Read more
Zusatztext Historical recreation, biographical film performance, television crime drama, and movie remakes – moving image reenactments are everywhere. And they befuddle us as they simultaneously seem to be accurate and inaccurate, authentic and inauthentic, and trustworthy and false documents of the past. Megan Carrigy takes us on an illuminating tour of such materials, showing how this indeterminacy operates to interrogate the aesthetic, evidentiary, and ontological status of the moving image. She powerfully demonstrates how the reanimated performance oscillates between theatricality, repetition, and documentation. As a result, T he Reenactment in Contemporary Screen Culture , more than a study of a particular representation mode, is an insightful inquiry into the complexity of what we so easily push aside as fake. Informationen zum Autor Megan Carrigy is Associate Director for Academic Programs at NYU Sydney, Australia. Her research interests include contemporary film theory, reenactment, virtual reality, Australian cinema and the cinema of Ritwik Ghatak. Awards include Best Doctoral Thesis Prize (UNSW), the Mari Kuttna Memorial Prize for Film Studies and English Association Prize for Best Long Essay (University of Sydney). Vorwort Examines the pervasiveness of the reenactment as a form of historical representation in contemporary moving image culture, exploring its diverse manifestations across a range of genres and institutional contexts. Zusammenfassung During the first decades of the 21st century, a critical re-assessment of the reenactment as a form of historical representation has taken place in the disciplines of history, art history and performance studies. Engagement with the reenactment in film and media studies has come almost entirely from the field of documentary studies and has focused almost exclusively on non-fiction, even though reenactments are being employed across fiction and non-fiction film and television genres. Working with an eclectic collection of case studies from Milk, Monster, Boys Don’t Cry , and The Battle of Orgreave to CSI and the video of police assaulting Rodney King, this book examines the relationship between the status of theatricality in the reenactment and the ways in which its relationships to reference are performed. Carrigy shows that while the practice of reenactment predates technically reproducible media, and continues to exist in both live and mediated forms, it has been thoroughly transformed through its incorporation within forms of technical media. Inhaltsverzeichnis List of FiguresAcknowledgementsIntroduction 1. ‘To Do; To Perform’: In-Person Reenactment, Remediation and Documentary Performance 2. Between Document and Diegesis: Reenactment and Researched Detail in the Biopic 3. Dramatizing Forensic Crime Reconstruction: Investigation, Trace and Deixis in Police Procedural Television 4. Re-staging the Cinema: Reproducibility and the Shot-for-Shot Remake 5. Trial by Media: Fugitive Testimony, Demonstrative Evidence and Computer Animation in the Courtroom ConclusionReferencesIndex...
