Supplements for Issue 69 "Deep Cuts."

Here is a list of notes and supplements for pieces published in this issue, in the order content was published in the journal.


  1. Annette Michelson, “Toward Snow,” On the Eve of the Future: Selected Writings on Film (October), Cambridge, MIT Press, 2017.
  2. Philippe-Alain Michaud, “Basir Masood,” 10th Berlin Biennale Catalog, 2018, p. 56.
  3. Gilles Deleuze, Cinema 2: The Time-Image, Minneapolis: University of Minnesota Press, 1989, p. 265
  1. Deborah Young, The Decay of Fiction, Variety, February 18, 2003, accessed at
  2. Paul Arthur, “Permanent Transit: The Films of Pat O’Neill,” in Pat O’Neill: Views of Lookout Mountain, ed. Julie Lazar (Santa Monica, CA: Santa Monica Museum of Art, 2004), p. 75.
  1. Frances Flaherty, quoted in Patricia Zimmerman and Scott MacDonald, The Flaherty: Decades in the Cause of Independent Cinema. Bloomington: Indiana, 2017, p. 25.
  2. On this relationship, see: Zimmerman and MacDonald, op cit; and Scott MacDonald, “Avant-Garde at the Flaherty,” Wide Angle 17:1-4 (1995), pp. 257-268.
  3. The Flaherty announced the removal of posters displaying the logo on 20 June 2018. The original announcement has been reproduced on the organization’s Facebook page. See Flaherty Seminar, Statement on Removal of Posters, Facebook, 23 June 2018.
  4. For a detailed discussion of the 63rd edition, see Patricia Zimmerman, “63rd Annual Robert Flaherty Film Seminar ‘Future Remains’”, Aniki. Portuguese Journal of the Moving Image, vol. 5, nº 1 (2018): 192-205.
  5. See “2018 Seminar,” The Flaherty, 2018,


  1. Sky Hopinka, “The Centers of Somewhere,” Walker Reader, 16 April 2018,
  2. Rebecca Solnit and Rebecca Snedeker, eds., Unfathomable City: A New Orleans Atlas (Oakland, CA: Univ. of California, 2013).
  3. Sheree R. Thomas, ed, Dark Matter: A Century of Speculative Fiction from the African Diaspora (New York: Warner Books, 2000).
  4. The film being referenced here is The Fullness of Time (2008).


  1. Saidiya Hartman, Lose Your Mother: A Journey Along the Atlantic Slave Route (New York: Farrar, Straus, and Giroux, 2007), 5-6.
  2. For more on the politics of the synchronizing the black voice and the black body, see Arthur Jafa, “My Black Death” in Everything But the Burden: What White People Are Taking From Black Culture, Greg Tate, ed. (New York: Broadway Books, 2003), 244-57. Jafa discusses the historical separation of the black voice from the black body, how the former is isolated, fetishized, and consumed as a commodity, as the latter appears as a problem for the white imaginary, i.e. the “trouble” of the black body in white space—a separation, he speculates, which is epitomized in sublimated form in the standardization of the black vinyl record. For a brilliant account of this history of separation, from the Civil War to the cusp of the Civil Rights Movement, see Jennifer Lynn Stoever, The Sonic Color Line: Race & the Cultural Politics of Listening (New York: New York University Press, 2016).
  3. Reflecting on the Lilac Fire, Davis speaks of an uncanny sense of familiarity in its “inevitability” as he recalls how it was precisely described in a little-known science fiction novel from 1956 called Cloud by Day. The novel presents an apocalyptic fire that forces a bigoted and divided community to come together to survive it, and Davis emphasizes how the author anticipates the speed and spread of the Lilac Fire “in amazing detail.” “When I first pondered this example of fiction prophesizing an actual event, I thought that the coincidence must be fantastically improbable. But, the truth is, if you write a story about a fire and set it anywhere in Southern California, someday it will come true.” Mike Davis, “Southern California’s Uncanny, Inevitable Yuletide Fires,” New Yorker, December 11, 2017. See also, Mike Davis, Ecology of Fear: Los Angeles and the Imagination of Disaster (New York: Vintage Books, 1999 [1998]).
