Supplements for Issue 73 "everywhere"

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


  1. Jean Epstein “The Slow Motion of Sound” trans. Franck Le Gac, in Jean Epstein: Critical Essays and New  Translations, eds. Sarah Keller and Jason N. Paul (Amsterdam University Press: Amsterdam, 2012 [1948]), 381.
  2. Jean Epstein, “Logic of Variable Time” trans. Thao Nguyen, in Jean Epstein: Critical Essays and New  Translations, eds. Sarah Keller and Jason N. Paul (Amsterdam University Press: Amsterdam, 2012), 401.
  3. As Karel Doing reminds one, “film looks at reality in a singular way.” For more information, see: Karel Doing,  “Phytograms,” Animation: an Interdisciplinary Journal, Vol. 15, No. 1 (2020), 22-36.
  4. Here, I am definitively agreeing with Marder, who evocatively writes that “a filmic alteration of the plant’s  temporal rhythms, made to coincide with that of human temporality, is not free of the residual violence that takes place whenever alien frames of reference are imposed on a given form of life.” Michael Marder, “The  Place of Plants: Movement, Spatiality, Growth”, Performance Philosophy, Vol. 1 (2015), 188.
  5. Ryan Conrath, “The Ecological Cut”, Millennium Film Journal, No. 69 (Spring 2019), 84-95.
  6. Scott MacDonald, “The Ecocinema Experience”, in Ecocinema Theory and Practice, eds. Stephen Rust, Salma  Monani, and Sean Cubitt (New York: Routledge, 2013), 19.
  7. Daïchi Saïto, Moving the Sleeping Images of Things Towards the Light (Montréal: Les éditions Le Laps, 2013), 63.
  8. Ryan Conrath, email to author, 2020.
  9. Karel Doing, interview with author, 2020.
  10. See Matthew Vollgraff, “Vegetal Gestures: Cinema and the Knowledge of Life in Weimar Germany”, Grey Room, Vol. 72 (Summer 2018), 68-93; Oliver Gaycken, “‘The Swarming of Life’: Moving Images, Education, and Views through the Microscope”, Science in Context, Vol. 24, No. 3 (2011), 361-380; Oliver Gaycken, “The life of plants: Visualizing vegetative movement, 1880-1903”, Early Popular Visual Culture, Vol. 10, No. 1 (2012), 51-69; Graiwoot Chulphongsathorn, The Cinematic Forest: Toward Post-Anthropocentrism in Global Art Cinema (PhD: unpublished, 2017), 55-62.
  11. Karel Doing and Magdalena Zamorska have published some exemplary articles about plants in contemporary experimental cinema. See Doing’s article (cf. “Phytograms”) and Magdalena Zamorska, “Weedy materiography: Perennials, humans and posthumous intimacies”, Antennae: The Journal of Nature in Visual Culture (2020), 127-144. Rose Lowder’s work has also received sustained attention. See: Kim Knowles, Experimental Film and Photochemical Practices (London: Palgrave Macmillan, 2020); and, Guinevere Narraway, “Strange Seeing: Re-viewing Nature in the Films of Rose Lowder”, in Screening Nature: Cinema beyond the human, eds. Anat Pick & Guinevere Narrway (New York: Berghahn Books, 2013).
  12. Giovanni Aloi, “About this book”, in Why Look At Plants: The Botanical Emergence in Contemporary Art, ed.  Giovanni Aloi (Leiden, Netherlands: Brill, 2020), xx.
  13. Aloi, ibid, xx.
  14. Doing, interview with author.
  15. To learn more, see: Karel Doing, “Phytograms”, animation: an Interdisciplinary Journal, Vol. 15, No. 1 (2020),  22-36.
  16. Simard, Suzanne, “Mycorrhizal Networks Facilitate Tree Communication, Learning, and Memory”, in  Memory and Learning in Plants, eds. Frantisek Baluska, Monica Gagliano, Guenther Witzany (New York:  Springer, 2018), 201.
  17. Kohn, Eduardo, How Forests Think: Toward an Anthropology Beyond the Human (Berkeley, Los Angeles:  University of California Press, 2013), 9.
