David Rojinsky
Biographic Data
| ID | 190380 |
|---|---|
| NAME | David Rojinsky |
| GIVEN NAMES | David |
| FAMILY NAME | Rojinsky |
| SIGNATURE | ROJINSKY D |
| AFFILIATIONS | Independent researcher |
| ORCID | 0000-0003-1495-8466 |
| VERIFIED | Yes |
| TOTAL WORKS | 5 |
| TOTAL CITATIONS | 3 |
| WORKS AS AUTHOR | 5 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 2004 |
| LATEST PUBLICATION YEAR | 2024 |
| H-INDEX | 1 |
Visualizing a ‘missing people’ in Sousa Dias’ Still Life
Drawing from Deleuze and Guattari’s geophilosophy, Patricia Pisters adopts the term ‘metallurgical’ to describe the filmmaking of contemporary directors of political cinema who exploit the unprecedented opportunities afforded by digital technology to recycle and remediate transnational visual archives. Similarly, in the light of Deleuze’s meditations on modern film in Cinema 2: The Time-Image (1989), Pisters identifies metallurgical filmmaking wi…
Between carceral family album and world memory
Susana de Sousa Dias’s cinematic reframing of mugshots from the archive of Portugal’s former political police, the PIDE, represented a unique intermedial contribution to the country’s memory boom of the 2000s and 2010s. In her 2017 documentary, Luz Obscura, three surviving children of Octávio Pato (1925–1999), an emblematic leader of the Portuguese Communist Party, narrate their traumatic memories of a clandestine childhood overshadowed by survei…
Photographic memory and ekphrasis in Tununa Mercado’s En estado de memoria
Previous studies of En estado de memoria (1990), Tununa Mercado’s meditation on exile and the trauma of return, have tended to refrain from any extended analysis of its ekphrastic quality and the blurring of the text/image binary characterizing the narrator’s account of both memorial experience and the exilic condition. Yet, the plasticity of Mercado’s prose actually encourages the reader to engage each section of the book as if it were one of a …
Companion to Empire
This volume traces a genealogy of the varied conceptions and functions of alphabetic writing in Hispanic cultures of the pre-modern and early colonial periods. The historical junctures selected are those at which the written word (in grammatical, historical and legal discourse) assumed increased ideological importance for bolstering different kinds of 'imperial' power. In effect, Companion to Empire posits a constellation of historical scenarios,…
Who speaks for 'Argentine' pasts?Respiración artificialas unwitting oracle to a catastrophic future
Companion to Empire
This volume traces a genealogy of the varied conceptions and functions of alphabetic writing in Hispanic cultures of the pre-modern and early colonial periods. The historical junctures selected are those at which the written word (in grammatical, historical and legal discourse) assumed increased ideological importance for bolstering different kinds of 'imperial' power. In effect, Companion to Empire posits a constellation of historical scenarios,…
Who speaks for 'Argentine' pasts?Respiración artificialas unwitting oracle to a catastrophic future
Companion to Empire
This volume traces a genealogy of the varied conceptions and functions of alphabetic writing in Hispanic cultures of the pre-modern and early colonial periods. The historical junctures selected are those at which the written word (in grammatical, historical and legal discourse) assumed increased ideological importance for bolstering different kinds of 'imperial' power. In effect, Companion to Empire posits a constellation of historical scenarios,…
Photographic memory and ekphrasis in Tununa Mercado’s En estado de memoria
Previous studies of En estado de memoria (1990), Tununa Mercado’s meditation on exile and the trauma of return, have tended to refrain from any extended analysis of its ekphrastic quality and the blurring of the text/image binary characterizing the narrator’s account of both memorial experience and the exilic condition. Yet, the plasticity of Mercado’s prose actually encourages the reader to engage each section of the book as if it were one of a …
Between carceral family album and world memory
Susana de Sousa Dias’s cinematic reframing of mugshots from the archive of Portugal’s former political police, the PIDE, represented a unique intermedial contribution to the country’s memory boom of the 2000s and 2010s. In her 2017 documentary, Luz Obscura, three surviving children of Octávio Pato (1925–1999), an emblematic leader of the Portuguese Communist Party, narrate their traumatic memories of a clandestine childhood overshadowed by survei…
Visualizing a ‘missing people’ in Sousa Dias’ Still Life
Drawing from Deleuze and Guattari’s geophilosophy, Patricia Pisters adopts the term ‘metallurgical’ to describe the filmmaking of contemporary directors of political cinema who exploit the unprecedented opportunities afforded by digital technology to recycle and remediate transnational visual archives. Similarly, in the light of Deleuze’s meditations on modern film in Cinema 2: The Time-Image (1989), Pisters identifies metallurgical filmmaking wi…
Art (5 works) · History (4 works) · History (3 works) · Art history (2 works) · Cinema and Media Studies (2 works) · Computer Science (2 works) · Literature (2 works) · Memory, Trauma, and Commemoration (2 works) · Photography and Visual Culture (2 works) · Politics (2 works)