Guide VirtualDayz: Remediated Visions & Digital Memories

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Dawson, Ross and Bynghall, Steve.

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Draaisma, Douwe. Cambridge: Cambridge University Press. BF D7. Garde-Hansen, Joanne. Media and Memory. Edinburgh University Press. Harris, Rachel. Jensen, K. Koltay, Tibor. Lanier, J. Liquid Author. ISBN: , paperback, pages. Luke, Timothy W.

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ISBN: , e-book, pages. Volume 1, version 0. Ubimark and Ideagora: Smashwords. Mitchell, Jon P.

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Palgrave Macmillan Memory Studies. Basingstoke: Palgrave Macmillan. Park, Taemin. Pentzold, Christian. Prieto Blanco, Patricia. Reagle, Joseph M. Reilly, Colleen. Sacks, Danielle. Memory shapes our inner worlds. Unconscious processes often are involved, thus explaining why remembering may introduce thoughts and feelings that defy rational explanations Memory is an active production of meanings. Memory texts have their own formal conventions.

Because they tend to be metaphorical rather than analogical, memory texts typically have more in common with poetry than with classical narrative. Memory texts voice a collective imagination. Memory embodies both union and fragmentation. Traditionally, the telling of family stories has provided the model for remembering in other types of communities, e. Memory is formative of communities of nationhood.

As a reader of Family Secrets, I particularly liked the autobiographical case histories Kuhn shared and the intertwining of personal and professional voices she used in those essays. This detour through the world of childhood, with my own childhood self as guide, heals and teaches. It teaches because it shows that understanding may be gained by routes other than that of intellectual detachment.

Memory work presents new possibilities for enriching our understanding not only of how films work as texts, but also of how we use films and other images and representations to make our selves, how we construct our own histories through memory, even how we position ourselves within wider, more public, histories. Spanning a time frame from high school to the present—earlier if the childhood diaries are counted—this work has been reserved mainly for private viewing, with little or no circulation in the public sphere other than fragmentary renditions on the Web.

These dynamics became clear to me while viewing a new DVD copy.

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Little did I know then that the shots I spliced together with Scotch tape would someday be the only moving-image footage left from my youth. Although probably rendered unviewable by the splicing technique I used, the reels of home movies from which I appropriated the found footage were eventually lost.

Fortunately, the original compilation I made, which was transferred to VHS several years ago, remained sturdy enough to survive another dub, this time to DVD. In this format, the class exercise captured my attention once again. Arranged in loose chronological order, with some mixing back and forth, the film brings together fleeting images from the first six or seven years in the life of an American girl, the first-born child of young, working-class parents who never appear visibly in the montage.


Unidentified adults are evident now and then from the shoulders down. I speak of the girl in the third person, as though the protagonist of this story, a silent film, has nothing to do with me, yet knowing she does. The assemblage includes only exterior shots, thus excluding from inspection family dramas that unfolded inside the home. On TV I see a happy, blue-eyed, blonde-haired toddler crawling on the lawn, taking her first steps, riding a merry-go-round, petting a dog, and dodging waves on the beach.

VirtualDayz: Remediated Visions & Digital Memories by Elayne Zalis (Paperback) - Lulu

Many birthday parties are commemorated, probably the first six. Later, she and her sister are twirling hula hoops, and so on. Toward the end of the piece, unfamiliar footage appears—shots of mountains, a waterfall, a burning cabin, and a few clips from what looks like a ride at Disneyland. To me now, the footage seems to be tacked on as an afterthought. I found, though, that my fascination with the media arts persisted, and my urge to experiment creatively—rather than as a social scientist—grew stronger over time.

I wonder now whether on some level I could have known where I was going? These performances have added continuity to an otherwise discontinuous life story.

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Given the widespread interest in Kuhn's work, I've posted the two excerpts from the blook online for readers to access. Marque por contenido inapropiado. Carrusel Anterior Carrusel Siguiente. Elizabeth Edwards - Photographs as Objects of Memory. Terry Smith - Contemporary Art and Contemporaneity.