Tanya Shilina-Conte
Biographic Data
| ID | 5841932 |
|---|---|
| NAME | Tanya Shilina-Conte |
| GIVEN NAMES | Tanya |
| FAMILY NAME | Shilina-Conte |
| SIGNATURE | SHILINA-CONTE T |
| AFFILIATIONS | University at Buffalo, State University of New York |
| VERIFIED | No |
| TOTAL WORKS | 14 |
| TOTAL CITATIONS | 0 |
| WORKS AS AUTHOR | 14 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 2021 |
| LATEST PUBLICATION YEAR | 2025 |
| H-INDEX | 0 |
Copyright Page
Fade-In: Introduction
The introduction makes clear the novelty and importance of the present study, describes its methodology, and delineates its argument. The introductory chapter also emphasizes the book’s fresh contributions to two major scholarly conversations: first, the innovative intersections between film studies and Deleuze and Guattari studies; second, the emergent interest in absence, darkness, and silence in film studies and film-philosophy. Accordingly, t…
Alternate Endings
Chapter 6 brings the book to a close by exploring the use of black or white screens across the post-cinematic terrain, drawing on post-Deleuzian third-image interventions and broader scholarship on cinema in the digital age. As in chapter 1 of this book, the present chapter draws on a comparison between Paul Virilio’s account of integrative accident and technological progress, on the one hand, and Gilles Deleuze and Félix Guattari’s theory of cre…
Convergent Codes
Chapter 2 provides an overview of Gilles Deleuze’s work on cinema and highlights the role that the black or white screen plays in his theorization of the movement-image. It traces the concept of the black or white screen through the components of the frame, shot, and montage as fundamentals of cinematic analysis. The chapter scrutinizes various aspects of the film frame—such as its genetic power and tendencies toward either rarefaction or saturat…
One Chapter Less
Chapter 4 dwells on the black or white screen as a force of deterritorialization in minor cinema. This chapter draws upon the connection between modern cerebral cinema and minor (or modern political) cinema in Gilles Deleuze’s theory. The chapter examines minor cinema as a blended form of minor(itarian) cinema—a resistant cinema of experimentation that under certain conditions also embraces a cinema of minorities. This chapter shifts emphasis fro…
Fade-Out: Conclusion
The concluding chapter places the author’s remix-assemblage, This Video Does Not Exist (2015/2024), within the emergent discourse of scholar-practitioners in film and media studies working at the interstices between theory and practice. Fully embracing the capacity of the filmmaking machine to generate sensations and affects calls for a new breed of scholar-practitioner engaged in critical-creative practice. Machines are performative rather than …
Dedication
Folds to Black or White in Minor Cinema and Art Practice
Chapter 5 elucidates the theory of “folds to black or white” in minor cinema. The concept of folds to black or white expands on both fade-ins and fade-outs as rational transitions and black or white screens as irrational cuts (or interstices) in cinema. Folds to black or white counter impossibilities and impediments in the social sphere, inviting alternative readings of history and memory. The chapter fuses Laura U. Marks’s enfolding-unfolding mo…
Divergent Darkness
Chapter 1 focuses on the various uses of black screens in early cinema, the period that remains outside of Gilles Deleuze’s Cinema dyad. Chapter 1 and chapter 6 frame the book by drawing a comparison between Paul Virilio’s theory of the acceleration of technology and negative accident, on the one hand, and Deleuze and Félix Guattari’s philosophy of abstract machinic production and creative malfunction, on the other. This chapter begins by examini…
The Black or White Screen as a Tool of Deterritorialization in Modern and Experimental Cinema
Chapter 3 elaborates on the blank screen as a tool of deterritorialization in time-image cinema. This chapter highlights absolute deterritorialization in the black or white screen that offers a radical line of flight from fixed forms and stable codes in cinema. This and the next chapter of the book develop a comparison between the critical-clinical symptomatologies of Theodor W. Adorno’s negative critique and non-communication, on the one hand, a…
Black Screens, White Frames
Black Screens, White Frames offers a new understanding of cinematic blankness. Drawing on Gilles Deleuze’s philosophy, Tanya Shilina-Conte provides a detailed examination of non-images throughout film history. In different arts, including cinema, absence has often been understood in a negative way—as a lack or lacuna, a vacuum or void. To remedy this, Shilina-Conte advances the concept of the filmmaking machine as an abstract art machine in const…
The sartorial Islamic Baroque
Journal Article The sartorial Islamic Baroque: folded feminisms in the experimental cinema of Mania Akbari and Ana Nyma (Anonyme) Get access Tanya Shilina-Conte Tanya Shilina-Conte Email: [email protected] Search for other works by this author on: Oxford Academic Google Scholar Screen, Volume 63, Issue 1, Spring 2022, Pages 47–67, https://doi.org/10.1093/screen/hjac001 Published: 22 March 2022
Silence as Elective Mutism in Minor Cinema
This article advances mutism as a creative mode and conceptual tool to treat silence in cinema. Whereas mutism can be a productive concept for the study of auditory and visual absence in a broader theoretical framework, my focus here is on the silence of film characters. Drawing on correspondences between the critical and the clinical in Gilles Deleuze’s writing, I argue that adopting mutism as a tool of film-philosophy permits us to supersede tr…
