Year: 2025
Type: article
Abstract: ‘The job is to investigate and recuperate scenes and collections of artefacts that have been torn apart somehow,’ Ross Gibson explains about his writing, ‘torn by landgrabbing, let’s say, or by accidents, or by exploitation that ignores rituals of preservation and restoration.’ In the same discussion, he affirms the role of imagination in the task of historical recuperation: ‘Our parlous states need to be recuperated imaginatively. We need to propose “what if” scenarios that help us account for what has happened in our habitat so that we can then better envisage what might happen in an improved situation. We need to apprehend the past, to assay the historical momentum that is abroad in the world.’ This paper considers how imaginative recuperation operates when Gibson turns his attention to the structures of feeling that animate our engagement with filmic texts. How does he deal with the affective life of works that are fixed yet also built upon the mutability that marks our passage through this life? What types of relationships bind the writer to the films under consideration? How might these relationships shed light on the impulses that drive his writings?
Source: Continuum
Author: George Kouvaros
Institution: UNSW Sydney
Language: English
Topic: Cinema History and Criticism
Subfield: Visual Arts and Performing Arts
Field: Arts and Humanities
Domain: Social Sciences
Open Access status: hybrid
OpenAlex ID: W4411073327