A Supercut of Supercuts
Aesthetics, Histories, Databases
Bibliographic Data
| ID | 22169469 |
|---|---|
| Authors | Max Tohline (0000-0002-7065-6473, Film Independent, corresponding author) |
| Year | 2021 |
| Volume | 4 |
| Issue | 1 |
| Publication date | 2021-06-07 |
| Open Access | Yes |
| Type | ARTICLE |
| Venue | Open Screens (JOURNAL) |
| Journal identifiers | ISSN: 2516-2888 • E-ISSN: 2516-2888 |
| Publisher | Open Library of the Humanities (PUBLISHER) |
| DOI | 10.16995/os.45 |
| OpenAlex | W3165998463 |
| Language | EN |
| Citations received | 2 |
| References cited | 8 |
The genealogies of the supercut, which extend well past YouTube compilations, back to the 1920s and beyond, reveal it not as an aesthetic that trickled from avant-garde experimentation into mass entertainment, but rather the material expression of a newly-ascendant mode of knowledge and power: the database episteme
Aesthetics · Art · Database · Entertainment · Episteme · Human–computer interaction · Social science · Sociology · Visual arts · Asian Culture and Media Studies · Cinema and Media Studies · Computer Science · Digital Games and Media
| Citations per year | 0.5 |
|---|---|
| Citation span | 2022 - 2024 (3) |
| Highly cited | No |