Malcolm Turvey
Biographic Data
| ID | 1601399 |
|---|---|
| NAME | Malcolm Turvey |
| GIVEN NAMES | Malcolm |
| FAMILY NAME | Turvey |
| SIGNATURE | TURVEY M |
| AFFILIATIONS | Center for International Environmental Law |
| ORCID | 0000-0001-8616-1670 |
| VERIFIED | Yes |
| TOTAL WORKS | 29 |
| TOTAL CITATIONS | 14 |
| AUTHOR COUNT | 27 |
| EDITOR COUNT | 2 |
| FIRST PUBLICATION YEAR | 1991 |
| LATEST PUBLICATION YEAR | 2025 |
| H-INDEX | 2 |
In Defense of Cognitivism
In their introduction to a recent special issue of Projections titled “What Can Cognitive Media Studies Bring to Social Justice?”, the issue's editors, Wyatt Moss-Wellington, Margrethe Bruun Vaage, and Catalin Brylla make many assertions about cognitive media studies. There is much in their introduction to agree with, especially their contention that disciplines in the natural sciences, social sciences, and humanities should collaborate in studyi…
Emotion and Affect in Experimental Film
This article explores the role of emotion and affect in experimental cinema, using the films of Dziga Vertov as a case study. Emotion has been almost entirely overlooked in theories of experimental film and the avant-garde, even though emotions seem integral to many avant-garde works, including some canonical experimental films. This is especially true in the case of Vertov, whose cognitive goals have been the primary focus of scholarly attention…
Bataille and Eisenstein
In October 188's "Visceral Economies, Queer Dialectics: Eisenstein Meets Bataille," Elena Vogman argues that there is an "affinity" between Sergei Eisenstein's and Georges Bataille's views, thereby contesting Annette Michelson's verdict that any similarities between them are "superficial." This article contends that Michelson is right, and that Vogman provides no evidence of an affinity between Eisenstein's and Bataille's thinking. In doing so, I…
Engagement, Psychological Fit, and Evolution in Movies on Our Minds
Cutting's quantitative approach to analyzing films enables him to discover many fascinating and important design features of mainstream movies as well as how they have changed over cinema's history. Cutting also proposes plausible psychological explanations for some of these features and changes. However, Cutting places his empirical findings and his psychological explanations of them within a broader account of what he calls the evolution of cin…
Introduction to Notes for Wavelength
Longtime readers of October hardly need reminding that artist Michael Snow, who passed away in January 2023 at the age of ninety-four, was of singular importance to our journal, and especially to one of our founding editors, Annette Michelson. Michelson's first article devoted exclusively to a North American filmmaker “of the independent persuasion” was about Snow and especially his film Wavelength (1967), and this film in many ways exemplified t…
Theory, Philosophy, Film Studies, and Science
Two film theorists, D. N. Rodowick and Murray Smith, have recently addressed the place of the natural sciences in the study of film and art, and they reach diametrically opposed conclusions. Rodowick argues that natural-scientific explanations have little or no role to play in the study of film and art as “cultural practices,” while Smith advocates a “naturalized aesthetics of film,” which he describes as “an approach that ... treats [film] as a …
In Memoriam
Friends and colleagues of Stephen Prince were shocked and saddened to learn of his death at the age of sixty-five on 30 December 2020 in Blacksburg, Virginia, after a brief illness. Steve was a good friend to many, a prolific scholar with a deep love of cinema, a beloved teacher, a trusted and valued colleague, and a generous mentor to younger scholars
Mirror Neurons and Film Studies
This article surveys some of the major criticisms of mirror neuron explanations of human behavior within neuroscience and philosophy of mind. It then shows how these criticisms pertain to the recent application of mirror neuron research to account for some of our responses to movies, particularly our empathic response to film characters and our putative simulation of anthropomorphic camera movements. It focuses especially on the “egocentric” conc…
Annette Michelson Remembered
