Suchergebnisse

This article is an homage to two powerful women who were lost to us in 2019, as this journal issue was under way. Feminist film pioneers and superstars Barbara Hammer and Carolee Schneemann were both interviewed by Alexandra Juhasz for her Women of Vision project in the late 1990s. In 2017, now both approaching eighty years of age, both were enjoying major retrospectives in New York, and so Juhasz interviewed them again. In this text, Juhasz intercuts the four conversations, conducted over the course of twenty-five years, in an intergenerational, time-traveling retrospective in which Hammer and Schneemann comment on their own former and current laments and visions for the future.

I have engaged in a series of linked pedagogical experiments—one woman's pedagogic resistance, aligned with many others through making poetry together, by way of digital media literacy—over the duration of the Trump administration. These have been acts of engaged, enraged intellectual citizenship in three parts: 1. an online digital media primer about fakenews, #100hardtruths-#fakenews, produced over the first 100 days of the administration; 2. nine Fake News Poetry Workshops held over the spring semester of 2018, these making use of that online primer and co-facilitated by poets in different locations and communities, and 3. an action plan to further mobilize the primer, poems, and workshops to a scale larger than my own personal pedagogy, still in process. These experiments are first and foremost acts of civic engagement qua pedagogy, art-making, and community-building. They are organized to create and make use of responsive formats, processes, and places to better express our keen knowledge, concern, and curiosity about inter-related phenomena given the current crisis of fake news: self, community, and the world, the fake and real, our own power and that of (social) media.

A compilation of videos and commentary about Fred, a popular teen YouTuber with the persona of a 6-year-old child.

In its time, at the Woman's Building, video played a central role in a unique feminist art education organized around the dangers of female representation and its associated pleasures of self-realization. Its collective video practices developed to acknowledge simultaneous points of view. Alexandra Juhasz revisits their archive of process with a different simultaneous look: hoping to see what other generations can learn from records of feminist and lesbian process.

Can the crisis of women's victimization in prison be represented in ways that challenge this harm without its self-perpetuation? As a documentary scholar & maker, this was my overriding concern for an activist video project about women & prison. Certainly, documentary & prison tell us much about each other in their shared capacity to weaken some & strengthen others, by way of technologies of vision & distance, while buttressing hegemonic power. Our project was to minimize the possibility of documentary as prison by taking responsibility for the victim documentary itself as a system of power & pain, objectification & punishment. 15 References. Adapted from the source document.

We Are Having This Conversation Now offers a history, present, and future of AIDS through thirteen short conversations between Alexandra Juhasz and Theodore Kerr, scholars deeply embedded in HIV responses. They establish multiple timelines of the epidemic, offering six foundational periodizations of AIDS culture, tracing how attention to the crisis has waxed and waned from the 1980s to the present. They begin the book with a 1990 educational video produced by a Black health collective, using it to consider organizing intersectionally, theories of videotape, empowerment movements, and memorialization. This video is one of many powerful yet overlooked objects that the pair focus on through conversation to understand HIV across time. Along the way, they share their own artwork, activism, and stories of the epidemic. Their conversations illuminate the vital role personal experience, community, cultural production, and connection play in the creation of AIDS-related knowledge, archives, and social change. Throughout, Juhasz and Kerr invite readers to reflect and find ways to engage in their own AIDS-related culture and conversation

With anchors in feminist theory, queer discourse, and digital politics, Really Fake rescues "fakeness" from the morass of "fake news" and rejuvenates "fake" as a material and tactical reality. This book treats fakeness as a media object itself: "Fakes" are things that travel and circulate through our bodies, sociality, and the technologies that envelop them. Punctuated with anecdotes, experiences, poetry, stories, and a strong feminist ethic and ethos of care, intimacy, and collectivity, Really Fake offers a series of entry points into reframing the debates of fakeness beyond polarized positions of performative outrage.

Frontmatter -- CONTENTS -- Acknowledgments -- 1 Introduction to AIDS TV -- 2 A History of the Alternative AIDS Media -- 3 The Politics of Mimesis -- 4 The Pleasure and Power of Seeing Science -- 5 Containing and Unleashing the Threat -- 6 WAVE: A Case Study -- 7 Identity, Community, and Alternative AIDS Video -- Notes -- Bibliography -- Videography -- Index