  4. James Baldwin, The Fire Next Time (New York: Dial Press, 1963).
  5. See review of the catalog in Peter L’Official, “The Visual Frequency of Black Life,” Paris Review, July 12, 2018.
  6. Arthur Jafa, interview by Apsara Diquinzio, Phyllis C. Wattis, and Kate MacKay, Exhibition brochure to Arthur Jafa/Matrix 272 at University of California, Berkeley Art Musuem and Pacific Film Archive, December 12, 2018-March 24, 2019.
  7. Ibid.
  8. A few months after, on October 1, 2015, after a mass shooting a community college in Oregon, Obama states: “Somehow this has become routine. The reporting is routine. My response here at this podium ends up being routine. The conversation in the aftermath of it. We’ve become numb to this.”
  9. George Blaustein, “The Obama Speeches,” n+1, Issue 27 (Winter 2017).
  10. “Roof was safeguarded by his knowledge that white American terrorism is never waterboarded for answers, it is never twisted out for meaning, we never identify its “handlers,” and we could not force him to do a thing. He remained inscrutable. He remained in control, just the way he wanted to be.” Rachel Kaadzi Ghansah, “A Most American Terrorist: The Making of Dylann Roof,” GQ, August 21, 2017.
  11. Ibid.
  12. L’Official, “The Visual Frequency of Black Life.” See also, Arthur Jafa, conversation with Greg Tate, Gavin Brown’s Enterprise, January 29, 2017,
  13. Ghansah, “A Most American Terrorist: The Making of Dylann Roof.” “In Charleston, I learned about what happens when whiteness goes antic and is removed from a sense of history. It creates tragedies where black grandchildren who have done everything right have to testify in court to the goodness of the character of their slain 87-year-old grandmother because some unfettered man has taken her life. But I also saw in those families that the ability to stay imaginative, to express grace, a refusal to become like them in the face of horror, is to forever be unbroken. It reminds us that we already know the way out of bondage and into freedom. This is how I will remember those left behind, not just in their grief, their mourning so deep and so profound, but also through their refusal to be vanquished. That even when denied justice for generations, in the face of persistent violence, we insist with a quiet knowing that we will prevail. I thought I needed stories of vengeance and street justice, but I was wrong. I didn’t need them for what they told me about Roof. I needed them for what they said about us. That in our rejection of that kind of hatred, we reveal how we are not battling our own obsolescence. How we resist. How we rise.”
  14. Arthur Jafa, “Black Visual Intonation” in The Jazz Cadence of American Culture, Robert G. O’Meally, ed. (New York: Columbia University Press, 1998), 264-8. See also, Arthur Jafa and Tina Campt, “Love is the Message, The Plan is Death,” e-flux 81 (April 2017).
  15. Ibid., 267. See also Micheal Boyce Gillespie, Film Blackness: American Cinema and the Idea of Black Film (Durham, NC: Duke University Press, 2016).
  16. Ibid., 267.
  17. Arthur Jafa, “My Black Death, “ 249.
  18. See the following reviews of the effect of “black visual intonation” in Love is the Message: Aria Dean, “Film: Worry the Image,” Art in America, May 26, 2017; Huey Copeland, “b.O.s. 1.3/ Love is Message, The Message is Death,” ASAP/Journal, June 4, 2018; L’Official, “The Visual Frequency of Black Life.”
  19. Jafa’s performance is inspired by a presentation by Jonathan Ned Katz and Tavia Nyong’o called “Visualizing the man-Monster” at Katz and Nyong’o’s analysis refers to Jonathan Ned Katz, Love Stories: Sex Between Men Before Homosexuality (Chicago: University of Chicago Press, 2001).
  20. James Tiptree Jr., “Love is the Plan, The Plan is Death,” in James Tiptree Jr., Her Smoke Rose Up Forever, Jeffrey D. Smith, ed. (San Francisco: Tachyon Publications, 2004), 419.
  21. Hartman, Lose Your Mother, 234.
  22. Hartman stresses the imbrication of the language of race, the Atlantic slave trade, and the modern conception of the stranger. “The most universal definition of the slave is a stranger. Torn from kin and community, exiled from one’s country, dishonored and violated, the slave defines the position of the outsider. She is the perpetual outcast, the coerced migrant, the foreigner, the shamefaced child in the lineage. Contrary to popular belief, Africans did not sell their brothers and sisters into slavery. They sold strangers: those outside the web of kin and clan relationships, nonmembers of the polity, foreigners and barbarians at the outskirts of their country, and lawbreakers expelled from society. In order to betray your race, you had to first imagine yourself as one. The language of race developed in the modern period and in the context of the slave trade.” Hartman, 5.
