{"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":5470,"url":"https:\/\/blog.uvm.edu\/aivakhiv\/2012\/02\/17\/toward-an-ecophilosophical-cinema\/","url_meta":{"origin":7025,"position":3},"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":4},"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":[]},{"id":1101,"url":"https:\/\/blog.uvm.edu\/aivakhiv\/2009\/07\/11\/cinematic-ecologies\/","url_meta":{"origin":7025,"position":5},"title":"cinematic ecologies","author":"Adrian J Ivakhiv","date":"July 11, 2009","format":false,"excerpt":"As ecocriticism expands and deepens in scope (of subject matter & media examined), extent (internationally), and diversity (in approaches, connections with other schools of thought, etc.), its interactions with non-literary fields such as cinema studies, theatre\/performance studies, and musicology (as I posted about recently) are starting to develop in healthy\u2026","rel":"","context":"In &quot;Cinema&quot;","block_context":{"text":"Cinema","link":"https:\/\/blog.uvm.edu\/aivakhiv\/category\/cinema_zone\/"},"img":{"alt_text":"stalker7.png","src":"https:\/\/i0.wp.com\/blog.uvm.edu\/aivakhiv\/files\/2009\/07\/stalker7.png?resize=350%2C200&ssl=1","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}]}}