Paula Amad
Biographic Data
| ID | 963682 |
|---|---|
| NAME | Paula Amad |
| GIVEN NAMES | Paula |
| FAMILY NAME | Amad |
| SIGNATURE | AMAD P |
| AFFILIATIONS | University of Iowa |
| VERIFIED | No |
| TOTAL WORKS | 8 |
| TOTAL CITATIONS | 18 |
| WORKS AS AUTHOR | 8 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 2005 |
| LATEST PUBLICATION YEAR | 2021 |
| H-INDEX | 2 |
Affective Cin-aereality
This article explores a kinship between aviation and cinema through the intersection of affective gender, dreams, and flying as expressed across newspaper accounts of women and flight, star discourse related to Mabel Normand and Mary Pickford, and the sexualized scenes of aerial joyriding in Abram Room’s Bed and Sofa (1927) and Walt Disney and Ub Iwerks’s Plane Crazy (1928). It argues that in order to fully understand the aviation-cinema nexus, w…
"Film as the "Skin of History
Why did the notoriously antimontage film theorist André Bazin champion Nicole Védrès's Paris 1900 (1947), a kaleidoscopic film de montage compiled from scraps of archival film, including footage of a death recorded live? How did archival films and death on film together mediate for Bazin the fatal coupling of "total war" and "total History," and why were archival films seen by others to raise urgent questions of historical philosophy? This essay …
"Film as the "Skin of History
Why did the notoriously antimontage film theorist Andre Bazin champion Nicole Vedres’s Paris 1900 (1947), a kaleidoscopic film de montage compiled from scraps of archival film, including footage of a death recorded live? How did archival films and death on film together mediate for Bazin the fatal coupling of “total war” and “total History,” and why were archival films seen by others to raise urgent questions of historical philosophy? This essay …
Antoine DE Baecque. Camera Historica
There are two approaches to writing history through films: the first, more common, aims to view history through the window of films, using the cinema as just another source; the second, more demanding, aims to write a cinematically inflected mode of history, sensitive to the myriad ways in which films give form to, rather than simply represent, history. Antoine de Baecque's monograph offers an ambitious and exciting contribution to the latter tra…
Visual Riposte
This article examines the theoretical and historical background of the return-of-the-gaze phenomenon in film studies and in film practice, especially within the articulation between postcolonial and visual studies, and discusses its limitations and potentialities through a case study of films made by Father Francis Aupiais in Benin in 1929–1930
From God's-eye to Camera-eye
Aerial photographs are most commonly associated with notions of panoptic vision or the environmental sublime. This paper reviews the dystopian and utopian discourses surrounding aerial photography and suggests a third approach to understanding aerial vision as dialectically situated between the poles of science and art, rationality and imagination, abstracted and embodied knowledge, visibility and invisibility, the archive and the museum
Counter-Archive
Tucked away in a garden on the edge of Paris is a multimedia archive like no other: Albert Kahn's Archives de la Planète (1908-1931). Kahn's vast photo-cinematographic experiment preserved world memory through the privileged lens of everyday life, and Counter-Archive situates this project in its biographic, intellectual, and cinematic contexts. Tracing the archive's key influences, such as the philosopher Henri Bergson, the geographer Jean Brunhe…
These Spectacles Are Never Forgotten”
Paula Amad is assistant professor in the Department of Cinema and Comparative Literature at the University of Iowa. She is currently working on a book about early cinema, Archiving the Everyday (Columbia University Press, forthcoming)
From God's-eye to Camera-eye
Aerial photographs are most commonly associated with notions of panoptic vision or the environmental sublime. This paper reviews the dystopian and utopian discourses surrounding aerial photography and suggests a third approach to understanding aerial vision as dialectically situated between the poles of science and art, rationality and imagination, abstracted and embodied knowledge, visibility and invisibility, the archive and the museum
Visual Riposte
This article examines the theoretical and historical background of the return-of-the-gaze phenomenon in film studies and in film practice, especially within the articulation between postcolonial and visual studies, and discusses its limitations and potentialities through a case study of films made by Father Francis Aupiais in Benin in 1929–1930
These Spectacles Are Never Forgotten”
Paula Amad is assistant professor in the Department of Cinema and Comparative Literature at the University of Iowa. She is currently working on a book about early cinema, Archiving the Everyday (Columbia University Press, forthcoming)
Counter-Archive
Tucked away in a garden on the edge of Paris is a multimedia archive like no other: Albert Kahn's Archives de la Planète (1908-1931). Kahn's vast photo-cinematographic experiment preserved world memory through the privileged lens of everyday life, and Counter-Archive situates this project in its biographic, intellectual, and cinematic contexts. Tracing the archive's key influences, such as the philosopher Henri Bergson, the geographer Jean Brunhe…
From God's-eye to Camera-eye
Aerial photographs are most commonly associated with notions of panoptic vision or the environmental sublime. This paper reviews the dystopian and utopian discourses surrounding aerial photography and suggests a third approach to understanding aerial vision as dialectically situated between the poles of science and art, rationality and imagination, abstracted and embodied knowledge, visibility and invisibility, the archive and the museum
Antoine DE Baecque. Camera Historica
There are two approaches to writing history through films: the first, more common, aims to view history through the window of films, using the cinema as just another source; the second, more demanding, aims to write a cinematically inflected mode of history, sensitive to the myriad ways in which films give form to, rather than simply represent, history. Antoine de Baecque's monograph offers an ambitious and exciting contribution to the latter tra…
Visual Riposte
This article examines the theoretical and historical background of the return-of-the-gaze phenomenon in film studies and in film practice, especially within the articulation between postcolonial and visual studies, and discusses its limitations and potentialities through a case study of films made by Father Francis Aupiais in Benin in 1929–1930
"Film as the "Skin of History
Why did the notoriously antimontage film theorist André Bazin champion Nicole Védrès's Paris 1900 (1947), a kaleidoscopic film de montage compiled from scraps of archival film, including footage of a death recorded live? How did archival films and death on film together mediate for Bazin the fatal coupling of "total war" and "total History," and why were archival films seen by others to raise urgent questions of historical philosophy? This essay …
"Film as the "Skin of History
Why did the notoriously antimontage film theorist Andre Bazin champion Nicole Vedres’s Paris 1900 (1947), a kaleidoscopic film de montage compiled from scraps of archival film, including footage of a death recorded live? How did archival films and death on film together mediate for Bazin the fatal coupling of “total war” and “total History,” and why were archival films seen by others to raise urgent questions of historical philosophy? This essay …
Affective Cin-aereality
This article explores a kinship between aviation and cinema through the intersection of affective gender, dreams, and flying as expressed across newspaper accounts of women and flight, star discourse related to Mabel Normand and Mary Pickford, and the sexualized scenes of aerial joyriding in Abram Room’s Bed and Sofa (1927) and Walt Disney and Ub Iwerks’s Plane Crazy (1928). It argues that in order to fully understand the aviation-cinema nexus, w…
Art (7 works) · Art history (7 works) · Cinema and Media Studies (6 works) · Literature (5 works) · Visual arts (5 works) · History (4 works) · Movie theater (4 works) · Computer Science (3 works) · French Historical and Cultural Studies (3 works) · Italian Fascism and Post-war Society (3 works)