Hur sprids bilder på nätet, vad är memes och hur kan man förhålla sig källkritiskt till bilder? Detta är ett pedagogiskt material i tre delar bestående av en introduktion med teoretisk genomgång, en lärarhandledning samt en powerpoint med lektionsmaterial. För grundskolan och gymnasiet med fokus på bildsanalys.

The mockumentary film is born out of a transgression of boundaries between the documentary and the fiction film (Roscoe and Hight 2001). By offering a contract of recognition between the producer and audience, this playful nature of the mockumentary is acknowledged (Lipkin, Paget and Roscoe 2006, 17). The last decade have seen an increase in what can be understood as a mockumentary "mode of adress" (Nichols 2001), hence the an encounter with a mockumentary is increasingly produced as a habitual space for recognition and categorization. Yet the boundaries of this contractual practice are pushed farther through the so-called hoax (Roscoe and Hight 2001, 72). Film such as I'm Still Here (Affleck 2010) and Exit Through the Giftshop (Banksy 2010) deny such contracts of recognition, instead prompting questions of the verasity of their truth claims. More importantly they bring to light a question of some centrality in researching audience response, namely how the spectator negotiate agency, not only through an identification of what kind of film is on display, but more saliently how to understand oneself as a thinking subject through the event of spectating (von Schantz 2015). In this paper I argue that instead of writing off the hoax as a 'flawed' mockumentary, or a 'lie' these films can be seen as offering a particular contract, what I call a missing contract. That is, a contract that brings into existence a thought that is not yet (Deleuze 2005, 28). Instead of offering recognitionof the play with form and content as does the mockumentary contract, the missing contract offer conditions for the spectatorm as well as the researcher, to transgress the taxonomic tendency of spectatorship/academia and engage with reality (as encountered both on and off screen) as a performative and productive practice of bringing into existence multiple webbed realities (see Law 2004, Coleman and Ringrose 2013).

This paper discusses, what I refer to as, the mockumentality that the event of spectating the Swedish televises series Det finns inga smålänningar (SVT 1981) made possible. Mockumentality is a concept that speaks of the reconfiguration of the mental ecology of the subject-as-spectator following a challenge to the inegrity of the existential territory that Foucault called the regime of truth (1977). This paper present an early analysis of the reception of the series at the time of its release by investigating the live debate that followed the airing of the series.

This article argues that the film Atertraffen (The Reunion) (Odell, 2013) offers an ethical event of reconfiguring the partition of the sensible as distributing boundaries between the factual and the fictive, what the author calls an event of realing. By turning the tables of expectations and context, this film, marketed as a feature fiction film, is seen to cause disruption to the spectatorial practice of parting the sensible through a contraction of foreknowledge, instead ushering the viewing subject into a missing contract, which is to say, making possible a responsible embrace of the act of viewing as an ethico-onto-epistemological practice.

In this presentation I discuss some preliminary findings fråm an experimental reception study performed at Örebro University as part of y PhD in media and communication (film studies). In my project I have investigated what happens in encounters between the viewing subject (Panagia 2009) and feature films that are difficult to determine in terms of belonging to the genre fiction or documentary, often referred to as mock-documentaries or fake documentaries (Roscoe and Hight 2001; Juhasz and Lerner 2006; Rhodes and Springer 2006). Although these are increasingly becoming established and recognized as putting on a plya with the discourse of factuality associated with the documentary, there are still a number of films defying categorization and recognition and where the recieved blurred boundaries between the factual and the fictive are met with strong affective reactions. By drawing from a transdisciplinary theoretical framwork, new materialism, I use an ethico-onto-epistemological point of departure (Deleuze 1968; Massumi 2002; Barad 2007; Dolphijn and van der Tuin 2012) whereby affective processes are understood as producing materialities of relation of power. By referring to a present 'post-truth atmosphere' (coined as such in an article in the Washington Post 2016) I make the argument that what these encounters with blurred boundaries between the factual and the fictive makes noticable is a current on-going reconfiguration of the regime of truth (Foucault 1977). 

