Kornelia Boczkowska
Biographic Data
| ID | 3080218 |
|---|---|
| NAME | Kornelia Boczkowska |
| GIVEN NAMES | Kornelia |
| FAMILY NAME | Boczkowska |
| SIGNATURE | BOCZKOWSKA K |
| AFFILIATIONS | Adam Mickiewicz University in Poznań |
| ORCID | 0000-0003-0875-9209 |
| VERIFIED | Yes |
| TOTAL WORKS | 12 |
| TOTAL CITATIONS | 3 |
| AUTHOR COUNT | 12 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 2020 |
| LATEST PUBLICATION YEAR | 2026 |
| H-INDEX | 1 |
Scott MacDonald, Comprehending Cinema
Carcasses, birdsongs and space dogs
Cinematic (after)images of dead and extinct animals can be transformative, providing aesthetic encounters with and helping process grief, loss and trauma. Interestingly, compared to narrative cinema, experimental films devote more attention to images of animal death and species disappearance, turning them into a palpable, timeless and meaningful spectacle. Addressing the ways in which experimental film raises questions of animal death and extinct…
American pet cemeteries in history and fiction
Cityscapes, trance states, and women walking
Commonly associated with the cinema of Béla Tarr and Gus Van Sant, walking on screen has received relatively little attention from researchers despite the ongoing popularity of wayfaring films and videos. Unsurprisingly, even less is known about how walking functions in experimental film and video or responds to avant-garde storytelling. To fill this gap, I take a phenomenological stance on walking to discuss the pedestrian’s embodied experience …
Windowscapes, dreamscapes and screen texts
Echoing the current research on mobilities, performative practice and the performative documentary, railway journey in screen texts is increasingly seen as a complex embodied, experiential and performative practice. However, although train films have received some attention in film criticism, little is known about the performative potential of train travel in experimental film. To fill this gap, I take a phenomenological stance on railway journey…
From naked bike rides to spectacles of motion
Although the relationship between cycling and cinema has recently received some attention from researchers, there are no accounts on how it links to experimental documentary film and avant-doc storytelling. To fill this gap, I take a phenomenological stance on cycling to discuss the rider’s embodied experience of travel in a few short and stylistically distinct works, Chuck Hudina’s Bicycle (1975), Jon Behrens’ Girl and a Bicycle (1995), Vanessa …
Transients, punks and hobos
While in social history and mobilities research, the study of railway mobility is becoming increasingly popular, offering new insights into (trans)national railway cultures, there is less interest in illicit mobility, unconventional modes of travel and non-regulated, irregular patterns of movement, such as train hopping, and the way they function in experimental film. To fill this gap, I build on the recent mobilities literature to discuss two st…
Inside cars
Despite the recent upsurge of interest in passengering, there are no accounts on how backseat passengering links to experimental film and 360 video or how it responds to the broader relationship between automobilities, the organization of car travel and on-screen storytelling. To fill this gap, I follow up on the profiling of the passenger as a distinctive subject and object of infrastructures of mobility to discuss the backseat passenger’s exper…
Easy Rider and Thelma & Louise revisited, or on experimental film remakes of the road movie
Although remakes and road movies are particularly endemic to Hollywood cinema, experimental filmmakers have also embraced the road movie tradition and reproduced existing material for new audiences to retell, readdress and rearticulate the prior story, exploring the dialectics between repetition, differentiation and genre. Interestingly, however, while the remake, seen mostly as a genre phenomenon, has received some critical attention, remaking i…
Do gender, genre and the gaze still matter? Toward a feminine road movie in women’s experimental film
Seen as historically masculine, the road movie has privileged the white heterosexual male and thus perpetuated its traditional patriarchal configuration. To counteract the genre’s gendered nature, some scholars have pointed to the growing need to study women’s road movies, yet never in the context of experimental filmmaking, which was institutionalized as thoroughly masculine with women’s work dismissed as peripheral or excessively lyrical. To fi…
From car frenzy to car troubles
Despite the recent upsurge of interest in automobility as a vital area of research, there are no accounts on how it links to the road movie and its derivatives in avant-garde and experimental filmmaking. To fill this gap, the article extends Archer’s use of film and genre studies in automobilities research to discuss how Highway (Hilary Harris, 1958), Dozer (Anna Geyer, 1999) and Driving Dinosaurs (Emma Piper-Burket, 2019), which span over sixty …
Dwellers that do not Belong, Dwellings that no Longer Exist
Commonly known as non-places or stopping places, hotels create their own sense of domesticity and seclusion, simultaneously invoking an uncanny screen presence due to their non-contradictory nature. Likewise, this article builds on the theory of an architectural uncanny and weirdness to analyze how Chantal Akerman’s Hôtel Monterey and Pat O’Neill’s The Decay of Fiction delineate interior spaces to evoke an (un)homely domesticity and (un)belonging…
From car frenzy to car troubles
Despite the recent upsurge of interest in automobility as a vital area of research, there are no accounts on how it links to the road movie and its derivatives in avant-garde and experimental filmmaking. To fill this gap, the article extends Archer’s use of film and genre studies in automobilities research to discuss how Highway (Hilary Harris, 1958), Dozer (Anna Geyer, 1999) and Driving Dinosaurs (Emma Piper-Burket, 2019), which span over sixty …