Nineteen scholars, writers, and friends remember Annette Michelson (1922-2018), cofounder of October. Written tributes by Giuliana Bruno, Scott Bukatman, Enrico Camporesi, Edward Dimendberg, Jean-Michel Frodon, Amos Gitai, Vivian Gornick, Gertrud Koch, Antonia Lant, Stuart Liebman, Anne McCarthy, Tony Pipolo, Robert Polidori, Yvonne Rainer, Ethan Taubes, Allen S. Weiss, and Federico Windhausen, and a series of photographs by Babette Mangolte
Annette Michelson, 1922-2018
Rosalind E. Krauss and Malcolm Turvey honor critic and film historian Annette Michelson, co-founder of October, who died in September 2018 at the age of ninety-five. They detail Michelson's contributions to the journal in essays, translations, and the editing of special issues, and announce a forthcoming issue dedicated to her scholarship
Comedic Modernism
Modern artists have long been fascinated with the pantomime, circus, and other comic entertainments, and since the late 19th century, many modernists have made use of the figure of the clown in advancing their avant-garde agendas. Turvey calls this strain within modernism "comedic modernism," by which he does not mean humorous modernism, but rather the employment of the slapstick comedian as a subject and/or model in modernist theory and practice…
Comedy and the Avant-Garde
June 01 2017 Comedy and the Avant-Garde: An Introduction Malcolm Turvey Malcolm Turvey Search for other works by this author on: This Site Google Scholar Author and Article Information Malcolm Turvey Online Issn: 1536-013X Print Issn: 0162-2870 © 2017 October Magazine, Ltd. and Massachusetts Institute of Technology2017October Magazine, Ltd. and Massachusetts Institute of Technology October (2017) (160): 3–4. https://doi.org/10.1162/OCTO_a_00288 C…
Roundtable on the Return to Classical Film Theory
Stuart Liebman: I want to take up several issues in Malcolm's introduction in order to amplify, and perhaps to qualify, some of his remarks. He rightly notes that we are presently living through a period of scholarly engagement with early film theory. Malcolm implies that the current interest is somehow larger and more extensive than it used to be, and there is some truth in that. In addition to those texts he mentions, one must cite Richard Tayl…
Vertov, the View from Nowhere, and the Expanding Circle
Classical film theorists are commonly divided into two opposing camps. In one are placed those, such as Rudolf Arnheim and V. I. Pudovkin, who "put their faith in the image," to borrow André Bazin's phrase, arguing that "the most aesthetically significant feature of the film medium is its capacity to manipulate reality, that is, to rearrange and thereby reconstitute the profilmic event (the event that transpires in front of the camera)." In the o…
Introduction
When cinema studies was institutionalized in the Anglo-American academy starting in the late 1960s, film scholars for the most part turned away from preexisting traditions of film theorizing in favor of new theories then becoming fashionable in the humanities, principally semiotics and psychoanalysis. Earlier, so-called "classical" film theories-by which I mean, very broadly, film theories produced before the advent of psychoanalytic-semiotic fil…
Ken Jacobs
July 01 2011 Ken Jacobs: Digital Revelationist Malcolm Turvey Malcolm Turvey Search for other works by this author on: This Site Google Scholar Author and Article Information Malcolm Turvey Online Issn: 1536-013X Print Issn: 0162-2870 © 2011 October Magazine, Ltd. and Massachusetts Institute of Technology2011 October (2011) (137): 107–124. https://doi.org/10.1162/OCTO_a_00060 Cite Icon Cite Permissions Share Icon Share Facebook Twitter LinkedIn M…
Iraqis under the Occupation
January 01 2008 Iraqis under the Occupation: A Survey of Documentaries Malcolm Turvey Malcolm Turvey Search for other works by this author on: This Site Google Scholar Author and Article Information Malcolm Turvey Online Issn: 1536-013X Print Issn: 0162-2870 © 2008 October Magazine, Ltd. and Massachusetts Institute of Technology2008 October (2008) (123): 234–241. https://doi.org/10.1162/octo.2008.123.1.234 Cite Icon Cite Permissions Share Icon Sh…
Theory, Philosophy, and Film Studies
October 01 2007 Theory, Philosophy, and Film Studies: A Response to D. N. Rodowick's “An Elegy for Theory” Malcolm Turvey Malcolm Turvey Search for other works by this author on: This Site Google Scholar Author and Article Information Malcolm Turvey Online Issn: 1536-013X Print Issn: 0162-2870 © 2007 October Magazine, Ltd. and Massachusetts Institute of Technology2007 October (2007) (122): 110–120. https://doi.org/10.1162/octo.2007.122.1.110 Cite…
