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Zusatztext With CineWorlding , musician, ethnographer and filmmaker Michael MacDonald poetically demonstrates how the cinematic medium creates new forms of thinking, knowing, and experiencing the audio-visual world we increasingly inhabit. Informationen zum Autor Though he does have a beard, Professor MacDonald is not a tweed suit wearing dour academic, rather his passion for cinema and music has led him to the streets, showcasing the hardscrabble life of artists attempting to win fans one gig at a time.” CKUA radio, Alberta Michael B. MacDonald is an award-winning filmmaker and associate professor of music at the MacEwan University Faculty of Fine Arts and Communications in Edmonton, Alberta, Canada. His films have been screened in more than 50 film festivals and he has won documentary and experimental film awards. He has published 17 films and music videos and three books including Playing for Change: Music Festivals as Arts-based Community Learning and Development (2016), Remix and Life Hack in HipHop: Towards a Critical Pedagogy of Popular Music (2016), and co-edited A History of Progressive Music and Youth Culture (2020). Michael is a member of the program committee for KISMIF an international conference on DIY Music and Culture, member of the scientific committee for combArt , an active member of the International Council of Traditional Music Study Group on Audiovisual Ethnomusicology, co-founder of the Justice4Reel Media Advocacy Free School, and the Film and Video Review Editor for the Yearbook for Traditional Music, the journal of the International Council for Traditional Music. Vorwort Provides a methodology for the emerging area of screen production research and research-creation from a cine-ethnomusicological perspective. Zusammenfassung Using cine-ethnomusicology as a focus, Cineworlding introduces readers to ways of thinking eco-cinematically. Screens are omnipresent, we carry digital cinema production equipment in our pockets, but this screen-based technological revolution has barely impacted social science scholarship. Mixing existential phenomenological fiction about social science digital cinema research practice followed by theoretical reflection and discussion of methods, this book has emerged from a decade-long inquiry into cineworlding and a desire to help others produce digital media to engage creatively with the digital networks that surround us. Inhaltsverzeichnis Acknowledgements Introduction: A Cinematic Style of Thought1. Cineworlding with Musics’ Undercommons2. A Worlding Proposition For/From an Alternate Reality 3. Living Flame of Love: Creative Practice Research and Practical Musicology4. Virtual and Actual in Posthumanography5. Diagrammatic Posthumanography of Margø’s “In Between” 6. Bodying in Intensive and Extensive Spaces: “John Wort Hannam is a Poor Man” 7. Quartet 2 and Affective Vectoring 8. Crystal Image in Cinematic Research-Creation: Pimachihowan, A Case Study 9. The Crowd Behind the Lens: We’re Too Loud10. Elders’ Room: The Opportunities and Challenges of Decoloniality 11. Activist Minor Cinema Notes Index ...