  18. Martin Krampen, ‘”Phytosemiotics”, in Essential Readings in Biosemiotics: Anthology and Commentary,  ed. Donald Favareau (New York: Springer, 2010 [1981]), 276.
  19. Doing, interview with author.
  20. Doing, email to author, 2020.
  21. Doing, interview with author.
  22. Doing, ibid.
  23. Doing, ibid.
  24. Gilles Deleuze and Félix Guattari, A Thousand Plateaus: Capitalism and Schizophrenia, trans. Brian Massumi  (Minneapolis: University of Minnesota Press, 1981), 11.
  25. Doing, Interview with author. To learn more about Doing’s method specifically from this angle, see his article  ‘Phytograms’, particularly pages 33-35.
  26. May Sarton, Plant Dreaming Deep (New York: W. W. Norton & Company, 1968).
  27. Charlotte Clermont, interview with author, 2020.
  28. Clermont, ibid.
  29. Clermont, ibid.
  30. Clermont, ibid.
  31. By now, the discipline of critical plant studies is well established. Brill, for example, has extended  considerable efforts with their Critical Plant Studies: Philosophy, Literature, Culture series, which publishes a  significant work every two years on average. For a handy introduction to plant science, see: Paco Calvo and  Miguel Segundo-Ortin, “Are Plants Cognitive? A reply to Adams”, Studies in History and Philosophy of Science,  Vol. 73 (2019), 64-71. Vis-à-vis the arts, Giovanni Aloi has been enormously vocal. See: Botanical Speculations:  Plants in Contemporary Art, ed. Giovanni Aloi (Newcastle: Cambridge Scholars Publishing, 2019), and Why  Look At Plants? The Botanical Emergence in Contemporary Art, ed. Giovanni Aloi (Leiden, Netherlands: Brill, 2019). Contemporary trends in the nascent field of plant ethics have been neatly synthesised in Plant Ethics:  Concepts and Applications, eds. Angela Kallhoff, Marcello Di Paola, and Maria Schörgenhumer (London:  Routledge, 2018). Michael Marder, however, has arguably been the most influential in reigniting a concern for  plants. A majority of his work is freely available online, at:
  32. Karen Houle, “Facing only outwards? Plant bodily morphogenesis and ethical conceptual genesis”, in Plant  Ethics: Concepts and Applications, eds. Angelia Kallhoff, Marcello Di Paola, Maria Schörgenhumer (London:  Routledge, 2018), 73.
  33. Karen Houle, “Animal, Vegetable, Mineral: Ethics as Extension or Becoming? The Case of Becoming-Plant”,  Journal of Critical Animal Studies, Vol. 9 (2011), 111.
  34. Houle, 2018, 72.
  35. Michael Marder (2013), “What is Plant-Thinking?”, Klesis Revue Philosophique, Vol. 25 (2013), 124. 35 Marder, ibid, 124.
  36. Michael Marder, “Is It Ethical to Eat Plants?”, parallax, Vol. 19, No. 1 (2013), 36.


  1. Gu Xiaogang, “The Press Kit for Dwelling in the Fuchun Mountains,” provided by the director Gu Xiaogang and the producer Liang Ying, courtesy of Gu Xiaogang.
  2. For discussions, see Chris Berry and Feii Lu, eds. Island on the Edge: Taiwan New Cinema and After (Hong Kong: Hong Kong University Press, 2005), 5-6; and Ming-yeh T. Rwansley, “Observational Realism in New Taiwan Cinema,” in Lucia Nagib and Cecilla Mello, eds., Realism and Audiovisual Media (UK: Palgrave Macmillan, 2009), 96-107.
  3. Eric Hynes, “Interview: Gu Xiaogang—Time is a Character,” Film Comment  (July-August, 2019). Accessed June 5, 2020.
  4. See Catherine Yi-Yu Cho Woo, “The Chinese Montage: From Poetry and Painting to the Silver Screen,” in Chris Berry, ed. Perspectives on Chinese Cinema (London: British Film Institute, 1991), 21-29; and Ying Xiao, “Northwest Wind: Folklore, Vernacular, and the Chinese New Waves,” in China in the Mix: Cinema, Sound, and Popular Culture in the Age of Globalization (Jackson: University of Mississippi Press, 2017), 18-51.