Vertov
The centrality of the machine to Constructivist theory and practice, as well as to Vertov’s work, is beyond dispute. However, it has obscured the influence of other models on Vertov as he came to make Man with a Movie Camera in the late 1920s, including one that is often thought of as antithetical to the machine, namely, the organism. Most obviously, Man with a Movie Camera is structured according to the daily cycle of a complex living organism s…
Balázs
January 01 2006 Balázs: Realist or Modernist? Malcolm Turvey Malcolm Turvey Search for other works by this author on: This Site Google Scholar Author and Article Information Malcolm Turvey Online Issn: 1536-013X Print Issn: 0162-2870 © 2006 October Magazine, Ltd. and Massachusetts Institute of Technology2006 October (2006) (115): 77–87. https://doi.org/10.1162/octo.2006.115.1.77 Cite Icon Cite Permissions Share Icon Share Facebook Twitter LinkedI…
Selected Translations
January 01 2006 Selected Translations Malcolm Turvey Malcolm Turvey Search for other works by this author on: This Site Google Scholar Author and Article Information Malcolm Turvey Online Issn: 1536-013X Print Issn: 0162-2870 © 2006 October Magazine, Ltd. and Massachusetts Institute of Technology2006 October (2006) (115): 46. https://doi.org/10.1162/octo.2006.115.1.46 Cite Icon Cite Permissions Share Icon Share Twitter LinkedIn Views Icon Views A…
The Child in the Machine
October 01 2005 The Child in the Machine: On the Use of CGI in Michael Snow's Corpus Callosum Malcolm Turvey Malcolm Turvey Search for other works by this author on: This Site Google Scholar Author and Article Information Malcolm Turvey Online ISSN: 1536-013X Print ISSN: 0162-2870 © 2005 October Magazine, Ltd. and Massachusetts Institute of Technology2005 October (2005) (114): 29–42. https://doi.org/10.1162/016228705774889600 Cite Icon Cite Permi…
Camera Obscura, Camera Lucida
Camera Obscura, Camera Lucida
Camera Obscura, Camera Lucida Meanwhile, building on his experience in the temporal media of dance and performance, Morris used and extended Duchampian strategies in order to inscribe time into his sculpture, a medium traditionally thought of as 'convert[ing] process into static object' (RM 49).Hence his brilliant 'process' works, such as the Box with Sound of its Own Making (1963).Michelson's core insights into Minimalism's spatial and temporal …
Dada Between Heaven and Hell
July 01 2003 Dada Between Heaven and Hell: Abstraction and Universal Language in the Rhythm Films of Hans Richter Malcolm Turvey Malcolm Turvey Search for other works by this author on: This Site Google Scholar Author and Article Information Malcolm Turvey Online Issn: 1536-013X Print Issn: 0162-2870 © 2003 October Magazine, Ltd. and Massachusetts Institute of Technology2003 October (2003) (105): 13–36. https://doi.org/10.1162/016228703769684146 …
Camera Obscura, Camera Lucida
Camera Obscura, Camera Lucida Meanwhile, building on his experience in the temporal media of dance and performance, Morris used and extended Duchampian strategies in order to inscribe time into his sculpture, a medium traditionally thought of as 'convert[ing] process into static object' (RM 49).Hence his brilliant 'process' works, such as the Box with Sound of its Own Making (1963).Michelson's core insights into Minimalism's spatial and temporal …
Comedic Modernism
Modern artists have long been fascinated with the pantomime, circus, and other comic entertainments, and since the late 19th century, many modernists have made use of the figure of the clown in advancing their avant-garde agendas. Turvey calls this strain within modernism "comedic modernism," by which he does not mean humorous modernism, but rather the employment of the slapstick comedian as a subject and/or model in modernist theory and practice…
"Can the Camera See? Mimesis in "Man with a Movie Camera
There is a remarkable sequence somewhere near the end of Man with a Movie Camera in which the movie camera, having enjoyed a starring role throughout the film, performs an encore. Emerging on its own onto a bare stage, the camera proceeds to walk about on its tripod like a human being, carefully displaying its limbs to the appreciative audience within the film and almost bowing to the audience in the process. The audience members smile with delig…
