Naslov
The Still Image that Moves

Autori
Ružić, Boris

Vrsta, podvrsta i kategorija rada
Sažeci sa skupova, neobjavljeni rad, znanstveni

Skup
Programme of Studientage für Fotografie 2018: Photography and Society International interdisciplinary Research Colloquium

Mjesto i datum
Marburg, Njemačka, 2018

Vrsta sudjelovanja
Pozvano predavanje

Vrsta recenzije
Međunarodna recenzija

Ključne riječi
steyerl, digital image, fake image, farocki

Sažetak
My aim is to analyze two case studies in Balkan region (protests for the liberalization of education and War for Independence) and compare them with wider southeast European context. I aim to present the art of new media photography in the everyday use in contrast to the usual rendition of decentralized media as manipulative or false. My first claim is that digital analysis can go hand in hand with interpretative practices conducted by spectators online. Digital analysis can be of help in framing and pointing to the material aspect of the medium which is often overlooked in the writing of technopesimists and the technoptimists alike. Studying digital underlining of today’s production of images is a gesture much like the one conducted by structuralists like Baudry in the 70’s while trying to examine and describe what makes a film (camera, technical elements like montage and lighting, narrative, outside perception of a film…). Therefore, I contend that today’s digital analysis must go hand in hand with the analysis of intersubjective agency of spectators online in sharing, commenting and consequently creating new moving images and new knowledge about a certain situation. My second claim is the one that underlines the need for the spectator as the active and emancipated agency (Ranciere) while looking at images traditionally regarded as of poor quality. Hito Steyerl in her seminal text “In Defense of the Poor Image” describes today’s economy of the “poor images” – images that “spread pleasure or death threats, conspiracy theories or bootlegs, resistance or stultification. Poor images show the rare, the obvious, and the unbelievable—that is, if we can still manage to decipher it.” Steyerl claims that being a focal point is a matter of class position, “a position of ease and privilege, while being out of focus lowers one’s value as an image”. Poor image in today’s visual reign is the anonymous image of violence of protests much like Farocki’s Videogramms of a Revolution – it is an image made by someone who cannot – or refuses to – depend on mainstream media politics of representation.

Izvorni jezik
Engleski

Znanstvena područja
Znanost o umjetnosti, Interdisciplinarne humanističke znanosti, Filmska umjetnost (filmske, elektroničke i medijske umjetnosti pokretnih slika)

POVEZANOST RADA