I’m stunned and grateful to receive the 2022 SCMS award for best essay in an edited collection. My colleague Perrin Grauer published a lovely profile of the essay and the award here. The published essay, devoted to a feminist history of film editing, owes much to my editors James Leo Cahill and Joshua Malitsky, as well as the staff of RGALI and Muzei Kino archives in Moscow.
The Fall 2021 issue of the journal JCSM (Journal of Cinema and Media Studies) includes a wonderful dossier of essays on new approaches to animation studies, edited by Ryan Pierson. This was a great opportunity for me to share my love for the multiplane animation stand and its enduring influence on animation aesthetics around the world. Entries cover a wide range of topics, including animation and scientific inquiry, contemporary Russian animation, and educational animation.Continue reading “Love for the multiplane stand”
What can community-focused, site-specific media exhibition look like during a pandemic? How can the social intimacy that has always been a part of artists’ cinema adapt to the context of physical distancing?
Rear Window Cinema transforms artists’ private windows (domestic and studio spaces) into ephemeral screens for rear-window projections that are externally visible to passersby on the street. Between the months of October and December, animation artists displayed animated letters to their neighbourhoods, using their windows as the creative point of departure and eventual surface for projection.Continue reading “Rear Window Cinema: Letters from Isolation (2020-2021)”
September 12, 2012 was my last day of research at the Len Lye Archive, maintained by the Govett-Brewster Art Gallery in New Plymouth, New Zealand. Len Lye’s ideas about the role of “kinaesthetic empathy” in art-making profoundly shaped how I think about the history of animation. As a Visiting Researcher at the archive, I got to study the documents and working tools of this pioneering experimental animator.