Deep Mediations: Thinking Space in Cinema and Digital Cultures

Description

The preoccupation with “depth” and its relevance to cinema and media studies For decades the concept of depth has been central to critical thinking in numerous humanities-based disciplines, legitimizing certain modes of inquiry over others. Deep Mediations examines why and how this is, as scholars today navigate the legacy of depth models of thought and vision, particularly in light of the “surface turn” and as these models impinge on the realms of cinema and media studies. The collection’s eighteen essays seek to understand the decisive but evolving fixation on depth by considering the term’s use across a range of conversations as well as its status in relation to critical methodologies and the current mediascape. Engaging contemporary debates about new computing technologies, the environment, history, identity, affect, audio/visual culture, and the limits and politics of human perception, Deep Mediations is a timely interrogation of depth’s ongoing importance within the humanities.  Contributors: Laurel Ahnert; Taylor Arnold, U of Richmond; Erika Balsom, King’s College London; Brooke Belisle, Stony Brook University; Jinhee Choi, King’s College London; Jennifer Fay, Vanderbilt U; Lisa Han, UC Santa Barbara; Jean Ma, Stanford U; Shaka McGlotten, Purchase College-SUNY; Susanna Paasonen, U of Turku, Finland; Jussi Parikka, U of Southampton; Alessandra Raengo, Georgia State U; Pooja Rangan, Amherst College; Katherine Rochester, VIA Art Fund in Boston; Karl Schoonover, University of Warwick (UK); Jordan Schonig, Michigan State U; John Paul Stadler, North Carolina State U; Nicole Starosielski, New York U; Lauren Tilton, U of Richmond. COVER Half-title Page Title Page Copyright Page Dedication Table of Contents Preface Part I. Depths of the Moving Image: Perception, Spectatorship, and Film Theory Chapter 1. From the Flat Plane, an Architecture of Light: Filming Space in Interwar Animation by Katherine Rochester Chapter 2. Locomotive Views: Lateral Movement and the Flatness of the Moving Image by Jordan Schonig Chapter 3. Deep in the Cave by Jean Ma Chapter 4. On a Lonely Planet, Feeling-in-Depth: Wong Kar-wai’s 2046 and Chris Marker’s Sans Soleil by Jinhee Choi Part II. Depth Hermeneutics and Surface Turns Chapter 5. Depth Effects: Citizen Kane, Citizenfour, and the Deep Time of Cinema by Jeff Scheible Chapter 6. Bankers Dream of Banking, or Against the Interpretation of Dreams by Jennifer Fay Chapter 7. Blackness at the Heart: Extruding Sovereignty in Nancy’s and Denis’s The Intruder by Alessandra Raengo and Laurel Ahnert Chapter 8. Inaudible Evidence: Counterforensic Listening in Contemporary Documentary Art by Pooja Rangan Chapter 9. To Narrate or Describe? Experimental Documentary beyond Docufiction by Erika Balsom Part III. Deep Space, Deep Time Chapter 10. Sinkholes, GIFs, and Cinematic Ecocatastrophe by Karl Schoonover Chapter 11. Underground Film: Thinking Vertically across the and of Cinema and Media Studies by Karen Redrobe Chapter 12. Transparency at Depth: Dark Mediation of the Deep Seabed by Lisa Han Chapter 13. Depth Mediators: Undersea Cables, Network Infrastructure, and the Deep Ocean by Nicole Starosielski Chapter 14. From Planetary Depth to Surface Measure, or How to Read the Future from an Image by Jussi Parikka Part IV. Deep Networks Chapter 15. Depth in Deep Learning: Knowledgeable, Layered, Impenetrable by Taylor Arnold and Lauren Tilton Chapter 16. From Stereoscopic Depth to Deep Learning by Brooke Belisle Chapter 17. The Deep Realness of Deepfake Pornography: A Conversation by Shaka McGlotten, Susanna Paasonen, and John Paul Stadler Acknowledgments Contributors Index