According to Félix Guattari (2014), the post-industrial capitalist society of today is a society which “tends increasingly to decenter its sites of power, moving away from structures producing goods and services towards structures producing signs, syntax and – in particular, through the control which it exercises over the media, advertising, opinion polls, etc. – subjectivity” (31). Educational institutions, as not only part of wider society, but as institutions that exist through the aim of preparing its members for life in wider society, hence exists as such in a tension between epistemologies of control and epistemologies of resistance to the very society that governs them. In other words, in a tension between the modulation of subjectivities with the capacity to uphold the status quo of current society, and the making possible of processes of minor subjectivities of resistance. This becomes especially poignant through media education and media pedagogical education where, following Guattari, a particular ethico-political articulation is in demand (ibid., 17f).

     In this talk I will discuss how minor pedagogies of resistance (cf: Mazzai and Smithers 2019) can be practiced in art and media teacher education. Speaking of a minor literature, Deleuze and Guattari proposes its three characteristics: the deterritorialization of language, the individual connection to the immediate-political and the machine of collective enunciation (from the Swedish translation 2012, 39). In later elaborations with Marie Maclean (1985, 591) they discuss the minor as that which “[…] begins by speaking and only sees and conceives afterwards”. Becoming-minor is thus a question of a micro-political practice that overthrows the given through invention. In my practice as a media teacher educator, this entails investigating conditions for the deterritorialization of mediatized language such as moving images, using the students own mediapractices as points of departure for inventive and re-volutionary collective enunciations.

References

Deleuze, Gilles, Félix Guattari (2012/1975) Kafka – För en mindre litteratur. Trans. Vladimir Cepciansky and Daniel Pedersen. Göteborg: Bokförklaget Daidalos AB.

Deleuze, Gilles, Félix Guattari and Marie Maclean (1985) Kafka: Toward a Minor Literature: The Components of Expression New Literary History Vol. 16, No. 3, On Writing Histories of Literature (Spring,), 591-608.

Guattari, Félix (2014/200) Three ecologies. Trans. Ian Pindar and Paul Sutton. London, New Delhi, New York, Sydney: Bloomsbury.

Mazzei, Lisa A. and Laura E. Smithers (2019) Qualitative Inquiry in the Making: A Minor Pedagogy.

Qualitative Inquiry, 26:1, 99-108

In this paper a schizoanalytical apporoach to spectatorship of the real is considered through the concept of the mock-mode. In dialogue with the mockumentary and its destabilizing critique of the documentary project, the mock-mode is suggested to create a play with distance and an abandonment of knowing, ushering the spectator into a mode of productive differentiation that compose a micropolitical experience of reality.

In this article I propose to rethink spectatorship as analytic category within cinema studies. Through an engagement with new materialist theory I shift the conversation from the locked positions of spectator and text towards an acknowledgement of the spectatorial event as a becoming increased or decreased in capacity to affect and be affected. By doing so I argue that what is effectuated in the event of spectating is in fact the production of a certain body, what I call a moving-image-body. This, I claim, develops in connection with different so-called spectatorial contracts, contracts that produce different agential conditions. An examination of some examples from the realm of the mockumentary, notably I’m Still Here (Affleck, 2010), leads me to discuss the core of the issue as one pertaining to the potential production of new realities, and my methodological proposal as a way towards mapping, not what the event of spectating means, but rather what it does.

In this paper I propose to rethink the conditions for analyzing cinematic spectatorship of the documentary/mockumentary beyond the representationalist notion of genre (Neale, 1990; Nichols, 2001; Roscoe and Hight, 2001). The crux of the problem is,  I argue, the understanding of cinematic spectatorship of the real as a meeting of, on the one side the Subject, and on the other the object. This model of representation, as detailed by Deleuze in Difference and Repetition (1968), produce the problem as one of analogy, sameness, opposition and similarity, thus methodologically approachable only through translations and interpretations. Genre theory as contrued on this model consequently produces the spectator-subject as an identifier of the real and the false (as irreconsible categories). Here I propose a methodological rethinking of spectatorship, namely as an affective and entangled spectating event (cf: Massumi 2002; Barad 2007; Deleuze 1990/1969). This, I argue, produce a moving-image-body. Actualized as a singular assemblage where every new relation and intensity produced through the event-body changes the same, the concepts of the moving-imgae-body enables a micropolitical "molecular analysis that allows us to move from forms of power to investments of desire" (Guattari 2009, 284). Thus every moving-image-body can be mapped following the productive force of repetition, that is, through actualizations of virtual in exploration of the production of new images of thought, realiteis and subjectivities.

