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9-1 Full Issue CONTRIBUTORS ANDREW PENDAKIS NATHAN HOLMES ISSUE 9-1 COLIN WILLIAMSON K. R. CORNETT FRASER MCCALLUM THE MISE-EN-SCÈNE OF A DECADE: VISUALIZING THE 70S VISUALIZING DECADE: A OF THE MISE-EN-SCÈNE ADAM CHARLES HART KAITLIN POMERANTZ SEB ROBERTS REVUE D’ÉTUDES INTERCULTURELLES DE L’IMAGE JOURNAL OF CROSS-CULTURAL IMAGE STUDIES THE MISE-EN-SCÈNE OF A DECADE: VISUALIZING THE 70S ISSUE 9-1, 2018 GUEST EDITORS NATHAN HOLMES ANDREW PENDAKIS CONTRIBUTORS ANDREW PENDAKIS NATHAN HOLMESI COLIN WILLIAMSON K. R. CORNETT FRASER MCCALLUM ADAM CHARLES HART KAITLIN POMERANTZ SEB ROBERTS REVUE D’ÉTUDES INTERCULTURELLES DE L’IMAGE JOURNAL OF CROSS-CULTURAL IMAGE STUDIES THE MISE-EN-SCÈNE OF A DECADE: VISUALIZING THE 70S ISSUE 9-1, 2018 THE MISE-EN-SCÈNE OF A DECADE: ISSUE 9-1, 2018 VISUALIZING THE 70S Guest Editors – Nathan Holmes and Andrew Pendakis Issue Managing Editor - Brent Ryan Bellamy Editor in Chief | Rédacteur en chef Markus Reisenleitner Managing Editor | Rédacteur Brent Ryan Bellamy Editorial Team | Comité de rédaction Brent Ryan Bellamy, Dominique Laurent, Andriko Lozowy, Tara Milbrandt, Carrie Smith-Prei, and Sheena Wilson Elicitations Reviews Editor | Comptes rendus critiques – Élicitations Tara Milbrandt Web Editor | Mise en forme web Brent Ryan Bellamy French Translator & Copy Editor | Traductions françaises Ève Robidoux-Descary English Substantive & Copy Editor | Rédacteur Shama Rangwala Copy Editor | Révisions Shama Rangwala Founding Editors | Fondateurs William Anselmi, Daniel Laforest, Carrie Smith-Prei, Sheena Wilson Previous Team Members | Anciens membres de l’équipe Marine Gheno, Dennis Kilfoy, Daniel Laforest, Lars Richter, Katherine Rollans, Angela Sacher, Dalbir Sehmby, Justin Sully Editorial Advisory Board | Comité scientifique Hester Baer, University of Maryland College Park, United States Mieke Bal, University of Amsterdam & Royal Netherlands Academy of Arts and Sciences, Netherlands Andrew Burke, University of Winnipeg, Canada Ollivier Dyens, Concordia University, Canada Michèle Garneau, Université de Montréal, Canada Wlad Godzich, University of California Santa Cruz, United States Kosta Gouliamos, European University, Cyprus Faye Hammill, University of Strathclyde, United Kingdom Anton Kaes, University of California Berkeley, United States Dominic McIver Lopes, University of British Columbia, Canada Sarah McGaughey, Dickinson College, United States Peter McIsaac, University of Michigan, United States Marie-Dominique Popelard, Université de la Sorbonne Nouvelle - Paris, France Christine Ramsay, University of Regina, Canada Laurence A. Rickels, Academy of Fine Arts, Karlsruhe, Germany Will Straw, McGill Univeristy, Canada Imre Szeman, University of Alberta, Canada HTTP://DX.DOI.ORG/10.17742/IMAGE.P70S.9.1 This research was supported by the Social Sciences and Humanities Research Council of Canada Sommaire/Contents Fade of the Polaroid: Towards a Political Ontology of the 70s • 5 Andrew Pendakis Preface • 17 Nathan Holmes ‘An Escape into Reality’: Computers, Special Effects, and the Haunting Optics of Westworld (1973) • 19 Colin Williamson Predictive Landscapes • 41 K. R. Cornett Archaeology of the (1970s) Commune: Notes Towards an Old/New Ontology of Students: A Conversation between Fraser McCallum and Andrew Pendakis • 61 Fraser McCallum and Andrew Pendakis Killer POV: First-Person Camera and Sympathetic Identification in Modern Horror • 69 Adam Charles Hart Deep Backgrounds: Landscapes of Labor in All the President’s Men• 87 Nathan Holmes Image and Discursive Landscape: Roaming the Land Art of the American Southwest • 109 Kaitlin Pomerantz Strange Vices: Transgression and the Production of Difference in the Giallo • 115 Seb Roberts Contributors • 133 Front Cover Image: The Post newsroom set for All the President’s Men. FADE OF THE POLAROID: TOWARDS A POLITICAL ONTOLOGY OF THE 70S ANDREW PENDAKIS …that memories are the only posses- oblivion, they keep their strength, they sions which no-one can take from us, are endangered like all that is alive. belongs in the storehouse of impo- tently sentimental consolations that the —Theodor Adorno (2005: 166) subject, resignedly withdrawing into inwardness, would like to believe as the The clocks are never synchronized, very fulfilment that he has given up. In the schedules never coordinat- setting up his own archives, the subject ed, every epoch is a discordant mix seizes his own stock of experience as of divergent rhythms, unequal du- property, so making it something whol- rations, and variable speeds. ly external to himself. Past inner life is turned into furniture just as, conversely, —Rebecca Comay (2011: 4) every Biedermeier piece was memo- ry made wood. The interior where the hough we are tempted to imagine time soul accommodates its collection of as intrinsically open, free to combine and memoirs and curios is derelict. Mem- re-combine with moments past or still to ories cannot be conserved in drawers Tcome, eras instead become compulsively entan- and pigeon-holes; in them the past is gled with each