Patricia Zimmermann

Processing Trauma: The Media Art of Daniel Reeves Bibliography

Daniel Reeves, an expatriate American living in Scotland and France, is a media artist whose single-channel videos and installations—including Smothering Dreams (1981), Obsessive Becoming (1995) and Try to Live to See This (1988)—employ layered image-processing, digital morphing, rotoscoping, archival footage and poetic narration to address trauma. Eingang: The Way In (1990) comprises seven reclaimed tree trunks with embedded monitors, bowls of water and stones and was exhibited at the High Museum and later at Montage '93 and Harvard (1994); The Hand That Holds Up All This Falling (Handwerker Gallery, Ithaca College, Oct 7–Dec 14, 1998) presented four installations, eight hand-painted digital composites, lantern slides, 16mm sound mag film and involved over 150 students, faculty and community members.

Reverse Engineering Bibliography

Reverse Engineering Plenary Address for Collage as Cultural Practice Symposium, University of Iowa. March 24, 2005

Revolutionary Pleasures: Wrecking the Text in Compilation Documentary Bibliography

Essay critiques the 1987 PBS weekly series Adventure, broadcast beginning January 1987 and hosted by Dodge Morgan, describing episodes such as a Yukon dogsled race, K2 and Eiger climbs, and a super-8 sailing film while highlighting the cameraperson and technologies like lightweight cameras and the remote switch. It contrasts this spectacle-oriented individualist style with new compilation documentary practices by filmmakers including Jean-Pierre Gorin, Laura Kipnis, Martha Haslanger, Chris Marker, Dusan Makavejev, Fernando Solanas, and Eduardo Coutinho, citing works (Letter from Siberia, Sans Soleil, Hour of the Furnaces, Routine Pleasures, 20 Years Later, Ecstasy Unlimited) and locating the debate within historiography, home video, satellite news, and theorists such as Habermas, Foucault, Huyssen, Eagleton, and Ewen.

The Flaherty Bibliography

Transnational Documentaries: A Manifesto Bibliography

John Hess and Patricia R. Zimmermann argue for a construct of transnational documentaries as adversarial media practice to contest corporate transnational concentration, deregulation and privatization; they document activist media practices and works such as Zoned for Slavery, Walt Disney in Haiti, El Naftazteca, Spin and Sonic Outlaws and cite institutional events including the February 1, 1996 telecommunications law and the 8th MacBride Roundtable (Seoul, Aug 24–27, 1996). The manifesto situates film and media scholarship within policy, political economy and international coalition-building and calls for interdisciplinary, transnational alliances and public-space interventions; both authors teach in Ithaca College’s Department of Cinema and Photography.