Ken Jacobs
July 01 2011 Ken Jacobs: Digital Revelationist Malcolm Turvey Malcolm Turvey Search for other works by this author on: This Site Google Scholar Author and Article Information Malcolm Turvey Online Issn: 1536-013X Print Issn: 0162-2870 © 2011 October Magazine, Ltd. and Massachusetts Institute of Technology2011 October (2011) (137): 107–124. https://doi.org/10.1162/OCTO_a_00060 Cite Icon Cite Permissions Share Icon Share Facebook Twitter LinkedIn M…
Theory, Philosophy, and Film Studies
October 01 2007 Theory, Philosophy, and Film Studies: A Response to D. N. Rodowick's “An Elegy for Theory” Malcolm Turvey Malcolm Turvey Search for other works by this author on: This Site Google Scholar Author and Article Information Malcolm Turvey Online Issn: 1536-013X Print Issn: 0162-2870 © 2007 October Magazine, Ltd. and Massachusetts Institute of Technology2007 October (2007) (122): 110–120. https://doi.org/10.1162/octo.2007.122.1.110 Cite…
Vertov
The centrality of the machine to Constructivist theory and practice, as well as to Vertov’s work, is beyond dispute. However, it has obscured the influence of other models on Vertov as he came to make Man with a Movie Camera in the late 1920s, including one that is often thought of as antithetical to the machine, namely, the organism. Most obviously, Man with a Movie Camera is structured according to the daily cycle of a complex living organism s…
Balázs
January 01 2006 Balázs: Realist or Modernist? Malcolm Turvey Malcolm Turvey Search for other works by this author on: This Site Google Scholar Author and Article Information Malcolm Turvey Online Issn: 1536-013X Print Issn: 0162-2870 © 2006 October Magazine, Ltd. and Massachusetts Institute of Technology2006 October (2006) (115): 77–87. https://doi.org/10.1162/octo.2006.115.1.77 Cite Icon Cite Permissions Share Icon Share Facebook Twitter LinkedI…
The Child in the Machine
October 01 2005 The Child in the Machine: On the Use of CGI in Michael Snow's Corpus Callosum Malcolm Turvey Malcolm Turvey Search for other works by this author on: This Site Google Scholar Author and Article Information Malcolm Turvey Online ISSN: 1536-013X Print ISSN: 0162-2870 © 2005 October Magazine, Ltd. and Massachusetts Institute of Technology2005 October (2005) (114): 29–42. https://doi.org/10.1162/016228705774889600 Cite Icon Cite Permi…
Film
Film
Black film making in the USA
(1993). Black film making in the USA: The case of Malcolm X. Wasafiri: Vol. 9, No. 18, pp. 53-56
"Can the Camera See? Mimesis in "Man with a Movie Camera
There is a remarkable sequence somewhere near the end of Man with a Movie Camera in which the movie camera, having enjoyed a starring role throughout the film, performs an encore. Emerging on its own onto a bare stage, the camera proceeds to walk about on its tripod like a human being, carefully displaying its limbs to the appreciative audience within the film and almost bowing to the audience in the process. The audience members smile with delig…
"The Avant-Garde and the "New Spirit
37 What are we to make of this statement? In part, as Kristin Thompson has pointed out to me, it is probably the case that Leger simply meant that his film is not the sense that, say, Hans Richter and Victor Eggeling's films are abstract. In other words, unlike their films, or the paintings of a Kandinsky or a Mondrian, Ballet mecanique is not concerned with the Neoplatonic depiction of spiritual or metaphysical truths behind appearances.38 Howev…
Camera Obscura, Camera Lucida
Camera Obscura, Camera Lucida
Camera Obscura, Camera Lucida Meanwhile, building on his experience in the temporal media of dance and performance, Morris used and extended Duchampian strategies in order to inscribe time into his sculpture, a medium traditionally thought of as 'convert[ing] process into static object' (RM 49).Hence his brilliant 'process' works, such as the Box with Sound of its Own Making (1963).Michelson's core insights into Minimalism's spatial and temporal …
Dada Between Heaven and Hell
