Studies show that during the COVID-19 pandemic, quarantining, lockdowns and a palpable shortage of outdoor activities led to increased media consumption as a means for audiences to keep themselves...Show moreStudies show that during the COVID-19 pandemic, quarantining, lockdowns and a palpable shortage of outdoor activities led to increased media consumption as a means for audiences to keep themselves occupied, as they cope with the psychological consequences of extended periods of social isolation. Not only did the quantity of consumption increase, but the nature in which audiences engaged with media has changed also. For instance, many have started listening to podcasts during the pandemic. This appears indicative not only of a desperation to try new things, but also that new listeners were attempting to mimic social interaction somehow. Para-social interactions, the one-sided interactions between mediated personalities and their audiences, have existed long before the Web 2.0 era of media. This specific development is a hint that audiences were not only increasingly subjected to these interactions, they may have been actively seeking them out. Cum Town, a vulgar podcast featuring three comedians who have basically become niche micro-celebrities, is one such podcast that saw its audience grow during the pandemic. Given the mischievous character of this show, it seems pertinent to ask whether an increase in such interactions is a good thing, as well as what other repercussions come with this type of consumption.Show less
Embalming Time is a theoretical inquiry into the temporality of film - consisting of three parts - in associative conversation with a visual thesis. The first chapter of the thesis is centered...Show moreEmbalming Time is a theoretical inquiry into the temporality of film - consisting of three parts - in associative conversation with a visual thesis. The first chapter of the thesis is centered around more ‘classical’ thought about the temporality of film; ranging from Andre Bazin to Roland Barthes’ view on cinema and its impossibility to have a punctum - and how these are brought together and critically reworked by Laura Mulvey. The second chapter revolves around Gilles Deleuze’s Cinema books and the Bergsonian heritage of his conception of film as a medium. The third and last chapter (featuring at once one of the most recent film-philosophers and arguably the oldest) discusses Jacques Rancière’s writings on cinema, focusing on film’s opsis -its pure visuality -over the narrative qualities of the medium, and dives deeper into the influence of Jean Epstein’s thinking about film, focused through his discussions of photogénie and slow motion. Together, these three chapters form a tentative inquiry towards the possibility of a new cinematic form, of which the temporality of the filmic medium is integrally and inextricably part.Show less
