Genevieve Yue
Biographic Data
| ID | 3594043 |
|---|---|
| NAME | Genevieve Yue |
| GIVEN NAMES | Genevieve |
| FAMILY NAME | Yue |
| SIGNATURE | YUE G |
| AFFILIATIONS | New School |
| VERIFIED | No |
| TOTAL WORKS | 6 |
| TOTAL CITATIONS | 15 |
| AUTHOR COUNT | 6 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 2009 |
| LATEST PUBLICATION YEAR | 2024 |
| H-INDEX | 2 |
Chatbodies
The internet is a realm of accelerated forgeries. The 1993 New Yorker cartoon “On the internet, nobody knows you’re a dog” remains as much a description as a promise. The computer interface is a screen in more than one way, concealing the fingers (or paws) that press the keys from the users who read what they write. In 1993, the assumption was that a body was present, human or humanoid. But more recently, another type of nonhuman entity has flood…
Art and Class Struggle
What do we need to know about “art” or “class struggle” before considering their relation to one another? Could you describe a specific work or text that might serve as an illustration of class struggle or as an exploration of the problem of representing it? Let us say that visual art, broadly speaking, does express the worldview of the dominant class. What kind of art then expresses the worldview of, say, hedge fund managers? Does the dialectic …
Revisiting Postmodernism
This interview was conducted with Fredric Jameson on 13 March 2014 in New York City and has been lightly edited for clarity. On the occasion of the thirtieth anniversary of the publication of "Postmodernism; or, The Cultural Logic of Late Capitalism" in the New Left Review, Jameson looks back at the essay and considers the current state of capitalism, theory, art, and culture in relation to the concepts he adopted in 1984. Jameson is Knut Schmidt…
The China Girl on the Margins of Film
The "China Girl" has appeared in more films than any actress, but she is almost never seen. Used in industrial film laboratories since the late 1920s, this image-nearly always a woman positioned next to color swatches and patches of white, gray, and black-is clipped to the leader of a film reel and used throughout the processing, developing, and printing of photochemical film to determine the desired exposure, density, and ideal appearance of the…
Cinema immemorial: "Empire" and the experimental machinima of Phil Solomon
Phil Solomon's "EMPIRE" (2008/2012), an installation made in the videogame space of Grand Theft Auto, raises issues of memory and materiality as they pertain to the medium specificities of film and digital media. As a remake of Andy Warhol's Empire (1964), the work addresses concerns pertinent to structural film of the 1960s and 1970s, including, on the one hand, the material fragility of film as a physical medium, and, on the other, the immateri…
Lost at Sea: Intermedial Encounters in the Films of Janie Geiser
July 01 2009 Lost at Sea: Intermedial Encounters in the Films of Janie Geiser Genevieve Yue Genevieve Yue Genevieve Yue is a doctoral student in the Critical Studies program at the School of Cinematic Arts, University of Southern California. She is currently completing a dissertation that examines traumatic imagery in experimental film and video, early cinema, and Asian horror. Search for other works by this author on: This Site Google Scholar Au…
The China Girl on the Margins of Film
The "China Girl" has appeared in more films than any actress, but she is almost never seen. Used in industrial film laboratories since the late 1920s, this image-nearly always a woman positioned next to color swatches and patches of white, gray, and black-is clipped to the leader of a film reel and used throughout the processing, developing, and printing of photochemical film to determine the desired exposure, density, and ideal appearance of the…
Revisiting Postmodernism
This interview was conducted with Fredric Jameson on 13 March 2014 in New York City and has been lightly edited for clarity. On the occasion of the thirtieth anniversary of the publication of "Postmodernism; or, The Cultural Logic of Late Capitalism" in the New Left Review, Jameson looks back at the essay and considers the current state of capitalism, theory, art, and culture in relation to the concepts he adopted in 1984. Jameson is Knut Schmidt…
Chatbodies
The internet is a realm of accelerated forgeries. The 1993 New Yorker cartoon “On the internet, nobody knows you’re a dog” remains as much a description as a promise. The computer interface is a screen in more than one way, concealing the fingers (or paws) that press the keys from the users who read what they write. In 1993, the assumption was that a body was present, human or humanoid. But more recently, another type of nonhuman entity has flood…
Lost at Sea: Intermedial Encounters in the Films of Janie Geiser
July 01 2009 Lost at Sea: Intermedial Encounters in the Films of Janie Geiser Genevieve Yue Genevieve Yue Genevieve Yue is a doctoral student in the Critical Studies program at the School of Cinematic Arts, University of Southern California. She is currently completing a dissertation that examines traumatic imagery in experimental film and video, early cinema, and Asian horror. Search for other works by this author on: This Site Google Scholar Au…
Cinema immemorial: "Empire" and the experimental machinima of Phil Solomon
Phil Solomon's "EMPIRE" (2008/2012), an installation made in the videogame space of Grand Theft Auto, raises issues of memory and materiality as they pertain to the medium specificities of film and digital media. As a remake of Andy Warhol's Empire (1964), the work addresses concerns pertinent to structural film of the 1960s and 1970s, including, on the one hand, the material fragility of film as a physical medium, and, on the other, the immateri…
The China Girl on the Margins of Film
The "China Girl" has appeared in more films than any actress, but she is almost never seen. Used in industrial film laboratories since the late 1920s, this image-nearly always a woman positioned next to color swatches and patches of white, gray, and black-is clipped to the leader of a film reel and used throughout the processing, developing, and printing of photochemical film to determine the desired exposure, density, and ideal appearance of the…
Revisiting Postmodernism
This interview was conducted with Fredric Jameson on 13 March 2014 in New York City and has been lightly edited for clarity. On the occasion of the thirtieth anniversary of the publication of "Postmodernism; or, The Cultural Logic of Late Capitalism" in the New Left Review, Jameson looks back at the essay and considers the current state of capitalism, theory, art, and culture in relation to the concepts he adopted in 1984. Jameson is Knut Schmidt…
Art and Class Struggle
What do we need to know about “art” or “class struggle” before considering their relation to one another? Could you describe a specific work or text that might serve as an illustration of class struggle or as an exploration of the problem of representing it? Let us say that visual art, broadly speaking, does express the worldview of the dominant class. What kind of art then expresses the worldview of, say, hedge fund managers? Does the dialectic …
Chatbodies
The internet is a realm of accelerated forgeries. The 1993 New Yorker cartoon “On the internet, nobody knows you’re a dog” remains as much a description as a promise. The computer interface is a screen in more than one way, concealing the fingers (or paws) that press the keys from the users who read what they write. In 1993, the assumption was that a body was present, human or humanoid. But more recently, another type of nonhuman entity has flood…
Art (5 works) · History (5 works) · Aesthetics (4 works) · Art history (4 works) · Cinema and Media Studies (3 works) · Epistemology (3 works) · History (3 works) · Law (3 works) · Philosophy (3 works) · Political science (3 works)