July 01 2003 Dada Between Heaven and Hell: Abstraction and Universal Language in the Rhythm Films of Hans Richter Malcolm Turvey Malcolm Turvey Search for other works by this author on: This Site Google Scholar Author and Article Information Malcolm Turvey Online Issn: 1536-013X Print Issn: 0162-2870 © 2003 October Magazine, Ltd. and Massachusetts Institute of Technology2003 October (2003) (105): 13–36. https://doi.org/10.1162/016228703769684146 …
The Child in the Machine
October 01 2005 The Child in the Machine: On the Use of CGI in Michael Snow's Corpus Callosum Malcolm Turvey Malcolm Turvey Search for other works by this author on: This Site Google Scholar Author and Article Information Malcolm Turvey Online ISSN: 1536-013X Print ISSN: 0162-2870 © 2005 October Magazine, Ltd. and Massachusetts Institute of Technology2005 October (2005) (114): 29–42. https://doi.org/10.1162/016228705774889600 Cite Icon Cite Permi…
Balázs
January 01 2006 Balázs: Realist or Modernist? Malcolm Turvey Malcolm Turvey Search for other works by this author on: This Site Google Scholar Author and Article Information Malcolm Turvey Online Issn: 1536-013X Print Issn: 0162-2870 © 2006 October Magazine, Ltd. and Massachusetts Institute of Technology2006 October (2006) (115): 77–87. https://doi.org/10.1162/octo.2006.115.1.77 Cite Icon Cite Permissions Share Icon Share Facebook Twitter LinkedI…
Selected Translations
January 01 2006 Selected Translations Malcolm Turvey Malcolm Turvey Search for other works by this author on: This Site Google Scholar Author and Article Information Malcolm Turvey Online Issn: 1536-013X Print Issn: 0162-2870 © 2006 October Magazine, Ltd. and Massachusetts Institute of Technology2006 October (2006) (115): 46. https://doi.org/10.1162/octo.2006.115.1.46 Cite Icon Cite Permissions Share Icon Share Twitter LinkedIn Views Icon Views A…
Theory, Philosophy, and Film Studies
October 01 2007 Theory, Philosophy, and Film Studies: A Response to D. N. Rodowick's “An Elegy for Theory” Malcolm Turvey Malcolm Turvey Search for other works by this author on: This Site Google Scholar Author and Article Information Malcolm Turvey Online Issn: 1536-013X Print Issn: 0162-2870 © 2007 October Magazine, Ltd. and Massachusetts Institute of Technology2007 October (2007) (122): 110–120. https://doi.org/10.1162/octo.2007.122.1.110 Cite…
Vertov
The centrality of the machine to Constructivist theory and practice, as well as to Vertov’s work, is beyond dispute. However, it has obscured the influence of other models on Vertov as he came to make Man with a Movie Camera in the late 1920s, including one that is often thought of as antithetical to the machine, namely, the organism. Most obviously, Man with a Movie Camera is structured according to the daily cycle of a complex living organism s…
Iraqis under the Occupation
January 01 2008 Iraqis under the Occupation: A Survey of Documentaries Malcolm Turvey Malcolm Turvey Search for other works by this author on: This Site Google Scholar Author and Article Information Malcolm Turvey Online Issn: 1536-013X Print Issn: 0162-2870 © 2008 October Magazine, Ltd. and Massachusetts Institute of Technology2008 October (2008) (123): 234–241. https://doi.org/10.1162/octo.2008.123.1.234 Cite Icon Cite Permissions Share Icon Sh…
Ken Jacobs
July 01 2011 Ken Jacobs: Digital Revelationist Malcolm Turvey Malcolm Turvey Search for other works by this author on: This Site Google Scholar Author and Article Information Malcolm Turvey Online Issn: 1536-013X Print Issn: 0162-2870 © 2011 October Magazine, Ltd. and Massachusetts Institute of Technology2011 October (2011) (137): 107–124. https://doi.org/10.1162/OCTO_a_00060 Cite Icon Cite Permissions Share Icon Share Facebook Twitter LinkedIn M…
Roundtable on the Return to Classical Film Theory
Stuart Liebman: I want to take up several issues in Malcolm's introduction in order to amplify, and perhaps to qualify, some of his remarks. He rightly notes that we are presently living through a period of scholarly engagement with early film theory. Malcolm implies that the current interest is somehow larger and more extensive than it used to be, and there is some truth in that. In addition to those texts he mentions, one must cite Richard Tayl…
Vertov, the View from Nowhere, and the Expanding Circle
Classical film theorists are commonly divided into two opposing camps. In one are placed those, such as Rudolf Arnheim and V. I. Pudovkin, who "put their faith in the image," to borrow André Bazin's phrase, arguing that "the most aesthetically significant feature of the film medium is its capacity to manipulate reality, that is, to rearrange and thereby reconstitute the profilmic event (the event that transpires in front of the camera)." In the o…
