[Commlist] Screenworks Vol. 16.1 published

We are pleased to announce the publication of the latest issue of 
/_Screenworks 
<https://www.screenworks.org.uk/archive/volume-16-1>_/_, Volume 16.1 
<https://www.screenworks.org.uk/archive/volume-16-1>_.

Our brand-new rolling volume kicks off with three new Screenworks. 
Cassandra Tytler's /_Oops! 
<https://www.screenworks.org.uk/archive/volume-16-1/oops>_/ is a video 
installation and single-screen work that examines how interruption 
functions as a political and ideological intervention in video art 
practice. Drawing on Walter Benjamin’s theorisation of epic theatre and 
Soviet montage theory, the work employs abrupt cuts, spatial 
disjunction, and embodied spectatorship to expose ideological 
structures. Through a feminist and queer lens, /Oops!/ disrupts fixed 
narratives, positioning interruption as a gestic action that critiques 
power relations in contemporary Australian domestic and social contexts. 
This practice-led research demonstrates how video art can intervene in 
hegemonic structures by unsettling spectatorship and reframing the 
politics of perception.

David H. Fleming's video essay /_Danse Macabre: Of the Dying and Death 
of Philosophers on Film 
<https://www.screenworks.org.uk/archive/volume-16-1/danse-macabre>_///explores 
cinematic representations of death through a film-philosophic lens. By 
poetically compos(i)ting imaging-imaginings of real philosophers’ deaths 
and dying acts into a Danse Macabre this video essay expressively 
ponders philosophy’s entanglements with, and conditional/continual 
rebirths through, different media forms. If philosophy’s age-old 
entanglement with death unravelled alongside modernity’s privatisation 
of dying, films featuring global philosophers appear to pick up this 
ancient ‘necromantic’ baton.

Miguel Mesquita Duarte’s video essay /_Remediations: Specters 
in/of/around Godard 
<https://www.screenworks.org.uk/archive/volume-16-1/remediations-specters-in-of-around-godard>_/ extends 
Godardian videographic criticism by focusing specifically on his 
political documentary cinema. By positioning the videographic essay as a 
direct heir to the essay film, Remediations intersects the performative 
exploration of self and other with the critical activity of historical 
reflection through re-readings and transformations of images and words, 
offering a new way to experiment with Godardian conceptual imagery and 
videographic essayistic methodologies. Remediations illuminates the 
essayistic methodologies of Godard’s political documentary films and 
creatively extends them through the dramatization of an impossible 
encounter with Godard himself.



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