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This paper argues for a shift in disciplinary identity from 'comparative literature' into 'comparative media literacies'. The shift is necessitated by the fact that within a few decades, every student and practitioner of literature will be a digital native who negotiates culture from the perspective of the digital mind. In the digital mind informational availability replaces inquiry, reality is a montage from a variety of media, and the past no longer matters. Print literature is now a residual medium, just as oral literature becomes residual with the advent of writing. Comparatists should identify the essential elements of literature (which most likely does not include that it be written down in letters), see where these inhabit other media, and teach literature as an intermedial phenomenon. The essay uses Clive Scott's intermedial translations as an analogy for comparative scholarship, and provides examples of how literature travels between media. [ABSTRACT FROM AUTHOR]

One of the most challenging tasks in the internet of things-cloud-based environment is the resource allocation for the tasks. The cloud provides various resources such as virtual machines, computational cores, networks, and other resources for the execution of the various tasks of the internet of things (IoT). Moreover, some methods are used for executing IoT tasks using an optimal resource management system but these methods are not efficient. Hence, in this research, we present a resource-efficient workload task scheduling (RWTS) model for a cloud-assisted IoT environment to execute the IoT task which utilizes few numbers of resources to bring a good tradeoff, achieve high performance using fewer resources of the cloud, compute the number of resources required for the execution of the IoT task such as bandwidth and computational core. Furthermore, this model mainly focuses to reduce energy consumption and also provides a task scheduling model to schedule the IoT tasks in an IoT-cloud-based environment. The experimentation has been done using the Montage workflow and the results have been obtained in terms of execution time, power sum, average power, and energy consumption. When compared with the existing model, the RWTS model performs better when the size of the tasks is increased. [ABSTRACT FROM AUTHOR]

More and more works testify to the pictorial turn which marks francophone literary production since the end of the twentieth century, "immersed in the world of the modern images and mass media," as Magali Nachtergael pointed out. The textual and visual regimes are thus no longer inscribed in a logic of competition but arranged in a perspective of co-adjunction, of fertile crossings. From this perspective, we examine Affranchissements (2020) by Muriel Pic; this "wandering-book" is structured in six parts which deploy a nonlinear narrative, brimming with many visual materials and where everything starts from "the magical grimoire of a stamp album" and from a "debt to be paid." This article analyzes this fundamentally hybrid book which, in a decompartmentalization of semiotic regimes, activates a poetic plurimateriality and makes of the literary space a—political—place of renewal of the real, of a redrawing of the material and symbolic space, as Jacques Rancière would say. [ABSTRACT FROM AUTHOR]

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In dialogue with studies about montage in Romanian cinema, I argue that films such as Kapitalism: our improved formula (Solomon, 2010) and Do not expect too much from the end of the world ( Jude 2023) offer a dialectical technique that is structurally different from “intermedial collage” (Pethő 2022, 39). While such dialectical technique has abandoned three key elements that were part of Sergei Eisenstein’s conception of montage (totality, qualitative changes, and contradictions), it provides an aesthetic that anchors montage in an ideology critique, which is based on a political standpoint. I argue that the new montage deploys cuts that gesture to a partial perspective (against totality), delays and dead time (rather than qualitative changes) and works with inherent self-blockages as a condition of possibility to cinematic transformation (as opposed to contradictions). Given their interest in literature and new media, this experimental orientation constitutes an alternative not only to traditional forms (avant-garde collage or Soviet dialectics) but also to the New Romanian Wave’s focus on the essence of cinema (Solomon 2016, 48). [ABSTRACT FROM AUTHOR]

Purpose: Speech is characterized by dynamic acoustic cues that must be encoded by the auditory periphery, auditory nerve, and brainstem before they can be represented in the auditory cortex. The fidelity of these cues in the brainstem can be assessed with the frequency-following response (FFR). Data obtained from older adults—with normal or impaired hearing—were compared with previous results obtained from normal-hearing younger adults to evaluate the effects of age and hearing loss on the fidelity of FFRs to tone glides. Method: A signal detection approach was used to model a threshold criterion to distinguish the FFR from baseline neural activity. The response strength and temporal coherence of the FFR to tone glides varying in direction (rising or falling) and extent ( 1 3 , 2 3 , or 1 octave) were assessed by signal-to-noise ratio (SNR) and stimulus–response correlation coefficient (SRCC) in older adults with normal hearing and with hearing loss. Results: Significant group mean differences in both SNR and SRCC were noted—with poorer responses more frequently observed with increased age and hearing loss—but with considerable response variability among individuals within each group and substantial overlap among group distributions. Conclusion: The overall distribution of FFRs across listeners and stimulus conditions suggests that observed group differences associated with age and hearing loss are influenced by a decreased likelihood of older and hearing-impaired individuals having a detectable FFR response and by lower average FFR fidelity among those older and hearing-impaired individuals who do have a detectable response. [ABSTRACT FROM AUTHOR]

