltext, buy and share links for:Dissonant Records: Close Listening to Literary Archives show Less to hide fulltext, buy and share links for: Dissonant Records: Close Listening to Literary ArchivesThe inherently moral nature of the choice to amplify or silence is the central focus of Tanya E. Clement’s Dissonant Records: Close Listening to Literary Archives. This book review summarizes Clement’s work in applying the methodology of close listening to archival audio of five literary figures (Zora Neale Hurston, Ralph Ellison, Anne Sexton, and Gloria Anzaldúa). In noting the silences, absences, and amplifications in the recordings, Clement points to the ways in which meaning making in the archives is mediated by the technologies of preservation and access.
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NIGHTSENSE
Authors: Jennifer Fisher and Jim Drobnick
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