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- Lauenburger, Adina, et al.
(författare)
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Waking life. Kino zwischen Technik und Leben
- 2016
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Ingår i: Waking Life: Kino zwischen Technik und Leben / Adina Lauenburger, Chris Tedjasukmana, Lisa Åkervall, Sulgi Lie (Hg.). - Berlin : B_Books. - 9783933557957 ; , s. 9-18
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Bok (övrigt vetenskapligt/konstnärligt)
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| 2. |
- Åkervall, Lisa, 1979
(författare)
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A Differential Theory of Cinematic Affect
- 2021
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Ingår i: Deleuze and Guattari Studies. - : Edinburgh University Press. - 1750-2241 .- 1755-1684 .- 2398-9777 .- 2398-9785. ; 15:4, s. 571-592
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Tidskriftsartikel (refereegranskat)abstract
- This essay offers a critical rejoinder to affect theories prevalent in the humanities since the 1990s. In film and media studies, affect theories display an opposition to ‘screen’ and apparatus theory of the 1970s and 1980s alleged to have marginalised the spectator’s body and affects and privileged cognition over affection. Yet film and media studies’ turn to affect came with its own set of problems: in emphasising the affective over the cognitive aspects of cinematic experience, theories of the affective turn invert and reproduce the dichotomies (e.g. body/mind, affect/thought) they seek to contest. Critically reconsidering the turn to affect and its place within film and media studies, this article challenges the relation of affect theories to Gilles Deleuze’s concept of affect, highlighting these theories’ failure to account for Deleuze’s indebtedness to Immanuel Kant’s aesthetics and his theory of the faculties. Suggesting a conception of cinematic affect beyond dichotomies of body and mind, affect and thought, this essay instead shows how cinematic experience instigates transformations in spectators that are simultaneously affective and cognitive.
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| 3. |
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| 4. |
- Åkervall, Lisa, 1979, et al.
(författare)
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I’ll Be Your Screen
- 2017
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Ingår i: La Galassia Casetti: Lettere di Amicizia, Stima, Provocazione / a cura di Ruggero Eugeni e Mariagrazia Fanchi. - Milano : Vita e Pensiero. - 9788834333273 ; , s. 3-6
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Bokkapitel (refereegranskat)
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| 5. |
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| 6. |
- Åkervall, Lisa, 1979
(författare)
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Post-Cinematic Unframing
- 2020
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Ingår i: Expanding Cinema: Theorizing Film through Contemporary Art. - Amsterdam : Amsterdam University Press. - 978 94 6298 946 7 ; , s. 255-275
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Bokkapitel (refereegranskat)abstract
- What becomes of the frame in an era of post-cinema? This chapter ex-plores that question and possible answers as suggested by two exemplary post-cinematic moving-image works, Camille Henrot’s single-channel video installation Grosse Fatigue (2013) and Kevin B. Lee’s video essay Transformers: The Prem ake (2014). The proliferation of frames in these works enacts an itinerary of the aesthetic strategy I call ‘post-cinematic unframing’ that particularly comes to the fore when framing is explicitly thematised – as it is, for example, when pop-up bubbles are superimposed on a scene to display characters’ text messaging, or by superimposing, stacking, juxtaposing, and collaging imagages.
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| 7. |
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| 8. |
- Åkervall, Lisa, 1979
(författare)
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The Auto-Tuned Self: Modulating Voice and Gender in Digital Media Ecologies
- 2021
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Ingår i: Camera Obscura. A Journal of Feminism and Film Theory. - : Duke University Press. - 0270-5346. ; 36:2 (107), s. 65-97
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Tidskriftsartikel (refereegranskat)abstract
- This essay takes the auto-tuned viral video Can’t Hug Every Cat as a point of entry for a broader analysis of how modulation decisively shapes politics, aesthetics, and gendering in contemporary digital ecologies. It uncovers how the exaggerated exhibitions of feminine vocal modulation in Can’t Hug Every Cat entangle with generational feminist anxieties over gendered forms of articulation such as “sexy baby voice” and “upspeak.” It argues that the problematic of the modulated voice is both technologically and thematically central to political, technological, aesthetic and gendered genealogies of media-technical modulation. The modulated voice given such extraordinary staging in Can’t Hug Every Cat is therefore restored to the longer history of voice modulation, which is itself closely tied to the rise of control societies and digital media. In this perspective, techniques of voice modulation and social modulation are tandem-technologies. The voice modulation that has figured prominently in media cultures in recent decades—from the music of Cher to T-Pain, and beyond—is not merely a consequence of digital media and control societies but also an integral element in their conditions of possibility. The rise of technologies for the modulation of the human voice since the nineteenth century is intertwined with the rise of new economic, political, and medical systems of control.
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