The following text is about montage, which can be understood as the plastic assembly of parts as an expansion of the collage into three-dimensional space. The task required to invent unknown things. The text describes the design and learning processes of artistic project work in which new things were created from materials and objects. The learning perspectives of this experimental montage also include ethical aspects that contribute to the students’ personality development. [ABSTRACT FROM AUTHOR]

Combining images, comparing and linking them in chains, clusters and texts is a cultural practice that was not invented with digitisation. It dates back to the nineteenth century, when the invention of photography facilitated the task of copying artworks and other cultural material, and putting them in different contexts. Later, with the invention of the moving image, the gesture of montage was developed as an entirely new device of narration and thinking. Alain Bergala refers to this cultural practice when he proposes, in The Cinema Hypothesis, the combination of film clips as a film-pedagogical praxis as well as a research method. This article investigates the theoretical, cultural and practical aspects of this method, in revisiting a wide range of writings by Jacques Rancière, Roland Barthes, André Malraux and Wsewolod Pudowkin, as well as materials from Aby Warburg’s Bilderatlas and the found footage film Why Don’t You Love Me? by Christoph Girardet and Matthias Müller (1999). Furthermore, by comparing an extract from Grigris by Mahamat-Saleh Haroun (2013) to Sandro Botticelli’s The Birth of Venus (1485/6), the didactic potential of this method is explored. The article thus considers the pedagogical, aesthetic, cultural and filmic aspects of the practice of ‘montage’ in its most basic sense: the combination of (audio)visual material. [ABSTRACT FROM AUTHOR]

Copyright of Revue Archéologique de Picardie is the property of Revue Archeologique de Picardie and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

• Functional connectivity estimates and graph metrics based on source EEG depend on electrode density. • Compared to high-density, low-density EEG gives skewed graph metric estimation. • The reproducibility of graph metrics across electrode densities depends on the inverse solution. Using EEG to characterise functional brain networks through graph theory has gained significant interest in clinical and basic research. However, the minimal requirements for reliable measures remain largely unaddressed. Here, we examined functional connectivity estimates and graph theory metrics obtained from EEG with varying electrode densities. EEG was recorded with 128 electrodes in 33 participants. The high-density EEG data were subsequently subsampled into three sparser montages (64, 32, and 19 electrodes). Four inverse solutions, four measures of functional connectivity, and five graph theory metrics were tested. The correlation between the results obtained with 128-electrode and the subsampled montages decreased as a function of the number of electrodes. As a result of decreased electrode density, the network metrics became skewed: mean network strength and clustering coefficient were overestimated, while characteristic path length was underestimated. Several graph theory metrics were altered when electrode density was reduced. Our results suggest that, for optimal balance between resource demand and result precision, a minimum of 64 electrodes should be utilised when graph theory metrics are used to characterise functional brain networks in source-reconstructed EEG data. Characterisation of functional brain networks derived from low-density EEG warrants careful consideration. [ABSTRACT FROM AUTHOR]

Copyright of Aura. Revista de Historia y Teoría del Arte is the property of Aura Revista de Historia y Teoria del Arte and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The concept of navigation, introduced by Harun Farocki in his lecture Computer Animation Rules, explains the digital/algorithmic choreography of consumer behaviour through media platforms. This article contends navigational connectivity is a cybernetic operating structure for capital, which mediates the techno-geographic milieu of the capitalocene and is a key factor in the present destabilization of earth systems. There is, therefore, an urgent need to formulate ways of disarticulating navigational processes to fragment global capitalism and re-establish a diversification of local cultures. We undertake this task in tandem with the critical project of cosmotechnics developed by Yuk Hui and examine how an ontological disagreement between Gilles Deleuze and Quentin Meillassoux shapes Hui's analysis of cybernetics. Contra Meillassoux's correlationist reading, we argue Deleuze foregrounds machinic becoming through a primal contact with the virtual and claim practices of montage are machines of analysis that dismantle navigational connections and establish alternate patterns of feedback estranged from the capitalist process. To this end, we examine models of montage developed by Jacques Rancière, Farocki and Deleuze, and consider the potential of such models to function as machines of navigational disarticulation and cultural pluralization. This approach reframes user engagement as modulative becoming in a manner that introduces new techno-cultural-geographic conjunctions appropriate to cosmotechnics. [ABSTRACT FROM AUTHOR]