(Inventory: microphone)

(State of things)

The Blob says: work in progress. Making of a refrain. A collective assemblage of enunciation

The Blob says: There is a process of individuation going on

The Blob says: Walks of uncertainty will be rewarded. Sweets for the wanderer. Walks of Wonder. To bifurcate in a single direction

The Blob says: Welcome. Revolution in Brazil.

The Blob speaks through Athes. Through a managing time and bodily flows

The Blob says: Biosphere. Biopolitics. Bio graphics.

From this follows that the blob is produced as its own object. It "involves all sorts of expressive matters and contents".

(Statements)

(Territory)

(Interlude)

(Movements of deterritorialization)

Footnote

This study aims at making inquiry into what happens when a viewing subject encounters a film where it proves difficult to recognize if it is factual or fictional. In order to meet this aim the dissertation offers an experimental approach of both theoretical and methodological nature. Drawing on materialist-affective theory and Deleuzian philosophy a method assemblage for mediamateriality is suggested. This offers a set of conceptual keys that makes it possible to trace the unfolding of actual encounters with blurred boundaries between the factual and the fictional. By performing a reception study whereby six data-producers engage with Exit Through the Giftshop, (Banksy 2010), I’m Still Here (Affleck 2010) and Catfish (Joost and Schulman 2010), a three-fold data is produced. Making this resonate through the method assemblage, the series of events of spectating is seen to have functioned as an event of destabilization of the relationship between the viewing subject and the discourse of factuality, what is called an event of realing. This functions as a challenge to the existential territory of the viewing subject-asspectator, bringing forth a certain mockumentality that can give cause to practices of a becoming-political of the viewing subject, notably by serving as a reconfiguration of the regime of truth. However, as will be guarded against, mockumentality may potentially bring about practices that both flatten as well as hierarchize relations of power. Following this, the dissertation will end with a suggestion that the method assemblage for mediamateriality, besides as a tool for the analytic endeavour and an ethical practice for the viewing subject (inside or outside of academia), can also be put to work in a pedagogical aim, as a moving-image-pedagogics.

This paper proposes a new materialist, that is a Deleuzian/Spinozist, approach to spectatorship of the moving image. Hereby cinematic spectatorship is thought as an assemblage that through, what Karen Barad calls an intra-action (2007) of the spectator and an audio-visual material produce what I call a moving-image-body. This functions as a productive entanglement of relations of intensities, relations that produce a composition of different agential capacities. This moves the conceptualization of the spectator and screen away from a classical dichotomous relation and into an immanently productive and multiple realm. Through a comparative discussion of a classical mockumentary such as This is Spial Tap (Rob Reiner, 1984) and what I call an affective mockumentary I'm Still Here (Affleck 2010) I will focus on what is made possible in their respective "increase or decrease of acting" (Deleuze 1988/1970, 49).

Co-published by FELD + HAUS and signs and symbols, Sculpting Time is the first volume in a series of two books that translate Jen DeNike's newest body of work into book form. Shot on location in Frankfurt, Düsseldorf and Berlin, the titular video work Sculpting Time follows a hypnotic cinematic montage of nude women walking public staircases. DeNike creates a liminal space, where women descend, ascend, cross, moving up and down, over and over.

This essay proposes to introduce the constructive concepts of the irrational section cut, as developed in Gilles Deleuze's cinema books, to an architechtural audience keen to reinvent notational practices beyond normative habits of representation. An irrational section cut, the term we develop to reposition Deleuzes irrational cut in relation to architechture, recomposes diverse visual forms, challenges the conventions of scale, addles temporal or durational registers, and generally disrupts the normative linkages between things. The action of the cut, as break, as frame, and as mode of momentary capture, in both cinema and architecture, creates interstitial zones that demand of us critical and creative reinterrogation of our local environment-worlds. The ethos of this approach can be aligned with feminist practices reemerging in architecture, specifically through the concept-tool of the feminist design power tool.