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dc.contributor.authorZuvela, Danielle
dc.contributor.editorDavid Baker and Jodie Taylor
dc.date.accessioned2017-10-30T12:30:59Z
dc.date.available2017-10-30T12:30:59Z
dc.date.issued2012
dc.identifier.issn1030-4312
dc.identifier.doi10.1080/10304312.2012.698038
dc.identifier.urihttp://hdl.handle.net/10072/49438
dc.description.abstractAvant-garde cinema and pornography both court a 'corporealized observer', one who is returned, via the sensual address of the text, to his or her sensing body. This essay explores three works of experimental cinema which provoke the spectator through the mobilization of excesses of light: Gunvor Nelson's 1972 Take Off/The Stripper, Naomi Uman's 1999 Removed, and Sally Golding's 2011/12 expanded cinema performance. The affective-intellectual operation of the distinct, 'desirable' image (in Jean-Luc Nancy's formulation) by these works suggests that their 'real' material is not the onscreen image, but the sensual response of the spectator.
dc.description.peerreviewedYes
dc.description.publicationstatusYes
dc.languageEnglish
dc.language.isoeng
dc.publisherRoutledge
dc.publisher.placeAustralia
dc.relation.ispartofstudentpublicationN
dc.relation.ispartofpagefrom589
dc.relation.ispartofpageto602
dc.relation.ispartofissue4
dc.relation.ispartofjournalContinuum: Journal of Media & Cultural Studies
dc.relation.ispartofvolume26
dc.rights.retentionY
dc.subject.fieldofresearchCinema Studies
dc.subject.fieldofresearchFilm, Television and Digital Media
dc.subject.fieldofresearchCommunication and Media Studies
dc.subject.fieldofresearchCultural Studies
dc.subject.fieldofresearchcode190201
dc.subject.fieldofresearchcode1902
dc.subject.fieldofresearchcode2001
dc.subject.fieldofresearchcode2002
dc.titleA little light teasing: Some special affects in avant-garde cinema
dc.typeJournal article
dc.type.descriptionC1 - Articles
dc.type.codeC - Journal Articles
gro.facultyArts, Education & Law Group, Queensland College of Art
gro.date.issued2015-06-12T05:03:26Z
gro.hasfulltextNo Full Text
gro.griffith.authorZuvela, Danielle S.


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