Since the very origins of the medium, the display strategies, the exhibiting venues, and the selection of pictures underpinning photographic exhibitions have mirrored and at the same time redefined precise ideologies about photography. Against this background, this paper discusses two exhibitions presented in Germany between 1920 and 1929 – namely, the Erste Internationale Dada-Messe and Film und Foto –, so as to highlight opposite approaches to the identity of photography as related to the system of contemporary art.

The article examines the point of Soviet art's 1920-1930 influence on secular processes in society. The model of the psychology of art proposed by L. Vygotsky, based on Marxist dogmatics, becomes the starting point for the search of creative elite, particularly, for the film director and art theorist Sergei Eisenstein. They are brought together by a common understanding of art as a sign system aimed at awakening strong emotional disturbances in a person, the culmination of which is by Eisenstein's opinion ecstasy, from Vygotsky's point of view - catharsis. Scientists of the Vygotsky's circle, which also includes Eisenstein, study the phenomena of expanded consciousness, looking for ways to influence an individual, including through the practices of art. The article focuses on Eisenstein's interest in the topic of mystical ecstasy. In his article “Stanislavsky and Loyola”(1937), considered in detail, there's set a parallel between the spiritual practices of medieval ascetics and acting exercises according to the system of K. Stanislavsky. Eisenstein introduces the experience of ecstatic practices, drawn from the exercises of Ignatius Loyola, into the Dionysian art renewed by the revolution. In particular, using the method of editing as a psychotechnics, S. Eisenstein effects the mind of a viewer, inspiring him with utopian ideas of social justice, dating back to classical Marxism.. Avant - garde practices of Soviet art 20-30 years of the 20th century, embodied by S. Eisenstein in cinema, are interpreted according to the tradition of J. Wach – P. Tillich, respectively, as pseudo- and quasi-religious, as well as in the context of the theory of "atheistic fideism" in the mode of building an "atheistic church" as part of the secularization process. Special attention is paid to the synthesis of science and art. A version is put forward about the implicit nature and secular implications of this large-scale phenomenon, expressed in the transfer of native religious functions to related areas. For the first time in historiography, S. Eisenstein is considered in his quasi-religious persona.

My paper will focus on some issues related to photographic image and its language, starting with the analysis of a photographic work created in 1937 by Bruno Munari for Almanacco letterario Bompiani of that year. The title of the insert is Udite, Udite!, it is a sixteenth note created by mounting quotations from Mussolini's speeches, photographs of the regime, and the portrait of the Duce inserted at the top of each page perforated as a “telescope", a graphic expedient that makes him 'physically' present. The description and commentary on Munari's work will be linked to issues, such as: the visual, cultural and psychological strategies of fascism, all focused on the image and 'corporeality' of Mussolini, also through photography; the 'resistance' action of Munari's photography and graphics given the author's awareness of the subtle power of visual communication, the ability of photography to strengthen opinions and positions and, as already experienced by Dadaism, “to turn poisons into an antidote"; the exploitation of the photographic medium, by propaganda and satire, in the exaltation of the physical, direct and multiple dimension to which the medium gives access. In the years of fascism, photography was, together with cinema, the regime's main communication tool, aimed mainly at enhancing the figure of Mussolini, his body, his resolute face. Munari, who since the Thirties has distinguished himself in graphics and advertising for his modern style, in Udite, Udite! shows a full awareness of the strategies of fascism, subjecting them to a skilful make-up operation. Using the same language of the regime, Munari bends it to a different meaning through the grammar of modernist collage and the enhancement of the conceptual component of the photographic image. He carries out an operation of ideological cosmetics, telling a different story, soliciting, without further verbal declarations, the critical sense of those who look and read.

This article explores the relation between cinema and philosophy through the lens of interest shown by some filmmakers in the lives and works of philosophers. It begins by delving into contemporary perspectives on the relationship between philosophy and cinema. In order to assess how the constitutive dissimilarity of the two terms and the ways in which they can be brought together are at the origin of speculative short circuits and experiences of wonder, it brings together the works of thinkers – Cavell, Benjamin, and Kracauer; and filmmakers Rossellini, Montaldo, Keaton, and Jarman. Reflecting on the aesthetic and cultural impact of cinema is all the more important given the current omnipresence of images and prosthetic technologies that, with their incessant solicitations, threaten the processes of apprehension, learning, and conveying of knowledge. Thinking and perceiving differently thus becomes an essential function of cinema, one keenly performed in Safaa Fathy’s Derrida’s Elsewhere, analyzed in the last two sections.

