| 1. |
|
|
| 2. |
- Brunow, Dagmar, 1966-
(författare)
-
Amateur home movies and the archive of migration : Sandhya Suri's I for India (2005)
- 2010
-
Ingår i: Tourists and Nomads. Amateur Images of Migration. Second Interdisciplinary Conference on Amateur Images 22 – 24 April 2010.
-
Konferensbidrag (refereegranskat)abstract
- Encompassing 40 years of immigrant life in Britain, Sandhya Suri’s filmic essay I for India (2005) is a collage of amateur home movies, British newsreels as well as film stock shot by the director herself. The home movie footage was filmed by Suri’s father who came to Britain as an immigrant doctor in the 1960s and who exchanged super8-films andaudio reels as cine-letters about his new life with his family in India. After having rediscovered the material on the attic of her family home, Sandhya Suri transformed it into her graduate thesis film at the The National Film and Television School in London. Dealing with memory, nostalgia and migrant experiences in Britain, I for India establishes a counter-history to the hegemonic national discourse in which migrant experiences are marginalized, objectified or rendered invisible.My paper is going to examine the role of the amateur footage for reflecting on the ontology of the image and the materiality of the different film formats. How does the reception of the footage change in the course of its dissemination? In what way does the filmic montage in I for India contribute to challenging the dominant media discourse on Asians in Britain? I would like to argue that the amateur footage helps to counter the ethnographic, Eurocentric gaze on the new citizens and subverts the hegemonic use of images of migrants as a means of control and classification (Alan Sekula) or as a weapon (Susan Sontag). How do the amateur images migrate into the collective (national) visual archive? Finally, the example of I for India might also show that Zygmunt Bauman’s binary opposition between tourists and nomads needs to be complicated.
|
|
| 3. |
|
|
| 4. |
- Brunow, Dagmar, 1966-
(författare)
-
Before YouTube and Indymedia : Cultural memory and the archive of video collectives in Germany in the 1970s and 1980s
- 2012
-
Ingår i: Studies in European Cinema. - Bristol : Intellect Ltd.. - 1741-1548 .- 2040-0594. ; 8:3, s. 171-181
-
Tidskriftsartikel (refereegranskat)abstract
- Collective film-making practice in Germany is still a blind spot in film historiography. During the 1970s and 1980s independent film and video workshops established a nationwide network to provide ‘counter information’ (Negt/Kluge) in order to challenge dominant media representations. Therefore, the works of the video collectives can become a relevant source for historians and journalists alike. While the videos can be perceived as an important contribution to left-wing cultural memory, this memory of the various media practices of the last decades is currently fading away. The videotapes slowly disintegrate and as digitization is costly and time-consuming, many video productions will not survive. This has consequences not only for historiography, but also for the visual iconography of cultural memory. This article focuses on the archival practice of three workshops in Hamburg, the stronghold for German independent film-making after 1968: the Medienpädagogikzentrum (Centre for Media Pedagogy, 1973–), bildwechsel (1979–), the umbrella organization for women in media, culture and art, and die thede (1980–), an association of documentary film-makers. The examples show how archival practice can be conceptualized not only as part of the hegemonic national archive alone, but also as an act of counter-memory. © 2011 Intellect Ltd Article.
|
|
| 5. |
- Brunow, Dagmar, 1966-
(författare)
-
Bollywood im Zeitalter der Globalisierung : eine transnationale Perspektive auf populäres Hindikino
- 2013
-
Ingår i: Kunst als Avantgarde einer Weltkultur?, Muthesius Kunsthochschule, Kiel / Kunsthalle Kiel, Kiel, Germany, 6-8 June, 2013.
-
Konferensbidrag (övrigt vetenskapligt/konstnärligt)abstract
- Das populäre Hindikino, schon immer hybrid, ist seit den 1990er Jahren ein globales Phänomen. Die Ausrichtung auf ein internationales Publikum hat Konsequenzen für die Produktion, Ästhetik und Distribution der Filme. Inwiefern kann eine transnationale Perspektive dem Wandel Bollywoods vom Kino zur Kulturindustrie (Rajadhyaksha) Rechnung tragen? Der Beitrag untersucht veränderte Distributionsbedingungen, lokale Rezeptionen und Aneignungen sowie Bollywoods globale Fankultur.
|
|
| 6. |
|
|
| 7. |
- Brunow, Dagmar, 1966-
(författare)
-
Mapping the Sound of the City : Artistic Counter Practice in Hamburg's Regeneration Areas
- 2010
-
Ingår i: Mapping, Memory and the CitySchool of Architecture, University of Liverpool 24-26 February 2010 ABSTRACTS.
-
Konferensbidrag (refereegranskat)abstract
- This paper explores contemporary art practice in Hamburg as a way to counter current trends of regeneration in different areas of the city. While officials promote the concept of “the growing city”, artists have employed various strategies of resistance.For a couple of years now, artists, urban anthropologists or filmmakers have been mapping the city from different perspectives (urban, audio, post-colonial). The paper presents the case study of an artistic intervention organised by the independent radio station FSK collaborating with a dozen artists and researchers in a workshop. In a “futurist search for traces” a mapping of disappearing city sounds forms the first part of the project. In a second step these soundfiles are archived on the website of radio aporee (http://aporee.org/maps/). Here the sites and sounds can be accessed by GPS-enabled mobile devices. Aporee thus forms an expanding archive which enables us to trace changes in urban space, e.g. in the course of gentrification. The paper analyses the politics of disappearance as a counter strategy and critically examines archival practices to rescue oppositional experiences.
|
|
| 8. |
- Brunow, Dagmar, 1966-
(författare)
-
Reworking the archive : the essay film as an intervention into cultural memory
- 2013
-
Ingår i: Visible Evidence XX. International Conference on Documentary Film and Media, Stockholm, Sweden, August 18, 2013.
-
Konferensbidrag (refereegranskat)abstract
- In its highly self-reflexive mode, questioning the notion of filmic images as ‘visible evidence’, the essay film is an epistemological tool for the study of visual politics. Therefore, it can offer useful insights into the mediatization of cultural memory. This paper will look at the use of the essay film by minoritized groups (Black, diasporic, feminist, queer), focussing on the remediations of archival footage. How can essay films be conceptualised as an emancipatory practice opening up discursive spaces for vernacular and alternative memories without lapsing into essentialism? Using Black British avant-garde filmmaking as an example, this paper examines filmic interventions into the visual archive. It outlines three practices of an anti-essentialist use of images defying notions of ‘truth’ and ‘authenticity’: reworking the archive as a) ways of deconstructing hegenomic representation, b) as archaeological excavations into the archive, and c) as a mode of carving out discursive spaces for utopian visions.
|
|