  23. Ibid, 234.
  24. China Miéville, “Theses on Monsters,” Conjunctions 59: Colloquy (2012): 142-44.
  1. My work from the very beginning has always been invested in looking and listening, and I’ve always believed that to learn anything it takes time. And that means that one has to practice paying attention… my works provide that experience for an audience, where they can pay attention to things.” James Benning quoted in AV Festival, “AV Festival 12: James Benning Interview,” YouTube Video, 10:14, filmed March 2012, posted April 2013,
  2. James Benning quoted in AV Festival, “AV Festival 12: James Benning: Nightfall Pos Screening Q and A,” YouTube Video, filmed March 2012, posted April 2013,
  3. “These films and videos are the inverse of the fundamentally hysterical approach of commercial media, and advertising in particular, where consumption of the maximum number of images per minute models unbridled consumption of products and the unrestrained industrial exploitation of the environment within which these products are produced and consumed.” See: Scott MacDonald, “The Ecocinema Experience,” in Ecocinema Theory and Practice, eds. Stephen Rust, Salma Monani, and Sean Cubitt (New York: Routledge, 2013), 19-20.
  4. André Bazin, “The Virtues and Limitations of Montage,” in What is Cinema? (Vol. 1), trans. Hugh Gray (Berkeley: University of California Press, 1967), 48.
  5. Lucien Taylor, “Iconophobia,” Transition 69 (1996), 75-76. Emphasis mine.
  6. Consider, for instance, Jacques Lacan’s theorization of desire as the function of a mediating “separation of the subject in experience” (Lacan, The Four Fundamental Concepts of Psychoanalysis, trans. Alan Sheridan [London, UK: Routledge, 1977], 274). More recently, Jean-Luc Nancy reminds us that “the law of touching is separation” (Nancy, Being Singular Plural, trans. Robert D. Richardson and Anne E. O’Byrne [Stanford, CA: Stanford University Press, 2000], 5).
  7. Laura J. Martin, “Proving Grounds: Ecological Fieldwork in the Pacific and the Materialization of Ecosystems,” Environmental History 23 (July 2018): 569.
  8. Christopher Uhl, Developing Ecological Consciousness: The End of Separation (Lanham, MD: Rowman & Littlefield, 2013), 206.
  9. Peter Gidal, Materialist Film (New York: Routledge, 1989), 6.
  10. Malcolm LeGrice, “Kurt Kren’s films,” Studio International, Film Issue, November 1975, p. 187. Quoted in Gidal, op. cit., 10.
  11. Mubarak Ali, “Everything That Rises Must Converge: Some Notes on Trees of Syntax, Leaves of Axis,” Mubi Notebook (14 June, 2010),
  12. Here I am in agreement with Tony Pipolo, who aptly labels Trees of Syntax, Leaves of Axis a “furiously condensed lesson in the passage from naturalism to modernism.” He goes on to observe that, “the central tree is as much subject as ground, fixing our gaze at an axis to accommodate the hundreds (thousands?) of cuts, overlaps, and rest stops that reconfigure the forest of colors and foliage that seems to spring from and bear upon it as so many permutations of phrases in a poem.” See: Tony Pipolo, “Film Cool,” Artforum online film column, December 6, 2016,
  13. Daïchi Saïto, Moving the Sleeping Images of Things Towards the Light (Montréal: Les éditions Le Laps, 2013), 63.
  14. William H. Drury and Ian C. T. Nisbet, “Succession,” Journal of the Arnold Arboretum 54 (July 1973): 360
  15. Donald Worster, Nature’s Economy: A History of Ecological Ideas (Cambridge, UK: Cambridge University Press, 1994), 391.
  16. Neyrat has laid out this argument in a number of essays and books, most explicitly in Frédéric Neyrat, “Elements for an Ecology of Separation: Beyond Ecological Constructivism,” trans. James Burton, in General Ecology: A New Ecological Paradigm, eds. Erich Hörl and James Burton (London: Bloomsbury, 2017). Also see the forthcoming monograph: The Unconstructable Earth: An Ecology of Separation, trans. Drew S. Burke (New York: Fordham University Press, 2018).
  17. Neyrat, ibid, 101.
  18. Neyrat, ibid, 121.
  19. Neyrat, ibid, 121.
  20. André Habib, “Somewhere I have never travelled: Engram of Returning,” Found Footage Magazine 2 (March 2016).