En esta novela la presencia del cactus de San Pedro muestra no solo las operaciones terapéuticas del chamán, sino también la manera como el éxtasis producido por su consumo se define como procedimiento químico y estético, de repercusiones somático-políticas y aspiraciones experimentales desde el punto de vista de su concreción literaria. De esta manera, se subraya la experimentación de las visiones a las que se llega mediante el estado de trance y la revisión de los modos de narrar la Historia, dando pie a una teorización chamánica del método del montaje.

In this "paper," we share our process of exploring the possibilities for the emergence of new ways of knowing-thinking-doing response-able collaboration. In an effort to come "together-apart" as author-collaborators, working from our different positionings and locations in the world, we shared text and images of the various ways the ideas from individual papers (nodal points) and our diffractive processes were moving (with) us. Sharing these creative respondings, new relations co-emerged through the texts-images and the various diffractive patterns that traveled widely through screens, devices, bodies, from New Zealand and Australia, to Iran, London, Finland, Canada, and the West and East Coasts of the United States. Paying attention to the fine details, difference emerged, as did new forms of more-than-human connection. The visual and written respondings were then cut together-apart (literally, metaphorically and methodologically) to represent the multiplicities of the diffractive process, bodies, hauntings, absences and excess, and the tensions and affective vulnerabilities that co-emerged through our process. We present four visual montages of the diffractive patterns that surfaced from the individual papers as nodal points and our creative collaborative processes of becoming-with the special issue. We conclude with some final thoughts on the process of diffracting the special issue, inviting the reader to join us in imagining new lines of flight, alternative possibilities for becoming a more response-able, more-than-human academic community. [ABSTRACT FROM AUTHOR]

Precast construction with carbon reinforced concrete and aerogel thermal insulation The CUBE BOX represents a milestone in the development of carbon reinforced concrete. For the first time, an industrially manufactured building is made of carbon reinforced concrete. Within the scope of the construction project, steel reinforced (semi‐)precast concrete elements were transferred into the carbon concrete technology. The article also describes the integration of aerogel thermal insulation in semi‐precast concrete construction. Based on various design problems, the production and assembly of the (semi‐)precast walls and the precast ceilings are described. A particular challenge of the project is the use of an automated production line in the precast concrete plant. From a practical point of view, the essential work steps are described in detail. [ABSTRACT FROM AUTHOR]

The paper analyses popular geographical imageries of the European migrant crisis. It focuses on visualities that shaped discussions about the event among Czech Facebook users with anti-immigration attitudes. The paper elaborates on the co-production of migrants' visibility and visualities that depict them in certain ways. Visuality influences visibility and shapes what it means for people (who are represented by images) to be visible in certain ways when seen by another people (who observe and consume the images). Here, we analyse how cartographic visualizations and the practice of montage of images produce meanings and affects that make migrants either visible only as abusers of the Czech social welfare system (linking migrants in a racist way to the Roma minority) or visible only as dehumanized raging Muslim invaders that resemble more machine-like beings. These interpretations are explained with references to historical specificities of the Czech context. A user-made, film-like sci-fi video of the crisis is also analysed carefully to demonstrate its imaginary of a collapsing Western Europe, where raging invaders dominate. Presenting migrants' visuality as invaders links these racist and Islamophobic attitudes to migrants' visibility as enemies and targets to be killed, not pitiable human beings to be helped. [ABSTRACT FROM AUTHOR]

Distributed computing services in cloud environments are easily accessible to end users. These services are delivered to end users via a subscription-based model. The "infrastructure as a service" (IaaS) cloud model is one of the best cloud environment models for running data- and computing-intensive applications. Real-world scientific applications are the best examples of data and computing intensiveness. For their implementation, scientific workflow applications need high-performance computational resources and a large volume of storage. The workflow tasks are linked based on computational and data interdependence. Considering the high volume and variety of scientific workflows (SWs), the resources of the IaaS cloud model require managing energy efficiently and without failure or loss. Therefore, in order to address the issues of power consumption and task failure for real-world SWs, this research work proposes a replication-based dynamic energy-aware resource provisioning (R-DEAR) strategy for SWs in an IaaS cloud environment. The proposed strategy, R-DEAR, is a resource- and service-provisioning strategy that implements a replication-based fault-tolerant and load-balancing mechanism. The proposed R-DEAR strategy schedules the tasks of a scientific workflow with a replication-based fault-tolerant mechanism. The proposed R-DEAR strategy also manages the power consumption of IaaS cloud resources dynamically through a load-sharing process. Simulation results show that the proposed R-DEAR strategy reduces energy consumption, execution cost, and execution time by 9%, 15%, and 18%, respectively, as compared with the existing state-of-the-art strategy. [ABSTRACT FROM AUTHOR]

