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Andrew J. Webber

Abstract

This article is concerned with the 2012 feature Lore, which was made in Germany by Australian director Cate Shortland and is based on the story of the same name by Rachel Seiffert. Focusing on a group of siblings and their odyssey across Germany at the end of World War II, the film explores questions of identity constitution and subversion in the transitional ground between childhood and adulthood, in particular as this is registered in bodily experience. The three main sections of this article focus on the family archive (not least through the medium of photography), structures of double identity (in particular around the figure of the German Jew), and aesthetic strategies of representation (especially framing and mirroring). Through these steps, the article probes the ethical, aesthetic, and political stakes involved in representing the passing of children through the violence of history in what the director calls “grey zones.”

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Embodiment, Curation, Exhibition

Douglas Gordon’s “Pretty much every film and video work from about 1992 until now”

Jiaying Sim

experience of the exhibition is crucial in constructing the way his work is received. The visitor is invited from the outset to take the active steps in the participation of this encounter because the work is initially presented to one as an explosion of

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Before and After Ghostcatching

Animation, Primitivism, and the Choreography of Vitality

Heather Warren-Crow

performed a series of steps that would later be applied to animated figures ( Kaiser 1999 ). A choreographer who usually “generated new movements by dancing them himself and then set them onto the members of his company,” Jones was “spinning off his

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Philip Cowan

(Clark Gable) arrives, Paula is first seen through the doorway, which creates a prison feeling. The camera tracks back away from the door to reveal Jeff and his friend Shemp (Charles Butterworth) as Paula steps out of the house. Although the shot does not

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Pascal Wallisch and Jake Alden Whritner

): The top ten grossing movies for each year from 2000 to 2004. (2) Critic rating diversity (forty-five films): Movies from Roger Ebert’s full range of ratings, five movies from each rating (0 to 4 stars in steps of 0.5 stars), at random. If one of these

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Margrethe Bruun Vaage and Gabriella Blasi

in contemporary American television, giving us several different subtypes, some of which are shared with other serials within and outside of the TV medium. This ambiguity could have been prevented by taking more careful steps concerning what is

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Falling Apart Together

On Viewing Ali Atassi’s Our Terrible Country from Beirut

Ira Allen

, following with jerky, frame-jarring steps as the soldier climbs stairs and opens a door. We know that he is a soldier from the gun: not merely a machine-gun, but with a silencer as well. But he is wearing a striped polo shirt, blue jeans, Adidas. Either a

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Emma Celeste Bedor

by an act of cyber hackery. And if said photos exist and said photos are stolen, the shame of that act should be, nay must be, wholly on the perpetrator of said crime. It is not the responsibility of our female population to take “X” number of steps

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Monstrous Masses

The Human Body as Raw Material

John Marmysz

, technical steps for creating a monster out of the raw material of human body parts, and although less than three minutes of screen time are actually devoted to the operation, this is sufficient to provoke powerful feelings of both disgust and technical

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Sermin Ildirar and Louise Ewing

” (also known as “creative geography”). After this discovery, Kuleshov, created other artificial landscapes in his movies. For example, he presented scenes in which actors walked up the steps of a well-known Moscow building to then arrive at the White