Do gender, genre and the gaze still matter? Toward a feminine road movie in women’s experimental film
Seen as historically masculine, the road movie has privileged the white heterosexual male and thus perpetuated its traditional patriarchal configuration. To counteract the genre’s gendered nature, some scholars have pointed to the growing need to study women’s road movies, yet never in the context of experimental filmmaking, which was institutionalized as thoroughly masculine with women’s work dismissed as peripheral or excessively lyrical. To fi…
Dwellers that do not Belong, Dwellings that no Longer Exist
Commonly known as non-places or stopping places, hotels create their own sense of domesticity and seclusion, simultaneously invoking an uncanny screen presence due to their non-contradictory nature. Likewise, this article builds on the theory of an architectural uncanny and weirdness to analyze how Chantal Akerman’s Hôtel Monterey and Pat O’Neill’s The Decay of Fiction delineate interior spaces to evoke an (un)homely domesticity and (un)belonging…
Easy Rider and Thelma & Louise revisited, or on experimental film remakes of the road movie
Although remakes and road movies are particularly endemic to Hollywood cinema, experimental filmmakers have also embraced the road movie tradition and reproduced existing material for new audiences to retell, readdress and rearticulate the prior story, exploring the dialectics between repetition, differentiation and genre. Interestingly, however, while the remake, seen mostly as a genre phenomenon, has received some critical attention, remaking i…
Do gender, genre and the gaze still matter? Toward a feminine road movie in women’s experimental film
Seen as historically masculine, the road movie has privileged the white heterosexual male and thus perpetuated its traditional patriarchal configuration. To counteract the genre’s gendered nature, some scholars have pointed to the growing need to study women’s road movies, yet never in the context of experimental filmmaking, which was institutionalized as thoroughly masculine with women’s work dismissed as peripheral or excessively lyrical. To fi…
From car frenzy to car troubles
Despite the recent upsurge of interest in automobility as a vital area of research, there are no accounts on how it links to the road movie and its derivatives in avant-garde and experimental filmmaking. To fill this gap, the article extends Archer’s use of film and genre studies in automobilities research to discuss how Highway (Hilary Harris, 1958), Dozer (Anna Geyer, 1999) and Driving Dinosaurs (Emma Piper-Burket, 2019), which span over sixty …
From naked bike rides to spectacles of motion
Although the relationship between cycling and cinema has recently received some attention from researchers, there are no accounts on how it links to experimental documentary film and avant-doc storytelling. To fill this gap, I take a phenomenological stance on cycling to discuss the rider’s embodied experience of travel in a few short and stylistically distinct works, Chuck Hudina’s Bicycle (1975), Jon Behrens’ Girl and a Bicycle (1995), Vanessa …
Transients, punks and hobos
While in social history and mobilities research, the study of railway mobility is becoming increasingly popular, offering new insights into (trans)national railway cultures, there is less interest in illicit mobility, unconventional modes of travel and non-regulated, irregular patterns of movement, such as train hopping, and the way they function in experimental film. To fill this gap, I build on the recent mobilities literature to discuss two st…
Inside cars
Despite the recent upsurge of interest in passengering, there are no accounts on how backseat passengering links to experimental film and 360 video or how it responds to the broader relationship between automobilities, the organization of car travel and on-screen storytelling. To fill this gap, I follow up on the profiling of the passenger as a distinctive subject and object of infrastructures of mobility to discuss the backseat passenger’s exper…
Cityscapes, trance states, and women walking
Commonly associated with the cinema of Béla Tarr and Gus Van Sant, walking on screen has received relatively little attention from researchers despite the ongoing popularity of wayfaring films and videos. Unsurprisingly, even less is known about how walking functions in experimental film and video or responds to avant-garde storytelling. To fill this gap, I take a phenomenological stance on walking to discuss the pedestrian’s embodied experience …
Windowscapes, dreamscapes and screen texts
Echoing the current research on mobilities, performative practice and the performative documentary, railway journey in screen texts is increasingly seen as a complex embodied, experiential and performative practice. However, although train films have received some attention in film criticism, little is known about the performative potential of train travel in experimental film. To fill this gap, I take a phenomenological stance on railway journey…
Carcasses, birdsongs and space dogs
Cinematic (after)images of dead and extinct animals can be transformative, providing aesthetic encounters with and helping process grief, loss and trauma. Interestingly, compared to narrative cinema, experimental films devote more attention to images of animal death and species disappearance, turning them into a palpable, timeless and meaningful spectacle. Addressing the ways in which experimental film raises questions of animal death and extinct…
American pet cemeteries in history and fiction
Scott MacDonald, Comprehending Cinema
Art (10 works) · Aesthetics (8 works) · Cinema and Media Studies (8 works) · Sociology (8 works) · Geographies of human-animal interactions (7 works) · Visual arts (7 works) · Literature (6 works) · Computer Science (5 works) · Embodied cognition (5 works) · Art history (4 works)