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This article explores methodological possibilities when working with an image, since, as Foucault taught us, there is an unavoidable relationship of irreducibility from the image to the word, and vice versa. We aim to outline some methodological paths to think about an ethical pedagogy of looking at the image based on Foucault's archeo-genealogical theories. To do so, we argue for the methodological power of an archeology embedded in the knowledge of images. This genealogical exercise allows us to think about a multiplicity of meanings about and with images anchored in Georges Didi-Huberman’s concept of montage where images as singular stars, when placed next to each other, allow for drawings of constellations that produce new spaces for the creation of thought, breathing zones and possible learnings of resistance. Drawing from the analysis of the Atlas Mnemosyne by the German art historian Aby Warburg, we use the term montage as a genealogical movement that seeks to emphasize the infinite work in front of an image, an exercise that allows us to think differently about what we are and what that we can become. In this scintillating ballet, a montage tries to apprehend the surviving and anachronistic dance that is the very historicity of the event that is the image - appearances, destruction and rebirths, or rather, an archeology of knowledge of and about the image that imposes a double condition on the order of knowledge: the inexhaustibility of the image and its abysmality. In its inexhaustibility we refer to the exuberance of its appearance, the way it opens us up beyond what is already known. It its abysmality we refer to, the dimensions of the image that are made irreducible to the provisional nature of the act of looking, a notknowing which is insurmountable to our gaze in the face of the survival that make the images pulsate like living beings. [ABSTRACT FROM AUTHOR]

Among the many ways in which Herta Müller engages in reconstructing historical memory in her prose is her extensive use of poetic devices. This article will focus on illustrating the role of words-images and the collage technique, in short, on the functioning of the visual medium, with its varied signifying potential, in conjunction with words, according to a logic in which the montage encapsulates a fragmentary, exploded, alienated identity. This study will therefore shed light on some central aspects of Herta Müller's prose concerning the problematic layering of the characters' consciousness. These are victims of the most lacerating historical traumas that marked the 20th century and they often appear within the frames of an autobiographical narrative that does not separate ethics from imagination, or the representation of the wounds of history from poeticism and fiction. [ABSTRACT FROM AUTHOR]

Copyright of Pensamiento, Palabra y Obra is the property of Universidad Pedaggica Nacional and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The theory of synchronism was one of the most influential ideas in the Romanian interwar period. Eugen Lovinescu championed the powers of imitation as a means of development for Romanian culture and society. At the same time, it was a case of illegitimate filiation that led to the uncritical importation of several types of ideas from Western European culture. By analysing Radu Jude's found footage montage films, I argue that not all versions of imitation are in fact as positive as Lovinescu considered and speak about a newer concept of genealogy, one that relies on archives and that constructs a new regime of knowledge in the case of the representation of recent history. [ABSTRACT FROM AUTHOR]

The article proposes a new approach to translation, one focusing on the imaginative world of the source text, not simply its language. The source text generates potential spaces which are entrenched in the experience of creative reading. The projective minds of the translator and the reader converge in these spaces. The argument is illustrated with references to the author's own translations of Rimbaud's 'Antique' and 'Ville', which take the form of a montage and of a cubist object respectively. [ABSTRACT FROM AUTHOR]

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Copyright of Esferas is the property of Esferas and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Montage is commonly identified solely with film-editing. Why this is the case when conceptually it is synonymous with the practice of collage is due largely to the Soviet insistence that Russian editing practices - montage - differed substantially from Hollywood editing practices. In asserting the specificity of a Soviet montage practice which seeks to entirely control the message of film for the spectator, Sergei Eisenstein set himself against the thinking of his rival and contemporary Dziga Vertov. In this dispute, the focus becomes the politics of reading more generally. This dispute around the politics of active reading is later echoed and amplified in Jacques Derrida's arguments around the postcard, and picked up in South Africa around the understanding of a recent montage text, 40 nights/40 days: from the lockdown. The dynamics of what it is to be a "fearful reader" are here taken further through the question of montage in play and the politics of reading in the moment of Covid-19. [ABSTRACT FROM AUTHOR]

