Tina Wasserman
Biographic Data
| ID | 6809676 |
|---|---|
| NAME | Tina Wasserman |
| GIVEN NAMES | Tina |
| FAMILY NAME | Wasserman |
| SIGNATURE | WASSERMAN T |
| AFFILIATIONS | School of the Museum of Fine Arts |
| ORCID | 0000-0001-7045-6212 |
| VERIFIED | Yes |
| TOTAL WORKS | 7 |
| TOTAL CITATIONS | 0 |
| WORKS AS AUTHOR | 7 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 2004 |
| LATEST PUBLICATION YEAR | 2025 |
| H-INDEX | 0 |
Cinema Redivivus
This is an accepted article with a DOI pre-assigned that is not yet published.This essay involves an investigation into the work of contemporary moving image artist Bill Morrison, who resuscitates nineteenth-century visual technologies by engaging with cinematic remains, reconfiguring historic footage into evocative films where the spectral past emerges. To illustrate these issues, my investigation focuses on two films: Light is Calling (2004) an…
Drawn to the light
The purpose of this essay is to explore the evocative use of moths within cinematic and performative contexts. To do so, two moving image works were chosen, each framed within in a comparative context to the other: the first, the historic and iconic masterwork of avant-garde cinema by the legendary filmmaker Stan Brakhage titled Mothlight (1963), and the second, a contemporary performance video titled Night with Moths (2019) by the interdisciplin…
Utopian Verticality
This essay examines the privileged status of verticality as a sign of utopian promise and possibility in two iconic, and often symbiotic, urban symbols: the skyscraper and the superhero
Monstrous daisies
Returning to Auschwitz in 1946, Wanda Jakubowska–a Polish filmmaker arrested and sent there in 1943–was shocked to find it covered with ‘monstrous daisies.’ At the time she was already working on a fictional film about the camp that was based on eyewitness accounts. To lend further evidential authenticity to the film, Jakubowska shot it in 1947 on location, using many survivors as participants. In making her work only two years after liberation a…
Crisis in Africa
Book Review| March 01 2008 Crisis in Africa TODAY THE HAWK TAKES ONE CHICK BY JANE GILLOOLY 72 MINUTES, 2007 Tina Wasserman Tina Wasserman TINA WASSERMAN is a faculty member in the Visual and Critical Studies Department at the School of the Museum of Fine Arts, Boston/Tufts University. Search for other works by this author on: This Site PubMed Google Scholar Afterimage (2008) 35 (5): 28. https://doi.org/10.1525/aft.2008.35.5.28 Views Icon Views A…
Between Stillness and Movement
Book Review| September 01 2007 Between Stillness and Movement THE CINEMATIC EDITED BY DAVID CAMPANYCAMBRIDGE, MASSACHUSETTS: MIT PRESS, 2007208 PP./$22.95 (SB) Tina Wasserman Tina Wasserman TINA WASSERMAN is a faculty member in the Visual and Critical Studies Department at the School of the Museum of Fine Arts, Boston/Tufts University. Search for other works by this author on: This Site PubMed Google Scholar Afterimage (2007) 35 (2): 35–36. https…
Between the Lines
Essay| August 01 2004 Between the Lines Tina Wasserman Tina Wasserman Tina Wasserman, Ph. D. is Chair of Visual and Critical Stusies at the School of the Museum of Fine Arts Boston/Tufts University. Search for other works by this author on: This Site PubMed Google Scholar Afterimage (2004) 32 (1): 14. https://doi.org/10.1525/aft.2004.32.1.14 Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Share Icon S…
No prominent works on this page.
Between the Lines
Essay| August 01 2004 Between the Lines Tina Wasserman Tina Wasserman Tina Wasserman, Ph. D. is Chair of Visual and Critical Stusies at the School of the Museum of Fine Arts Boston/Tufts University. Search for other works by this author on: This Site PubMed Google Scholar Afterimage (2004) 32 (1): 14. https://doi.org/10.1525/aft.2004.32.1.14 Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Share Icon S…
Between Stillness and Movement
Book Review| September 01 2007 Between Stillness and Movement THE CINEMATIC EDITED BY DAVID CAMPANYCAMBRIDGE, MASSACHUSETTS: MIT PRESS, 2007208 PP./$22.95 (SB) Tina Wasserman Tina Wasserman TINA WASSERMAN is a faculty member in the Visual and Critical Studies Department at the School of the Museum of Fine Arts, Boston/Tufts University. Search for other works by this author on: This Site PubMed Google Scholar Afterimage (2007) 35 (2): 35–36. https…
Crisis in Africa
Book Review| March 01 2008 Crisis in Africa TODAY THE HAWK TAKES ONE CHICK BY JANE GILLOOLY 72 MINUTES, 2007 Tina Wasserman Tina Wasserman TINA WASSERMAN is a faculty member in the Visual and Critical Studies Department at the School of the Museum of Fine Arts, Boston/Tufts University. Search for other works by this author on: This Site PubMed Google Scholar Afterimage (2008) 35 (5): 28. https://doi.org/10.1525/aft.2008.35.5.28 Views Icon Views A…
Monstrous daisies
Returning to Auschwitz in 1946, Wanda Jakubowska–a Polish filmmaker arrested and sent there in 1943–was shocked to find it covered with ‘monstrous daisies.’ At the time she was already working on a fictional film about the camp that was based on eyewitness accounts. To lend further evidential authenticity to the film, Jakubowska shot it in 1947 on location, using many survivors as participants. In making her work only two years after liberation a…
Utopian Verticality
This essay examines the privileged status of verticality as a sign of utopian promise and possibility in two iconic, and often symbiotic, urban symbols: the skyscraper and the superhero
Drawn to the light
The purpose of this essay is to explore the evocative use of moths within cinematic and performative contexts. To do so, two moving image works were chosen, each framed within in a comparative context to the other: the first, the historic and iconic masterwork of avant-garde cinema by the legendary filmmaker Stan Brakhage titled Mothlight (1963), and the second, a contemporary performance video titled Night with Moths (2019) by the interdisciplin…
Cinema Redivivus
This is an accepted article with a DOI pre-assigned that is not yet published.This essay involves an investigation into the work of contemporary moving image artist Bill Morrison, who resuscitates nineteenth-century visual technologies by engaging with cinematic remains, reconfiguring historic footage into evocative films where the spectral past emerges. To illustrate these issues, my investigation focuses on two films: Light is Calling (2004) an…
Aesthetics (4 works) · Art (4 works) · Computer Science (4 works) · Citation (3 works) · Download (3 works) · Icon (3 works) · World Wide Web (3 works) · Afterimage (2 works) · Art history (2 works) · Art, Politics, and Modernism (2 works)