Brian R Jacobson
Biographic Data
| ID | 1636112 |
|---|---|
| NAME | Brian R Jacobson |
| GIVEN NAMES | Brian R |
| FAMILY NAME | Jacobson |
| SIGNATURE | JACOBSON B R |
| AFFILIATIONS | Schlumberger (Ireland) |
| ORCID | 0000-0001-6325-2991 |
| VERIFIED | Yes |
| TOTAL WORKS | 8 |
| TOTAL CITATIONS | 3 |
| AUTHOR COUNT | 8 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 2010 |
| LATEST PUBLICATION YEAR | 2024 |
| H-INDEX | 1 |
Evil Does Not Exist
Ryūsuke Hamaguchi’s Evil Does Not Exist (2023) takes a formal approach to environmental criticism that this article names the “downstream.” Delivered audio-visually and thematically, Hamaguchi’s technique turns a familiar ecological parable into a perception-challenging experience of aesthetic ambiguity and disorientation. Pushing the viewer to look closely and to trace the downstream effects of actions that threaten to disrupt tenuous forms of e…
French cinema vs the bomb
This article examines the struggle over the meaning of atomic science and nuclear power in mid-century French film culture, including popular and art cinema, newsreels, television, and industrial films produced by the French atomic energy commission. It considers the nuclear as a representational problem, rooted in the enduring iconicity of the bombings of Hiroshima and Nagasaki and the difficulty of making atomic science’s value visible. Buildin…
Media Climates
The Shadow of Progress and the Cultural Markers of the Anthropocene
Midcentury rural modern
In October 1953, a French delegation travelled to Rome to attend the Festival Internazionale del Film Agricolo – one of the first of what would become a regular series of agricultural and industrial film festivals held across Europe.1 In a promotional festival booklet, the French sought to highlight their films’ artistic value by placing agricultural cinema within a long history of art inspired by the land, a history dating to the fifteenth centu…
André Gaudreault and Phillipe Marion, The End of Cinema? A Medium in Crisis in the Digital Age
In their new book, The End of Cinema?, André Gaudreault and Philippe Marion propose a concept, the ‘animage’, designed to clear the conceptual chaos of cinema’s current ‘crisis’. The word has a complex constitution. In the most straightforward sense it evokes animation’s central role in the authors’ reconceptualization of the cinematic image, which builds on Lev Manovich’s argument, in The Language of New Media, that computer graphics had brought…
The Black Maria
In late 1892 at Thomas Edison’s laboratory in West Orange, NJ, William, Kennedy Laurie Dickson designed an architectural space like few seen before. Soon dubbed the Black Maria – a colloquialism for nineteenth century police vehicles – the building was variously described by contemporary observers as a coffin, cavern, or outright conundrum (Figure 1). Today it is better known as the world’s first film studio. Dickson developed the studio concurre…
The ‘imponderable fluidity’ of modernity
This essay situates the development of early ‘glass house’ film studios in the history of nineteenth‐century glass‐and‐iron architecture. It focuses on Georges Méliès’s first studio (built in 1897) and describes its roots in structures including the Galeries des Machines at Paris’s international expositions and the photography studio on the roof of Méliès’s magic theatre in Paris. Filmmakers such as Méliès used the same materials and designs that…
The ‘imponderable fluidity’ of modernity
This essay situates the development of early ‘glass house’ film studios in the history of nineteenth‐century glass‐and‐iron architecture. It focuses on Georges Méliès’s first studio (built in 1897) and describes its roots in structures including the Galeries des Machines at Paris’s international expositions and the photography studio on the roof of Méliès’s magic theatre in Paris. Filmmakers such as Méliès used the same materials and designs that…
The Black Maria
In late 1892 at Thomas Edison’s laboratory in West Orange, NJ, William, Kennedy Laurie Dickson designed an architectural space like few seen before. Soon dubbed the Black Maria – a colloquialism for nineteenth century police vehicles – the building was variously described by contemporary observers as a coffin, cavern, or outright conundrum (Figure 1). Today it is better known as the world’s first film studio. Dickson developed the studio concurre…
André Gaudreault and Phillipe Marion, The End of Cinema? A Medium in Crisis in the Digital Age
In their new book, The End of Cinema?, André Gaudreault and Philippe Marion propose a concept, the ‘animage’, designed to clear the conceptual chaos of cinema’s current ‘crisis’. The word has a complex constitution. In the most straightforward sense it evokes animation’s central role in the authors’ reconceptualization of the cinematic image, which builds on Lev Manovich’s argument, in The Language of New Media, that computer graphics had brought…
Midcentury rural modern
In October 1953, a French delegation travelled to Rome to attend the Festival Internazionale del Film Agricolo – one of the first of what would become a regular series of agricultural and industrial film festivals held across Europe.1 In a promotional festival booklet, the French sought to highlight their films’ artistic value by placing agricultural cinema within a long history of art inspired by the land, a history dating to the fifteenth centu…
The Shadow of Progress and the Cultural Markers of the Anthropocene
French cinema vs the bomb
This article examines the struggle over the meaning of atomic science and nuclear power in mid-century French film culture, including popular and art cinema, newsreels, television, and industrial films produced by the French atomic energy commission. It considers the nuclear as a representational problem, rooted in the enduring iconicity of the bombings of Hiroshima and Nagasaki and the difficulty of making atomic science’s value visible. Buildin…
Media Climates
Evil Does Not Exist
Ryūsuke Hamaguchi’s Evil Does Not Exist (2023) takes a formal approach to environmental criticism that this article names the “downstream.” Delivered audio-visually and thematically, Hamaguchi’s technique turns a familiar ecological parable into a perception-challenging experience of aesthetic ambiguity and disorientation. Pushing the viewer to look closely and to trace the downstream effects of actions that threaten to disrupt tenuous forms of e…
Art (6 works) · Art history (5 works) · Movie theater (5 works) · Cinema and Media Studies (4 works) · Literature (4 works) · History (3 works) · History (3 works) · Visual arts (3 works) · Aesthetics (2 works) · Archaeology (2 works)