The paper examines the (technically reproducible) „atrocious image“ within discourses commenting on the tendency of such visuals to affect the viewers’ imagination and memory and their ability to make sense of and retain in their minds (representations of) „exceptional events“ such as war. The text analyses the theoretical circumstance that the affective potential of the „atrocious“ gives rise to many „iconoclastic“ debates about the ethical risk involved in the production, dissemination and consumption of technical images representing „transgressive moments“ – those „imagining“ death, torture and all manner of other ‘atrocities’. The aim is to discern what these debates miss, namely that the locus of misunderstanding is conditioned by the premise that photography and cinema have a disproportionate (compared to other media) power over people’s imaginations, and thus over the social as such. This power is tied to the uses of and prejudices about the apparent ability of a medium in a particular historical period to capture the truth of events and reality in general. In this sense, the article attempts to show that as contemporary audiovisual culture changes, the boundaries of old arguments about the affective potential of technical images must be reconsidered, as they have begun to lose their power and verisimilitude because they are easily falsifiable and increasingly function as a form „image speech“ for private individuals. [ABSTRACT FROM AUTHOR]

Copyright of Ñawi: Arte, Diseño y Comunicación is the property of Escuela Superior Politecnica del Litoral and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Pixo: Revista de Arquitetura Cidade e Contemporaneidade is the property of Pixo Revista de Arquitetura Cidade e Contemporaneidade and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This paper presents the first English-language translation of "Les feuilles bougent" ("The Leaves Are Stirring"), writer-director Nicole Vedrès's most important essay on film aesthetics. Published in August 1948 in the illustrious revue, Les Temps Modernes, Vedrès's essay reflects on her then-recent experience of directing the celebrated archival documentary, Paris 1900 (1947). Using her experience of searching for and reediting footage of turn-of-the-century Paris as a springboard, Vedrès tackles a set of aesthetic problems that were being posed with renewed vigor among French film writers in the period after the war. These include questions of cinema's relationship to the real, the ability of images to capture historical change, and the relationship between cinematic montage and the act of writing. [ABSTRACT FROM AUTHOR]

This paper describes the history of the writing and the intellectual context for Nicole Vedrès's essay "The Leaves Are Stirring." It places Vedrès's claims about cinematic realism and montage in dialogue with canonical theorizations of film theory in France at this pivotal postwar moment, including the writing of André Bazin, André Malraux, Roger Leenhardt, and Alexandre Astruc. It draws out the points of contact between Vedrès's text and these better-known studies of film aesthetics, placing the piece in the context of contemporary aesthetic discourse and arguing for its singularity in the landscape of postwar French film writing. Opening out from this historical context, it closes by gesturing toward the modernity of Vedrès's essay in terms of more contemporary archival filmmaking, as well as thinking on the relationship between cinema and history. [ABSTRACT FROM AUTHOR]

This article examines how documentary poetics—particularly as employed by Muriel Rukeyser—use a montage of images to form a visual landscape. This visual landscape is wielded effectively by politicians during the Whistle Stop Tour electioneering. In Rukeyser's "Campaign", one section in her long-form poetic biography of Wendell Willkie, entitled One Life, she describes the journey of the 1940 Republican presidential candidate as he campaigns from the observation car of a train. The visual landscape created by the Whistle Stop Tour and described through documentary poetics contains Willkie, his audience, and the train itself. It is a unified spectacle, one that contains the rider, the reader, and the onlooker. Rukeyser's documentary poetry and sensory-rich verse delimit the observation car as the mechanism through which this spectacle forms. The documentary poetics genre is one aptly suited for the description of the landscape through this railcar—a high velocity railspace that relays information by montage, which is to say, through a filmic collage of information assembled into a readable layout of the perceived world. [ABSTRACT FROM AUTHOR]

Copyright of Journal of Tikrit University for Humanities is the property of Republic of Iraq Ministry of Higher Education & Scientific Research (MOHESR) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article focuses on the transformation of the author's film study approach, shifting from narrative criticism to a formalist one centered on dissecting individual film frames. Topics include the impact of Hannah Frank's book, "Frame by Frame," which advocates for frame-by-frame analysis; emphasizing the hidden labor and materiality within each frame; and how this method enhances the understanding and appreciation of films beyond their motion.