Unwatchable

Balsom, Erika; Berger, Kenneth I.; Bright, Susie; Буш, А. А.; Butler, Alec; Carroll, Noël; Chen, Mel; Crary, Jonathan; Kosnik, Abigail De; England, Samuel; Frey, Mattias; Geimer, Peter; Gillespie, Michael Boyce; Grønstad, Asbjørn; Groys, Boris; Guerin, Frances; Halberstam, Jack; Hammer, Barbara; Hanich, Julian; Harney, Stefano; Hoberman, J.; Joyrich, Lynne; Juhasz, Alexandra; Kaplan, E. Ann; Kyrölä, Katariina; Lee, Nathan; Lippit, Akira Mizuta; Malkowski, Jennifer; Mitchell, W.J.T.; Monk-Payton, Brandy; Moten, Fred; Nichols, Bill; Olsson, Jan; Peers, Danielle; Rivas-Pérez, Raul; Resmini, Mauro; Rich, B. Ruby; Rongen-Kaynakçi, Elif; Rosenbaum, Jonathan; Schneider, Rebecca; Sconce, Jeffrey; Sexton, Jared Yates; Stiasny, Philipp; Sutherland, Meghan; Togler, Bennet; Torchin, Leshu; Vaid-Menon, Alok; Wall-Romana, Christophe; Wigoder, Meir; Wills, Emily Regan; Windhausen, Federico; Wolukau-Wanambwa, Stanley; Yue, Genevieve; Zupančič, Alenka; Saha, Poulomi; Sobchack, Vivian

doi:10.36019/9780813599625

2019

DOI: 10.36019/9780813599625

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Unwatchable

Erika Balsom¹,

Kenneth I. Berger²,

Susie Bright³

et al.

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Cited by 4 publications

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Unplayable: Why Video Games Can’t and Won’t Be Played

Banfi

2024

Television & New Media

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This article argues that unplayability must be a considered component of game analysis and further discussed in new media studies. The concept that games cannot be or should not be played does not limit game analysis. On the contrary, the “unplayable aspect” of a particular game or genre of games is what must be investigated. This essay hopes to expand upon why new media such as video games are becoming inaccessible by using Nicholas Baer et al.’s Unwatchable to discuss a range of unplayable games for common reasons such as: (1) excessive violence, (2) sexual violence, and (3) preservation issues.

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Unplayable: Why Video Games Can’t and Won’t Be Played

Banfi

2024

Television & New Media

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Crisis Narrative and Affective Intermediality: Figuring Disaster in Michael Haneke’s Time of the Wolf

Pieldner

2022

Acta Universitatis Sapientiae, Film and Media Studies

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Michael Haneke’s Time of the Wolf (Le temps du loup, 2003) depicts a grim vision of the world in the aftermath of an unnamed catastrophe. Haneke turns the genre of dystopia into an experimental terrain where he can test the limits of the cinematic medium in the sense of “negating cinema in order to let reality speak for itself” (Nagib 2016, 147). An existential parable, Time of the Wolf envisions a sombre post-millenium age. It is a sharp analysis of what remains of man and society when the frame of civilization collapses. It scrutinizes the functioning mechanisms of the individual, the family and the social community in times of civilization undone. A harsh experiment towards a negative dialectics of the image, the film’s exceptionally austere cinematic language confronts the spectator with the aesthetics of the “unwatchable” (Baer et al., 2019) and “cinematic unpleasure” (Aston 2010). The paper explores the ways in which Haneke’s “intermedial realism” (Rowe 2017) also manifests in this film through photo-filmic images and painterly compositions, perceptions of stillness and motion, and cultural remnants of the past, giving way to affective sensations of intermediality.

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Creative and emotional labour

Colta

2019

Alphaville

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Film festival curation and programming remain highly individualistic practices, that negotiate several discourses/tensions, including the responsibility of the curator to others (artists and audiences) and the creative independence of the curator. Much remains to be written about the creative process of curation, and how aesthetic judgements are articulated by those who practice it. While progress in this direction has been made in relation to some festivals (LGBT, African), human rights film festivals have only recently started to be part of academic scholarship, which tended to focus on the main functions and spectatorship roles that they encourage (Tascón; Tascón and Wils; Davies). This article focuses on the creative process of programming human rights film festivals using the case study of Document Human Rights Film Festival in Glasgow. Part of a practice-led collaborative research project between the Universities of Glasgow, St Andrews and the festival, this article is based on my reflections and experience as a co-opted member of the programming team for the 2016 and 2017 editions. Drawing on practice-led ethnography, I argue that this festival adopted a form of ethical programming, sharing authorship and responsibility towards the audience, the filmmakers and the profession, as well as a form of emotional labour.

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Unwatchable

Cited by 4 publications

References 0 publications

Unplayable: Why Video Games Can’t and Won’t Be Played

Unplayable: Why Video Games Can’t and Won’t Be Played

Crisis Narrative and Affective Intermediality: Figuring Disaster in Michael Haneke’s Time of the Wolf

Creative and emotional labour

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