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Understanding Characters

Jens Eder

Characters are of central importance for our film experience, and they confront us with a multitude of questions concerning their production, structures, meanings, effects, etc. Subjective intuitions do not suffice to answer those questions and to analyze, describe, and discuss characters in differentiated and comprehensive ways. To do this, we need a set of conceptual tools, an infrastructure for argumentation. This article summarizes the central results of my book Die Figur im Film in those respects, starting from a heuristic core model. The “clock of character” distinguishes between four aspects of characters: (1) As artifacts, they are shaped by audiovisual information; (2) As fictional beings they have certain bodily, mental, and social features; (3) As symbols, they impart higher-level meanings; and (4) as symptoms they point to socio-cultural causes in their production and to effects in their reception.

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Editor's Introduction

Andrew J. Ball

and legitimate white, heterosexist masculinity. Eddy presents a clear, rigorous, and intersectional example of how the symbolic forms of mass culture—and their material infrastructures—are invested in the nation's power dynamics. Looking forward, the

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Aesthetics of Futurism

Lu Yang's Art and an Organological Redefinition of the Human in the Planetary Age

Hai Ren

ways in which art renders sensible networks of solidarity between human sensibility and nonhuman vitalism in addressing environmental degradation and climate change as issues of habitable infrastructure that binds humans to nonhumans. The generative

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The Self On-Screen

Pavel Pyś Reflects on The Body Electric

Pavel Pyś

immateriality—the cloud as a mysterious metaphor for opaqueness and weightlessness—lurking behind the digital veil is, as writer and artist James Bridle describes in New Dark Age (2019), “a physical infrastructure consisting of phone lines, fibre optics

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Lieke Hettinga and Terrance Wooten

) and its sequel UKI ( 2009–2014 ). However, it would have been helpful to explore more of the “technological infrastructure” and prosthetics that make these virtual performances possible. Beyond the representation of biogenetics, Cheang's works are

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Enacting Moving Images

Film Theory and Experimental Science within a New Cognitive Media Theory

Joerg Fingerhut and Katrin Heimann

cultural artifacts (consider, for example, the activity of exploring a city that is also constrained by properties of cultural objects such as the surrounding architecture, street signs, transportation infrastructure, etc.). A related aim is to capture the

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Redefining Representation

Black Trans and Queer Women’s Digital Media Production

Moya Bailey

and support that impact health and well-being beyond the established biomedical infrastructure. At its core my research is about the surviving and thriving of gender marginalized Black people in a country and on land that has traditionally understood

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Linda Howell, Ryan Bell, Laura Helen Marks, Jennifer L. Lieberman, and Joseph Christopher Schaub

, and the social, that which is transmitted through technical infrastructure becomes the proper model of relation” (111). In other words, the fact that a variety of disjointed fields all came to agree upon the presumed naturalness of interconnection has

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Pushing the Boundaries

Curating LuYang, a Global Artist Embedded in Local Situatedness

Nora Gantert and Malte Lin-Kröger

internet as a global media environment. The multi-centered infrastructure given by the World Wide Web renegotiates ideas about center and periphery as well as autochthon and foreign culture(s) (although the fact must be acknowledged that the internet in

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Peter Lurie, Antonio Sanna, Hansen Hsu, Ella Houston, and Kristof van Baarle

might be significantly more complicated to learn, they also allow more complex programs to be written that are easier to maintain. In addition, the progress of tools and infrastructure, from free IDEs to source control management to the App Store has