Suchergebnisse

Though often named as such in publicity materials, Filipa César is credited not as the director of Spell Reel (2017), but as having undertaken "assemblage." Part of the collaborative project Luta ca caba inda, films including Spell Reel and Conakry (2013) are built around archival fragments stored in the Instituto Nacional de Cinema e Audiovisual in Guinea-Bissau. They were exposed to adverse conditions before being retrieved and digitized. These images, which remain unrestored, are traces of a militant cinema praxis forged during the anti-colonial resistance to Portuguese rule. This essay situates Spell Reel and Conakry (2013) as mobile homes for these images, enabling an audience of Guineans and others to come into contact with them in a context that situates their precarity as not a matter of loss but a method of inquiry. César foregrounds the laborious processes of assembly in place of authorship, thus revealing the potential of the cinematic medium to function as an infrastructural formation.

Frontmatter -- Contents -- Acknowledgments -- Introduction: Intersections and/in Space -- I _ DIGITAL INTERSECTIONS -- Chapter one / "Where Do Aliens Pee?": Bathroom Selfies, Trans Activism, and Reimagining Spaces -- Chapter two / The Queerness of Space and the Body in Nintendo's The Legend of Zelda Series -- Chapter three / The Digital Flâneuse: Exploring Intersectional Identities and Spaces through Walking Simulators -- II _ CINEMATIC URBAN INTERSECTIONS -- Chapter four / Blurring Boundaries, Exploring Intersections: Form, Genre, and Space in Shirley Clarke's The Connection -- Chapter five / Intersections in Madrid's Periphery: Cinematic Cruising in Eloy de la Iglesia's La semana del asesino (1972) -- Chapter six / Encounters and Embeddedness: The Urban Cinema of Ramin Bahrani -- Chapter seven / Perpetual Motion: Mobility, Precarity, and Slow Death Cinema -- III _ URBANISM AND GENTRIFICATION -- Chapter eight / Senior Citizens under Siege: Number Our Days (1976) and Gray Power Activism in Venice -- Chapter nine / Music City Makeover: The Televisual Tourism of Nashville -- Chapter ten / Portland at the Intersection: Gentrification and the Whitening of the City in Portlandia's Hipster Wonderland -- Chapter eleven / Criminal Properties: Real Estate and the Upwardly Mobile Gangster -- IV _ RACE, PLACE, AND SPACE -- Chapter twelve / Dressing the Part: Black Maids, White Stars in the Dressing Room -- Chapter thirteen / "I Do Not Know That I Find Myself Anywhere": The British Heritage Film and Spaces of Intersectionality in Amma Asante's Belle (2013) -- Chapter fourteen / Queerness, Race, and Class in the Midcentury Suburb Film Crime of Passion (1956) -- Chapter fifteen / Fair Play: Race, Space, and Recreation in Black Media Culture -- V _ STYLE AND/AS INTERSECTIONALITY -- Chapter sixteen / The Toxic Intertwining of Small-Town Lives in Happy Valley -- Chapter seventeen / Tattooed Light and Embodied Design: Intersectional Surfaces in Moana -- Chapter eighteen / Vaguely Visible: Intersectional Politics in Bertrand Bonello's Nocturama (2016) -- Notes -- Bibliography -- Contributors -- Index