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HOME > ISSUES

40: Screens

Public Journal Issue 40 - Screens

| Fall 2009 |

Editors: Susan Lord, Dorit Naaman and Jennifer VanderBurgh

Contents:

  • ‘Auditorium, Maratha Mandir, Mumbai’, Zubin Pastakia
  • ‘The Kiss’, Kelly Mark
  • ‘Introduction’, Susan Lord, Dorit Naaman, and Jennifer VanderBurgh
  • ‘The Wars of Air and Electricity’ Holly Lewis
  • ‘Screening Rooms: The Movie Theatre in/and the Gallery’, Erika Balsom
  • ‘Data Dances: The Aesthetics of Surveillance, Germaine Koh and Ian Verchere, Dave Kemp, Arnold Koroshegyi’, Jan Allen
  • ’17 Days in Beijing: Screen of Consciousness on the Micropolitical’, Elaine W. Ho and Sean Smith
  • ‘Windsoria: Border/Screen/Environment’, Michael Darroch and Kim Nelson
  • ‘Media Facades Festival Berlin 2008: Media Architecture as a Type of Urban Screen – A New Exhibition Format’, Mirjam Struppek
  • ‘Site-Specific Screening and the Projection of Archives: Robert Lepage’s Le Moulin à images’, Bruno Lessard
  • ‘Mérida T’Ho_MX: Exploring Locative Media in a Latino Territory’, Raul Moarquech Ferrera-Balanquet
  • ‘Of Bicycles and Films: The Case of CineCycle’, Janine Marchessault
  • ‘DOSSIER: Mobility in the Cinema’, Edited by Tamara Falicov:
  • ‘Cinema in search of the Public in Cuba. A Translation of ‘En Cuba el cine busca al publico’
  • ‘Mobile Cinemas in Cuba: The Forms and Ideology of Traveling Exhibitions’, Tamara Falicov
  • ‘Cinema in Your Hand, Cinema on the Street: The Aesthetics of Korean Cinema’, HyeRyoung Ok
  • ‘At the Margins of Cinema History: Mobile Cinema in the British Empire’, Zoe Druick
  • ‘Lulu La Pendue: Iterations in Transitory Space’, Yasmine Almachnouk
  • ‘Big Sounds, Little Screens: Considering Sound and Headphone Use in the Mobile Cinema’, Tom Everrett
  • ‘Reida Adon: Pasateen (Dresses)’, Tal Ben Zvi

Reviews:

  • ‘On the 2009 Istanbul Biennial’, Deborah Root
  • ‘On the 53rd Venice Biennale’, Christopher Eamon
  • ‘On Mourning the Nation: Indian Cinema in the Wake of Partition’, Jonathan Owens
  • ‘On Invisible City at the Regent Park Film Festival’, May Chew

Overview:

PUBLIC 40: Screens responds to new spaces of viewing and changing patterns of consumption —from Quebec to Palestine, from streets to galleries— with a variety of aesthetic, technological and distribution tactics. From Kelly Mark’s The Kiss to Elaine Ho and Sean Smith’s project responding to the Beijing Olympics, from Bruno Lessard’s essay about Robert Lepage’s Le Moulin à images to Holly Lewis’s “Wars of Air and Electricity,” Screens is dedicated to the ways screens are used, viewed, imagined, placed, and made worldwide. The contributions together consider how the internet and communication networks enable screens to become sites of a multiplicity of localities, cultures and citizenship practices. While the increased presence of screens in a variety of art forms and public places complicates and enriches patterns of consumption, Jan Allen’s curation on the aesthetics of surveillance, with works by Arnold Koroshegyi, David Kemp, Germaine Koh illuminates how cameras and screens are also used for surveillance of nearly every aspect of civilian life. Collectively, the articles and artists’ projects in this issue suggest that screen technology embodies a tension between the mobility/immobility of citizens, with a special dossier on how mobile screens make old and new forms of citizenship possible.

Excerpt:

Erika Balsom, “Screening Rooms: The Movie Theatre in/ and the Gallery”:

“The exhibition situation of the moving image has profound implications for spectatorial experience: does one sit immobile or walk about? Watch from start-to-finish or view a snippet and move along? Is the room dark or well-lit? Does the screen dwarf the spectator’s body, or is it smaller and more easily apprehendable in its totality? Does one have to give oneself over to the temporality of the film or is there a possibility of rewinding, pausing, and fast-forwarding? These questions point to some of the many variables of exhibition that influence the reception of the moving image. Throughout film history, the movie theatre has been much more than a mere spatial container for the products of film industries worldwide. Rather, it is a highly cathected space with a ritualistic value, which has led to its characterization as a kind of secular cathedral” (27-8).

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