1. Cinema as citizenship: practices of mis(re)cognition on the fringes of Europe : lecture at the Society for Cinema and Media Studies, SCMS, Boston, March 14-17, 2024Eszter Polónyi, 2024, unpublished conference contribution Abstract: This paper comes out of a book project examining the emergence of identity recognition practices in the first half of the twentieth century, that is, during the period leading up to the visual (de)construction of identity in a manner no longer verifiable by the human eye. Its focus is on the filmic representation of early institutions of photographic identification and their tactical subversion through fraud, plastic surgery, masks, identity theft, as well as visual occlusions occurring at the level of cinematography, such as techniques of blocking, framing, magnifying, and editing as described by Balázs in his film theory. The paper focuses on practices of opacity and mis(re)cognition such as are practiced specifically by central and east European practitioners in exile, including in the films of Bela Balázs, Fritz Lang, Peter Lorre, and Conrad Veidt.
Keywords: film and media studies, east central European regional studies, migration studies
Published in RUNG: 09.10.2024; Views: 1196; Downloads: 0
This document has many files! More... |
2. Expedition content (2020) - Contexts and the politics of listening (workshop) : lecture at the Visible EvidenceXXIX /FilmForumXXX, Udine, September 7, 2023Eszter Polónyi, Irina Leimbacher, Engelke Henning, Ilisa Barbash, Veronika Kusumaryati, 2023, unpublished conference contribution Keywords: postcolonialism, avant-garde and experimental art, sound studies, media studies
Published in RUNG: 12.02.2024; Views: 2307; Downloads: 14
 Link to file
This document has many files! More... |
3. Faceless machines: early recognition media and entangled bodies : lecture at the "Relatifs" lecture series, Kepler Salon, Johannes Kepler Universität Linz, Österreich, 16. 1. 2024Eszter Polónyi, 2024, invited lecture at foreign university Abstract: Eszter Polonyis Vortrag behandelt frühe Systeme automatisierter Identitätserkennung. Einen Fokus bilden Experimente zur Stimmerkennung, wie sie in der Mitte des 20. Jahrhunderts von US-amerikanische Telekommunikationsunternehmen unternommen wurden. Sie geht dabei auch den Verbindungen zur Arbeit mit „noise“ von Medienkünstler*innen nach, darunter Tony Conrad, John Cage und Kurt Kren.
Keywords: media studies, surveillance studies, art history, critical data studies, avant-garde and experimental art
Published in RUNG: 12.02.2024; Views: 2451; Downloads: 11
Link to file
This document has many files! More... |
4. An archaeology of photographic identification : lecture at the Society for Cinema & Media Studies Conference, Denver, Colorado, 13. 4. 2023Eszter Polónyi, 2023, unpublished conference contribution Abstract: This project returns to an early moment in the history of photographic IDs to better understand the current entrapment of our identities within what are by now massive infrastructures of automatized, unregulated and largely unauthorized identity extraction.
Keywords: media studies, surveillance studies, history of art, history of visual culture, cultural studies
Published in RUNG: 12.02.2024; Views: 2493; Downloads: 4
Link to file
This document has many files! More... |
5. Sustainable digital preservation of the new media artAleš Vaupotič, Eszter Polónyi, Narvika Bovcon, Jaka Železnikar, 2023, published scientific conference contribution abstract Keywords: media studies, art history, new media art, archival studies, restoration studies, museum studies
Published in RUNG: 12.02.2024; Views: 4030; Downloads: 11
Link to file
This document has many files! More... |
6. Mobility media : an archaeology of the photographic ID documentEszter Polónyi, 2023, published scientific conference contribution Abstract: Mobility, in the sense of freedom of persons choosing to move or reside in a state in which they have no prior citizenship, was one of the four original “freedoms” defined in the treaty that ratified European Union member states in 1957.1 In the past decade, this particular freedom, the freedom of movement, appears to have become significantly eroded. Mobility in the sense of migration, that is, mobility of persons for reasons of residency or employment, has become a point of contention among member states that it has divided more than unified, with measures affecting immigrants, refugees and asylum seekers featuring at the core of recent electoral agendas. Certain member states’ deterrence of the mobility of migrants from outside the EU has resulted in the return to protocols and practices of controlling movement into and out of sovereign territories, among the most conspicuous of which has been the re-establishment of a – by now largely defunct – network of nation-state borders. And while the reappearance of new walls, barricades and barbed wiring alongside certain nation-state borders since the mid-2010s have made headlines, there have been other measures with less press and physical visibility that have been set in place to manage and enforce mobility.2 The photographic identity document, meaning a document of state-issued identity certification, has become one such mobility management measure.
Keywords: cultural history, migration studies, history of art, history of visual culture, media archaeology, media studies
Published in RUNG: 12.02.2024; Views: 2837; Downloads: 0
This document has many files! More... |
7. |
8. |
9. |
10. |
