They systematize “imaginary geographies” of actual locations (Roan 2010), and, at the same time, contributing to the entwined production of knowledge and power over space. “As an apparatus that combined the ‘mobile’ with the ‘virtual’” (3) cinema and other forms of moving images and gazes have been often associated with travelling, exploration, conquest, and other forms of crossing and wandering through space. (Cinematic) movement and the mobile gazeĪs Anne Friedberg stated, “the mobilized gaze has a history rooted in other cultural activities that involve walking and travel” (1994: 2). How do material affordances, contingencies and constraints in mobility affect and shape the production of media content? Which role do media play within broader social histories and sociological theories of human movements? How do the interrelations between media and mobility shape new forms of subjectivity?ĭeparting from these general premises, the conference will primarily focus on the three following areas: At the crossroads between film and media studies, material cultures, and mobility studies, the conference invites papers that examine the entangled relationship between film and media production and regimes of mobility. The 28th edition of the Udine International Film and Media Studies Conference will focus on the current relationship between image, mobility, and spatiality by locating examples of past and present technologies’ interactions with places and environments. The pandemic has provoked new configurations of the media system, pushing media adaptability and pervasiveness into unexpected scenarios, and accelerating technological and socio-cultural processes already underway (Keidl, Melamed, Hediger and Somaini 2021).Īs we seem to slowly regain our mobility, it seems fitting to reflect at large on the role historically played by cinema and media in shaping movement and space.
#AND YET IT MOVES FULL#
Developed in close collaboration Rasmus Koch Studio and covid pandemic has dramatically revealed the high level of mobility in our contemporary society by, paradoxically, reducing human movement to almost zero, even if images, data, news, financial flows, material goods, and the virus itself have continued to circulate at full speed around the globe. Originally conceived for the Hyundai Commission 2017 in Tate Modern's Turbine Hall. As the beliefs of the bishops and priests were set in stone, so too seems our current belief in a fixed system of commodified life. Designed with a colour scheme inspired by a selection of national banknotes, the carpet appears as a flickering bed of currency where the participants can indulge in a state of apathy. And Yet It Moves consists of a gigantic swinging steel pendulum that the audience is invited to lie under on an expansive, soft carpet. We are unable to even fathom alternatives to the current system, as if we were hypnotised into believing only in a market-driven ideology.
Today the major global power – and perhaps religion – is capitalism. Threatened with torture and death by the major spiritual, political and economical force of that time, the Catholic church, Galilei was forced to retract his conclusion, but afterwards supposedly uttered the words: “And yet it moves.” Using a simple telescope as well as observing the movement of a pendulum, Galileo Galilei concluded that the Earth is rotating around the sun. During the 16th century, the long-held view that Earth was the stationery centre of the universe was challenged by Renaissance scientists.
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