Image-Thinking: Artmaking as Cultural Analysis

ISBN-13: 9781474494229 / Angielski / Twarda / 2022 / 512 str.

BAL MIEKE

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“Iconomania”. Prologue by W.J.T. Mitchell; Author’s Preface; 1. Introduction: Making as Thinking, and vice versa; Material Image-Thinking; Searching for a Term; Image-Thinking for Thought-Images; Thresholds: the merging of Thinking, Imagining, and Imaging; Overview of Chapters; Part One: Keys to Intermediality; 2. Time-Space: Spatialising Film; A LONG HISTORY OF MADNESS; Nalini Malani, REMEMBERING MAD MEG; Pieter Breughel the Elder, Mad Meg; Introduction: Beginning Becomes Entrance; Political Spacetime: Film in the Gallery; Social Relevance: Madness to Learn From; Forms of Madness; Beginning; Storybook; Picture Book; Working Through and Overcoming Iconography; “Schizophrenia”: Two Sides to Every Story, Two Figures in Every Life; A Sense of an Ending; 3. Voice: who speaks the film, in documentaries?; MILLE ET UN JOURS; MARCEL Proust, In Search of Lost Time; Stanley Donen and Gene Kelly, SINGIN’ IN THE RAIN; Introduction: Subject, Source, Speaker; Migratory Aesthetics and the Trouble with Voice; Voice and the Documentary Tradition; Murmuring Voices: Intimacy and Hybridity Within; Phantom Sentences; Dispersal of Voice; The “Other” Tradition and Cultural Belonging; Travelling Forking Paths; 4. Multi-Tentacled Time: Contemporaneity, Heterochrony, Anachronism for Preposterous History; 2MOVE (the exhibition); Heringa/van Kalsbeek, Untitled; It’s About Time! Reflections on Urgency; Introducing Time’s Thought-Image: An Octopus; Togetherness in Time; Heterochrony Caught in the Act; Heterochrony versus Clock Time; From Anachronism to Preposterous History; It’s About Time!; 5. Making Up, Making As: Fiction and/in/with Reality; BECOMING VERA, REASONABLE DOUBT; Various works of contemporary art; Introduction: Think again; Becoming Vera in Free Indirect Discourse; Thinking in Film; Why Imaging and/of Thinking Move; Mastery, in Doubt; From Impatience as Lifestyle to Mis-Encounters; After-Effects and Pre-Figurations; Part Two: Special Issues, Special Pleading; 6. Showing Trauma? Difficulty and Necessity; DON QUIJOTE, A LONG HISTORY OF MADNESS; Looking at photographs; Trauma Predicaments; Alone Within Himself: Drama versus Narrative; Impossible Story-Telling: Toward the Cinematic; A Way Out?; 7. Agency, Facing; NOTHING IS MISSING (the installation); Bertien van Manen; Introduction: Facing Migration; Abandoning Control; The triple Act of Facing; Intercultural Ethics: Relationality across Gaps; Preposterous Time; Facing Restraint; Facing Speech; For Critical Freedom; 8. Cultural Citizenship vs. Identity; BECOMING VERA; STATE OF SUSPENSION, SEPARATIONS, Aleksandr Pushkin, Eugeni Onegin; Introduction: Citizenship Political, Colonial, Cultural; Becoming French in Cameroon, African in Russia; Becoming Pushkin; Preposterous Encounters of the Third Kind; Reality in Fiction; “My Africa”: Memory, Nostalgia, Exile; Encountering Cultural Citizenship; Impossible Cultural Citizenship; 9. Affect as a Political Tool; MADAME B (the film, various installations); DORIS SALCEDO: PALIMPSESTO; Introduction: The Point of Affect; From “Madame Bovary c’est moi” to “Emma is Us”; Positing Witnessing; What is Focalisation?; An Illness We All Have: Emotional Capitalism; Empathy: Siding with the Dying; Affective Things?; The Experience of Feeling-Looking; The Anthropomorphic Imagination; Affect, Medium and Mood; 10. By Way of Conclusion; For Memory: Mis-remembered, Dis-remembered; ACCESS DENIED, A LONG HISTORY OF MADNESS, REASONABLE DOUBT; Eija-Liisa Ahtila, WHERE IS WHERE?; Introduction: Meandering Through Memory Thought; Making Acts of Memory; Reunion, Resilience, Resistance; What Kinds of Memory Matter?; Failing the Past is Failing the Present; For a Different Mode of Thinking; References; List of images; Author’s Filmography; Acknowledgments; Selective Index of Names and Titles; Selective Index of Terms and Concept;