Phone Footage and the Social Media Image as Global Anonymous Cinema
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Silence as Elective Mutism in Minor Cinema
This article advances mutism as a creative mode and conceptual tool to treat silence in cinema. Whereas mutism can be a productive concept for the study of auditory and visual absence in a broader theoretical framework, my focus here is on the silence of film characters. Drawing on correspondences between the critical and the clinical in Gilles Deleuze’s writing, I argue that adopting mutism as a tool of film-philosophy permits us to supersede tr…
Phone Footage and the Social Media Image as Global Anonymous Cinema
The sartorial Islamic Baroque
Journal Article The sartorial Islamic Baroque: folded feminisms in the experimental cinema of Mania Akbari and Ana Nyma (Anonyme) Get access Tanya Shilina-Conte Tanya Shilina-Conte Email: [email protected] Search for other works by this author on: Oxford Academic Google Scholar Screen, Volume 63, Issue 1, Spring 2022, Pages 47–67, https://doi.org/10.1093/screen/hjac001 Published: 22 March 2022
Copyright Page
Fade-In: Introduction
The introduction makes clear the novelty and importance of the present study, describes its methodology, and delineates its argument. The introductory chapter also emphasizes the book’s fresh contributions to two major scholarly conversations: first, the innovative intersections between film studies and Deleuze and Guattari studies; second, the emergent interest in absence, darkness, and silence in film studies and film-philosophy. Accordingly, t…
Alternate Endings
Chapter 6 brings the book to a close by exploring the use of black or white screens across the post-cinematic terrain, drawing on post-Deleuzian third-image interventions and broader scholarship on cinema in the digital age. As in chapter 1 of this book, the present chapter draws on a comparison between Paul Virilio’s account of integrative accident and technological progress, on the one hand, and Gilles Deleuze and Félix Guattari’s theory of cre…
Convergent Codes
Chapter 2 provides an overview of Gilles Deleuze’s work on cinema and highlights the role that the black or white screen plays in his theorization of the movement-image. It traces the concept of the black or white screen through the components of the frame, shot, and montage as fundamentals of cinematic analysis. The chapter scrutinizes various aspects of the film frame—such as its genetic power and tendencies toward either rarefaction or saturat…
One Chapter Less
Chapter 4 dwells on the black or white screen as a force of deterritorialization in minor cinema. This chapter draws upon the connection between modern cerebral cinema and minor (or modern political) cinema in Gilles Deleuze’s theory. The chapter examines minor cinema as a blended form of minor(itarian) cinema—a resistant cinema of experimentation that under certain conditions also embraces a cinema of minorities. This chapter shifts emphasis fro…
Fade-Out: Conclusion
The concluding chapter places the author’s remix-assemblage, This Video Does Not Exist (2015/2024), within the emergent discourse of scholar-practitioners in film and media studies working at the interstices between theory and practice. Fully embracing the capacity of the filmmaking machine to generate sensations and affects calls for a new breed of scholar-practitioner engaged in critical-creative practice. Machines are performative rather than …
Dedication
Folds to Black or White in Minor Cinema and Art Practice
Chapter 5 elucidates the theory of “folds to black or white” in minor cinema. The concept of folds to black or white expands on both fade-ins and fade-outs as rational transitions and black or white screens as irrational cuts (or interstices) in cinema. Folds to black or white counter impossibilities and impediments in the social sphere, inviting alternative readings of history and memory. The chapter fuses Laura U. Marks’s enfolding-unfolding mo…
Divergent Darkness
Chapter 1 focuses on the various uses of black screens in early cinema, the period that remains outside of Gilles Deleuze’s Cinema dyad. Chapter 1 and chapter 6 frame the book by drawing a comparison between Paul Virilio’s theory of the acceleration of technology and negative accident, on the one hand, and Deleuze and Félix Guattari’s philosophy of abstract machinic production and creative malfunction, on the other. This chapter begins by examini…
The Black or White Screen as a Tool of Deterritorialization in Modern and Experimental Cinema
Chapter 3 elaborates on the blank screen as a tool of deterritorialization in time-image cinema. This chapter highlights absolute deterritorialization in the black or white screen that offers a radical line of flight from fixed forms and stable codes in cinema. This and the next chapter of the book develop a comparison between the critical-clinical symptomatologies of Theodor W. Adorno’s negative critique and non-communication, on the one hand, a…
Black Screens, White Frames
Black Screens, White Frames offers a new understanding of cinematic blankness. Drawing on Gilles Deleuze’s philosophy, Tanya Shilina-Conte provides a detailed examination of non-images throughout film history. In different arts, including cinema, absence has often been understood in a negative way—as a lack or lacuna, a vacuum or void. To remedy this, Shilina-Conte advances the concept of the filmmaking machine as an abstract art machine in const…
Cinema and Media Studies (10 works) · Art (8 works) · Computer Science (7 works) · Movie theater (7 works) · Visual arts (4 works) · Aesthetics (3 works) · Art history (3 works) · Digital Media and Philosophy (3 works) · Linguistics (3 works) · Literature (3 works)