Titlebook: Crime Scenery in Postwar Film and Photography; Henrik Gustafsson Book 2019 The Editor(s) (if applicable) and The Author(s) 2019 landscape.

PAC

沒收

grandiose

Persistence of Vision,tending to the particular art of memory crafted in each film, the discussion considers the duplicitous nature of the topography of memory sites trailed in Eisenberg’s Postwar Trilogy, which at once alerts us to the risk of consolidating the past into a series of stable landmarks, and to the possibilities of its redemption.

Pedagogy

顛簸地移動

Statt eines Schlusswortes: Zwischenschritte,d knowledge do these images convey? What kinds of historical imaginations do they invite? And how may the aesthetic configuration of crime scenery be said to constitute a search for the political and ethical agency of the image?

鑒賞家

健忘癥

偽書

From Dreamwork to Earthwork,l as the “depth model” and the “surface model.” Whereas the former understands landscape as a repository of collective memories, the latter seeks to expose it as a medium for distorting and screening out historical realities on the ground. The chapter introduces Aby Warburg’s . atlas, intended both

Affirm

Intruders in the Dust,grapher Sophie Ristelhueber, which is considered together with two experimental films made by Jananne Al-Ani (. and .) and Sarah Vanagt (. and .) respectively. Investigating the transfigurative effects of airborne reconnaissance and its capacity to turn tracts of land into a set of clues to be decip

不可磨滅