Eclectic Dialectics: William Klein's Documentary Method

This article examines the relations between documentary aesthetics and the political sensibility of William Klein. Structured around the cultural phenomena that have remained integral to his career as a photographer and filmmaker - fashion, sport, and music - it discusses his enduring attachment to notions of freedom and creativity still associated with 1960s counter-culture, and the Vietnam War. In particular, it examines how how his films disrupt conventional categories, and subvert the familiar rhetoric of mainstream documentary film, especially that associated with cinéma vérité. A erstwhile protege of Dada, Klein has always valued the expressive potential of improbable juxtapositions, of intercutting between times and places, and subverting mainstream journalistic modes and intentions. The article argues that this attitude is increasingly rare among contemporary documentary filmmakers, and yet it is the very thing that gives his work a distinctive aesthetic texture, and relevance to any history of cinema.

Football Talk: Sociological Reflections on the Dialectics of Language and Football

The paper examines the relationship between football and language from a sociological point of view. This has often been couched in negative terms but the paper argues that such a view distorts the majority of ‘Football Talk’. The discourse surrounding football within everyday interactions is often positive and integrative. ‘Football Talk’ acts as a lingua franca amongst football supporters. This language code is therefore both inclusive and exclusive.

History, an Exit Strategy: The Retrofuture Fabulations of kara lynch

A cartographer constructs a map of an individual creative history, that of the American artist kara lynch, as it emerges in connection to a collective history of African American cultural expression. Positioning history as complex, dynamic systems of interwoven memory networks, the map follows lynch’s traversals through various “zones of cultural haunting”: places where collective memories made invisible through systematic processes of cultural erasure may be recovered and revived. Through these traversals, which are inspired by lynch’s “forever project” Invisible, the map covers such terrains as haunted narratives, mechanisms of abstraction and coding within African American media production, water as an informational technology, the distribution of memory in blood, the dialectics of materiality and immateriality that frame considerations of black subjectivity, and the possibility that place of music might not be the site of sound but instead the social production of memory.