other, linked in such a way that indissolubly woven into the present. neither can be understood apart. We know, after No-one has them at his disposal in the Walter Benjamin, that history looks less like a free and voluntary way that is praised in finished building than it does the latter ruined— Jean Paul’s fulsome sentences. Precise- shards of basement in the attic, holes slashed ly where they become controllable and through floors at strange angles, staircases that objectified, where the subject believes end suddenly, mid-air. When times interpen- himself entirely sure of them, mem- etrate like this they find themselves suddenly ories fade like delicate wallpapers in linked by a historically necessary energy of fili- bright sunlight. But where, protected by ation or disavowal. In a structure loosely analo- gous to that of the unconscious of an individual FADE OF THE POLAROID subject, a time enters into an orbit with anoth- itself—that they were, in some complex way, the er period or era. Times fall in love, though the last real “decade.” parameters here are not defined by transparen- cy or fullness, but dependency, fear, aggression, But why might this be? Is it that when compared and misrecognition. with the 1990s (and later the 2000s) the 70s al- tered culturally and technologically at a com- It may be that our own time has entered into paratively slower pace, that this rate of change precisely such a relationship with the 1970s. Un- was still slow enough to congeal into the recog- like the 1990s, which may still be too close to nizablity of a style or idea? Is it less a question us, the 1960s, 70s, and 80s are decades amena- of pace and more one of quality, of the kind of ble to representation as discrete units or peri- change that took place in this period, with the ods; they strike us as wholes bound by a cer- internet and mobile phones representing a more tain internal aesthetic logic or flow. It may be, substantive redistribution of space and time of course, that this is little more than an opti- than the CD? Is it that the 1970s were not yet cal illusion produced by representation itself: technologically fragmented in the way that the we intuit the 1960s as such only because we’ve 1990s and later our own time would be, with been trained by popular culture to recognize its the cultural tone of our age now effectively dis- tell-tale cues and signs. The unrepresentability persed across a thousand platforms, media, and of the 1990s then may in fact turn out to have “content providers”? Is it the belated effect of been nothing more than the interval required by globalization on our capacity to generalize an a culture to transform its past into a concept; al- era? Or is it that the 1990s when held up against ternatively, it may be that there is actually some- the 1970s were experienced even by those living thing in the object, in the historical specificity through them as a kind of terminus or endpoint, of the 1990s itself, that prevents its translation a time apparently without events (at least in the into a coherent image or idea. Today one watch- West), which, depending on one’s perspective, es the TV show Friends fully aware of the way marked the triumph of liberalism and a new its tone, style, and forms of speech are proper to era of perpetual peace, or alternatively (and the period, but the various bits and pieces that less naïvely), the triumph of unfettered capital- comprise the decade’s content seem more like an ism and a new era of hyper-consumerist banal- aggregate of externally related parts—one damn ity. It may be too that this failure of the 1990s thing after another—than they do the organelles to achieve its own iconicity is the expression of a functioning temporal whole. Where certain within historiography of the problem that Guy “decades” come to appear wrapped around cen- Debord once posed as the moment in which tral organizing events/problems or are saturat- all that was once lived moves into the domain ed from within by dominant styles (anything of the image. The capacity of an era to register from fashion to sounds), others seem to wade events as actually happening would in this sense through a zone of indifferentiation, a toneless- be the minimal ontological condition for the ex- ness that leaves its key objects and moments istence of Hegelian Geist, of an era’s inner spir- linked by nothing more than sheer contigui- itual coherence and necessity. It is in this sense ty. It may be in fact that the 1970s were among that we might be said to be living in something the last eras phraseable in the idiom of the “era” like a long 1990s, a decade without discernible texture that persists, despite its contradictions, REVUE D’ÉTUDES INTERCULTURELLES DE L’IMAGE JOURNAL OF CROSS-CULTURAL IMAGE STUDIES ISSUE 9-1, 2018 · 6 ANDREW PENDAKIS despite the obvious differences between then about the 1970s happens in the light of a strange- and now, for as long as no viable political al- ly universalized New York, a New York of the ternatives to neoliberalism can be imagined.
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