'Is feminism undead? Feminism and Popular Culture seeks to map the fraught and often unpredictable relationship between popular culture, feminism and postfeminism ...
Feminism & Popular Culture is different from others texts in the literature in that it emphasizes the impact of the postfeminist Gothic throughout ...
Chapter 1, ‘‘Postfeminism’ or ‘ghost feminism’?’ puts Madonna’s legacy or affect within the context of Derrida’s hauntology: “With its investment in notions of otherness, memory, nostalgia, inheritance and futurity, hauntology appears to encompass many of the issues that have beset debates in the late twentieth and early twenty-first centuries about feminism’s relationship to the past and its potential to intervene in women’s futures' - Jade Montserrat
Hauntology: book launch event for Mark Fisher's Ghosts of My Life
'CCSR welcomes Capitalist Realism: Is There No Alternative? author Mark Fisher to launch his new book Ghosts of My Life, in conversation with the London-based artist and writer Laura Oldfield Ford. Are we, as Fisher argues, haunted by futures that failed to happen?'
'Ever since he was a kid watching Doctor Who, Chris Wild had the burning desire to travel back in time. Today, the 43-year-old English museum curator is webmaster of Retronaut.com, a site leading the Internet’s recent obsession for finding, sharing, tweeting, and pinning historic images.
Like Retronaut, @HistoryInPics, Historypin, @History_Pics, andWhatWasThere.com have all enjoyed spikes in popularity in recent years. What makes Retronaut different? Its images are relatively obscure, carefully gathered from museums and archives, and are what Chris Wild dubs “disruptive.”
“As you know, ‘disruptive’ is a big word among startups,” he says. Wild credits disruption to Retronaut’s success. He’s talking about disruption in a temporal sense--meaning, the images on his site are specifically chosen to make the viewer feel like they’re looking not at the past, but rather at a different version of the present.' - Bryan Lufkin
'The hyperkinetic nature of Hollywood films has been taken as symptomatic of a larger crisis of attention. In the post-MTV age, the general argument goes, we have lost our ability to endure the long shot, the slow dissolve, the sustained monologue. “Intensified continuity” is film theorist David Bordwell’s phrase for this heightened experience, which includes not only shorter cuts but, among other things, more frequent close ups. “Techniques that 1940s directors reserved for moments of shock and suspense,” Bordwell observes, “are the stuff of normal scenes today.”
There is just one thing that complicates this story: At the height of the silent film era, shot lengths were about as short as they are today. Long before MTV, or even television itself—a time when other indices of life were less rapid—audiences were being exposed to the same rapid-fire imagery they are today. Cutting suggests that modern films, rather than being exemplars of some winnowing of attention, may simply be returning towards some natural kind of pacing, featuring “shot patterns that mimic the attention patterns endogenous in our minds.”' - Tom Vanderbilt
'Vaporwave is a particularly “weak” genre ... because “by dramatically foregrounding the act of appropriation, precisely by refusing to be ‘original,’” what vaporwave does is make “the listening experience all about that original; maybe even about the discourse of originality itself”. Vaporwave is not itself muzak, in other words, it is about muzak. And as a result, it forces us to reconsider the extent of our commitment to a whole series of apparent distinctions: between “-sic” and “-zak,” high and low, art and commerce, culture and trash. It forces us to consider the conditions of contemporary musical listening and production per se.'
'English Heretic's releases are far more than mere concept albums, though. As Andy Sharp, chief executive of English Heretic, reveals, they're conceived through an extraordinary and elaborate creative process, forming multimedia mash-ups to "fecundate the imagination". His methodology takes in magick, psychogeography and horror film geekdom, along with firm roots in Britain's industrial music culture of the early 1980s, to form potent, novel topographies of an otherwise unconnected world of occultists and psychopaths.' - Russell Cuzner
'A new artistic trend has broken out around the world which changes our perception of history dramatically. Colorizing historic photographs from the late 1800′s and early 1900′s changes their appearance from something historic and different, into a scene from today. The colorful image of Albert Einstein sitting beside the water gives us an entire new perspective on the genius. He goes from a brilliant historic relic, into a living brilliance of our era. The colorized photograph of Audrey Hepburn transforms our thoughts of beauty. Her photo goes from an intriguing historic photo to one of a sexy starlet of today. Historic events move forward decades, or even a full century, by the addition of color carefully planned and applied by artists like Jordan Lloyd, Dana Keller, and Sanna Dullaway.'
'Once we have a medium, we become that which uses it, and what we were before is forgotten. When we move on from a media platform, we abandon whole modes of creation we may have been scarcely aware of. I began to write fiction on a manual typewriter, moving on to word processing a few years later. The nature of writing changed, but as that which word-processed, the nature of the change wasn’t that evident to me, nor is it now. Recently, I’ve watched with increasing interest as writers less than half my age seek out working typewriters, drawn by word from their contemporaries that composing on these machines that go only forward is fundamentally different, and somehow valuable in itself. The 78 Project, I think, is the musical equivalent of that, and more. An atemporal open-ended voyage into the intricate and unique “thingness” of a media platform that had largely vanished before I myself began to listen to recorded music.
I have enormous admiration for everyone who put The 78 Project together. It’s one of the most intriguing contemporary approaches to technology I know of, and one that bodes well for its century and our future. More like this, please.' - William Gibson
'The Power Of The Witch is worth a watch even if you are not particularly interested in the occult - rather watch it as a document of its time, capturing as it does people’s attitudes, beliefs, fashions and plummy Brit accents. It’s a curious mixture of patriarchal stiff upper lip-ism and unerring belief in both Christianity and the forces of magic, making it feel very much as if it comes from a completely different era' -Niall O'Conghaile
The Streetmuseum App 2.0 from the Museum of London gives the user a chance to explore how locations across the capital looked in times gone by. Hundreds of images are visible through the app, from the Museum showcase London's history, from the Great Fire of 1666 through to the Swinging Sixties
'Basically, I (and probably nearly everybody else alive today – if they truthfully asked themselves) would wish the world to be different to how it is now – very different. I firmly believe that it shouldn’t have to be the way it is. And I will never be truly satisfied until it is no longer how it currently is – if that change occurs in my lifetime. Music that makes an impact on us can enable us to imagine the world as a different/better place, but for me at least, these days music is much more an enabler of a feeling that it just shouldn’t be like this (as it stands now). Thus music from a time in social or personal history (and I do my best to stress that both are infinitely interconnected) that evokes a feeling of the world being a different one, from the decaying social structure under capitalism that we feel stuck, haunts us, fills the space with these ghosts from the past.' - John Ledger
'This 1922 documentary-horror masterpiece explores the effect of superstition on the collective medieval consciousness. Presented for the first time with a BFI-commissioned score by electronic artists Demdike Stare. The duo base their music on samples from old recordings, twisted into new sonic shapes. The blend of Demdike Stare’s resurrected aural phantoms and Christensen’s Satanic horror promises to be a singularly modern yet arcane live experience.' - BFI
'There has always been an intrinsically “hauntological” dimension to recorded music. But Derrida’s concept of hauntology has gained a new currency in the 21st century, when music has lost its sense of futurism, and succumbed to the pastiche- and retro-time of postmodernity. The emergence of a 21stcentury sonic hauntology is a sign that “white” culture can no longer escape the temporal disjunctions that have been constitutive of the Afrodiasporic experience since Africans were first abducted by slavers and projected from their own lifeworld into the abstract space-time of Capital. Time was always-already out of joint for the slave, and Afrofuturism and hauntology can now be heard as two versions of the same condition.'