Introduction
When cinema studies was institutionalized in the Anglo-American academy starting in the late 1960s, film scholars for the most part turned away from preexisting traditions of film theorizing in favor of new theories then becoming fashionable in the humanities, principally semiotics and psychoanalysis. Earlier, so-called "classical" film theories-by which I mean, very broadly, film theories produced before the advent of psychoanalytic-semiotic fil…
Comedic Modernism
Modern artists have long been fascinated with the pantomime, circus, and other comic entertainments, and since the late 19th century, many modernists have made use of the figure of the clown in advancing their avant-garde agendas. Turvey calls this strain within modernism "comedic modernism," by which he does not mean humorous modernism, but rather the employment of the slapstick comedian as a subject and/or model in modernist theory and practice…
Comedy and the Avant-Garde
June 01 2017 Comedy and the Avant-Garde: An Introduction Malcolm Turvey Malcolm Turvey Search for other works by this author on: This Site Google Scholar Author and Article Information Malcolm Turvey Online Issn: 1536-013X Print Issn: 0162-2870 © 2017 October Magazine, Ltd. and Massachusetts Institute of Technology2017October Magazine, Ltd. and Massachusetts Institute of Technology October (2017) (160): 3–4. https://doi.org/10.1162/OCTO_a_00288 C…
Annette Michelson, 1922-2018
Rosalind E. Krauss and Malcolm Turvey honor critic and film historian Annette Michelson, co-founder of October, who died in September 2018 at the age of ninety-five. They detail Michelson's contributions to the journal in essays, translations, and the editing of special issues, and announce a forthcoming issue dedicated to her scholarship
Annette Michelson Remembered
Nineteen scholars, writers, and friends remember Annette Michelson (1922-2018), cofounder of October. Written tributes by Giuliana Bruno, Scott Bukatman, Enrico Camporesi, Edward Dimendberg, Jean-Michel Frodon, Amos Gitai, Vivian Gornick, Gertrud Koch, Antonia Lant, Stuart Liebman, Anne McCarthy, Tony Pipolo, Robert Polidori, Yvonne Rainer, Ethan Taubes, Allen S. Weiss, and Federico Windhausen, and a series of photographs by Babette Mangolte
Mirror Neurons and Film Studies
This article surveys some of the major criticisms of mirror neuron explanations of human behavior within neuroscience and philosophy of mind. It then shows how these criticisms pertain to the recent application of mirror neuron research to account for some of our responses to movies, particularly our empathic response to film characters and our putative simulation of anthropomorphic camera movements. It focuses especially on the “egocentric” conc…
In Memoriam
Friends and colleagues of Stephen Prince were shocked and saddened to learn of his death at the age of sixty-five on 30 December 2020 in Blacksburg, Virginia, after a brief illness. Steve was a good friend to many, a prolific scholar with a deep love of cinema, a beloved teacher, a trusted and valued colleague, and a generous mentor to younger scholars
Theory, Philosophy, Film Studies, and Science
Two film theorists, D. N. Rodowick and Murray Smith, have recently addressed the place of the natural sciences in the study of film and art, and they reach diametrically opposed conclusions. Rodowick argues that natural-scientific explanations have little or no role to play in the study of film and art as “cultural practices,” while Smith advocates a “naturalized aesthetics of film,” which he describes as “an approach that ... treats [film] as a …
Engagement, Psychological Fit, and Evolution in Movies on Our Minds
Cutting's quantitative approach to analyzing films enables him to discover many fascinating and important design features of mainstream movies as well as how they have changed over cinema's history. Cutting also proposes plausible psychological explanations for some of these features and changes. However, Cutting places his empirical findings and his psychological explanations of them within a broader account of what he calls the evolution of cin…
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