{"id":7025,"date":"2013-11-16T17:10:46","date_gmt":"2013-11-16T22:10:46","guid":{"rendered":"http:\/\/blog.uvm.edu\/aivakhiv\/?p=7025"},"modified":"2021-06-10T10:08:44","modified_gmt":"2021-06-10T15:08:44","slug":"50-years","status":"publish","type":"post","link":"https:\/\/blog.uvm.edu\/aivakhiv\/2013\/11\/16\/50-years\/","title":{"rendered":"50 years"},"content":{"rendered":"<p><span class=\"embed-youtube\" style=\"text-align:center; display: block;\"><iframe loading=\"lazy\" class=\"youtube-player\" width=\"500\" height=\"282\" src=\"https:\/\/www.youtube.com\/embed\/kq1PbgeBoQ4?version=3&#038;rel=1&#038;showsearch=0&#038;showinfo=1&#038;iv_load_policy=1&#038;fs=1&#038;hl=en-US&#038;autohide=2&#038;wmode=transparent\" allowfullscreen=\"true\" style=\"border:0;\" sandbox=\"allow-scripts allow-same-origin allow-popups allow-presentation allow-popups-to-escape-sandbox\"><\/iframe><\/span><\/p>\n<p>A. O. Scott&#8217;s <a href=\"http:\/\/www.nytimes.com\/2013\/11\/17\/movies\/abraham-zapruder-and-the-evolution-of-film.html?_r=0&amp;pagewanted=all\">article on the Abraham Zapruder film<\/a> of JFK&#8217;s assassination captures something of the 50-year transition from the first\u00a0cin\u00e9ma v\u00e9rit\u00e9 president (Kennedy) to a world in which everyone is their own\u00a0cin\u00e9ma v\u00e9rit\u00e9 celebrity &#8212; stars and legends in our own minds.<\/p>\n<p>The Zapruder film in a sense predates all that &#8212; it comes just before the era of seamless televisual (ir)reality (which Scott describes well) and puts a boundary around it. Somewhere buried in it is the firstness of that primal trauma: the shot (and the secondness of Kennedy&#8217;s death).<\/p>\n<p>Yet its many afterlives become part of that (ir)reality, in which proliferating meanings are woven into the phantasmagoric televisual texture of we-no-longer-know-what.<\/p>\n<p style=\"padding-left: 30px\">&#8220;The Zapruder film remains powerful partly because it seems to dwell in a zone of ambiguity that has become, over the years, a more and more familiar place. We accept it as true, without knowing what it means.&#8221;<\/p>\n<p><a href=\"http:\/\/www.nytimes.com\/2013\/11\/17\/movies\/abraham-zapruder-and-the-evolution-of-film.html?_r=0&amp;pagewanted=all\">Article here<\/a>.<\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>A. O. Scott&#8217;s article on the Abraham Zapruder film of JFK&#8217;s assassination captures something of the 50-year transition from the first\u00a0cin\u00e9ma v\u00e9rit\u00e9 president (Kennedy) to a world in which everyone is their own\u00a0cin\u00e9ma v\u00e9rit\u00e9 celebrity &#8212; stars and legends in our own minds. The Zapruder film in a sense predates all that &#8212; it comes [&hellip;]<\/p>\n","protected":false},"author":99,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"advanced_seo_description":"","jetpack_seo_html_title":"","jetpack_seo_noindex":false,"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":false,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[688745,689354],"tags":[58927,25046,58928],"class_list":["post-7025","post","type-post","status-publish","format-standard","hentry","category-cinema_zone","category-image_nation","tag-jfk","tag-reality","tag-zapruder-film"],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"","jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/p4IC4a-1Pj","jetpack-related-posts":[{"id":3675,"url":"https:\/\/blog.uvm.edu\/aivakhiv\/2011\/04\/29\/stalking-the-cinema-stalking-the-world\/","url_meta":{"origin":7025,"position":0},"title":"Stalking the cinema stalking the world","author":"Adrian J Ivakhiv","date":"April 29, 2011","format":false,"excerpt":"Here's a version of something that comes late in Chapter One of my Ecologies of the Moving Image manuscript. This follows a description of Andrei Tarkovsky's film Stalker (USSR, 1979), which I take as a kind of paradigmatic model for the process-relational framework the book develops. Here I discuss the\u2026","rel":"","context":"In &quot;Cinema&quot;","block_context":{"text":"Cinema","link":"https:\/\/blog.uvm.edu\/aivakhiv\/category\/cinema_zone\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/blog.uvm.edu\/aivakhiv\/files\/2011\/04\/tarkovsky.stalker-275x207.jpg?resize=350%2C200","width":350,"height":200},"classes":[]},{"id":12965,"url":"https:\/\/blog.uvm.edu\/aivakhiv\/2022\/09\/27\/cinema-will-henceforth-be-godardian\/","url_meta":{"origin":7025,"position":1},"title":"Cinema will henceforth be Godardian","author":"Adrian J Ivakhiv","date":"September 27, 2022","format":false,"excerpt":"The work of Jean-Luc Godard, who passed away a couple of weeks ago through euthanasia at the age of 91, has always seemed to me to be about the possibilities of cinema as a form of thinking. Cinema's combination of sound and image, constrained by the capacities of the medium\u2026","rel":"","context":"In &quot;Cinema&quot;","block_context":{"text":"Cinema","link":"https:\/\/blog.uvm.edu\/aivakhiv\/category\/cinema_zone\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/www.screeningthepast.com\/wp-content\/uploads\/2016\/12\/Image-2-SM.png?resize=350%2C200","width":350,"height":200},"classes":[]},{"id":6716,"url":"https:\/\/blog.uvm.edu\/aivakhiv\/2013\/05\/28\/how-a-film-becomes-a-subject\/","url_meta":{"origin":7025,"position":2},"title":"How a film becomes a subject","author":"Adrian J Ivakhiv","date":"May 28, 2013","format":false,"excerpt":"A key question for a process-relational account of a film is the question of how that film shows objects and subjects in the process of being made -- how it shows\u00a0subjectivation and objectivation arising together. Much of Ecologies of the Moving Image\u00a0is about this, but what remains more implicit throughout\u2026","rel":"","context":"In &quot;Cinema&quot;","block_context":{"text":"Cinema","link":"https:\/\/blog.uvm.edu\/aivakhiv\/category\/cinema_zone\/"},"img":{"alt_text":"http:\/\/3.bp.blogspot.com\/_eHKK4ilcZXg\/TH_q9en0GUI\/AAAAAAAAEc4\/QsoAoiG1i9o\/s1600\/up+the+yangtze+family.jpg","src":"https:\/\/i0.wp.com\/3.bp.blogspot.com\/_eHKK4ilcZXg\/TH_q9en0GUI\/AAAAAAAAEc4\/QsoAoiG1i9o\/s1600\/up%2Bthe%2Byangtze%2Bfamily.jpg?resize=350%2C200","width":350,"height":200},"classes":[]},{"id":6185,"url":"https:\/\/blog.uvm.edu\/aivakhiv\/2012\/10\/22\/2-or-3-things-about-the-cinema-book\/","url_meta":{"origin":7025,"position":3},"title":"2 or 3 things about the cinema book","author":"Adrian J Ivakhiv","date":"October 22, 2012","format":false,"excerpt":"Ecologies of the Moving Image is a book of ecophilosophy that happens to be about cinema, and about the 12-decade history of cinema at that. What makes it ecophilosophy? It is philosophy that is deeply informed both by an understanding of ecological science and an interdisciplinary appreciation for today's ecological\u2026","rel":"","context":"In &quot;Cinema&quot;","block_context":{"text":"Cinema","link":"https:\/\/blog.uvm.edu\/aivakhiv\/category\/cinema_zone\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/1.bp.blogspot.com\/_EWY1PJsPzBA\/Sy7A-os24mI\/AAAAAAAAAyI\/71YlZjgAk8M\/s400\/stalker26.jpg?resize=350%2C200","width":350,"height":200},"classes":[]},{"id":5470,"url":"https:\/\/blog.uvm.edu\/aivakhiv\/2012\/02\/17\/toward-an-ecophilosophical-cinema\/","url_meta":{"origin":7025,"position":4},"title":"Toward an ecophilosophical cinema","author":"Adrian J Ivakhiv","date":"February 17, 2012","format":false,"excerpt":"My paper for this year's Society for Cinema and Media Studies conference, coming up next month in Boston, will focus on the two films that got a lot of side-by-side attention at last year's Cannes festival, Lars von Trier's Melancholia and Terrence Malick's The Tree of Life. Since a few\u2026","rel":"","context":"In &quot;Cinema&quot;","block_context":{"text":"Cinema","link":"https:\/\/blog.uvm.edu\/aivakhiv\/category\/cinema_zone\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/blog.uvm.edu\/aivakhiv\/files\/2012\/02\/39-275x116.jpg?resize=350%2C200","width":350,"height":200},"classes":[]},{"id":5143,"url":"https:\/\/blog.uvm.edu\/aivakhiv\/2011\/08\/04\/film-philosophy-article\/","url_meta":{"origin":7025,"position":5},"title":"Film-Philosophy article","author":"Adrian J Ivakhiv","date":"August 4, 2011","format":false,"excerpt":"The new issue of Film-Philosophy is out, and it includes my article \"The Anthrobiogeomorphic Machine: Stalking the Zone of Cinema.\" The abstract is below. The first half of the article is an early version of the paper I gave at the recent Moving Environments conference, which encompassed material from the\u2026","rel":"","context":"In &quot;Cinema&quot;","block_context":{"text":"Cinema","link":"https:\/\/blog.uvm.edu\/aivakhiv\/category\/cinema_zone\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/blog.uvm.edu\/aivakhiv\/files\/2011\/08\/tarkovsky.stalker-275x207.jpg?resize=350%2C200","width":350,"height":200},"classes":[]}],"_links":{"self":[{"href":"https:\/\/blog.uvm.edu\/aivakhiv\/wp-json\/wp\/v2\/posts\/7025","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/blog.uvm.edu\/aivakhiv\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/blog.uvm.edu\/aivakhiv\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/blog.uvm.edu\/aivakhiv\/wp-json\/wp\/v2\/users\/99"}],"replies":[{"embeddable":true,"href":"https:\/\/blog.uvm.edu\/aivakhiv\/wp-json\/wp\/v2\/comments?post=7025"}],"version-history":[{"count":3,"href":"https:\/\/blog.uvm.edu\/aivakhiv\/wp-json\/wp\/v2\/posts\/7025\/revisions"}],"predecessor-version":[{"id":7028,"href":"https:\/\/blog.uvm.edu\/aivakhiv\/wp-json\/wp\/v2\/posts\/7025\/revisions\/7028"}],"wp:attachment":[{"href":"https:\/\/blog.uvm.edu\/aivakhiv\/wp-json\/wp\/v2\/media?parent=7025"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/blog.uvm.edu\/aivakhiv\/wp-json\/wp\/v2\/categories?post=7025"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/blog.uvm.edu\/aivakhiv\/wp-json\/wp\/v2\/tags?post=7025"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}