Supplements for Issue 79 "Re:presentation"

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


  1. My Memory Is Again in the Way of Your History (After Agha Shahid Ali), 2023.
  3. Ibid.
  4. Gordon, Avery. (2011) “Some Thoughts on Haunting and Futurity,” Borderlands, Volume 10, Number 2: 1-17.


  1. Gregrory Matoesian, Law and the Language of Identity, 2016, publisher’s description.
  1. Dean commented on her cultural interests, citing first-person camera movement in Halloween and in video games, during her Q & A at the New York Film Festival.
  2. James Romaine “Gravity and Grace: The Art of Richard Serra,” Issue 57 Image, (2011)
  3. Dean’s art, which also includes drawing and sculpture, employs appropriation in a myriad of innovative ways to critically comment on social issues, especially on Black history.
  4. I have discussed this distinctive technique in Halloween and the Stalker Films of the 1970s and 1980s in my book, Games of Terror, Halloween, Friday the 13th and The Films of The Stalker Cycle (Fairleigh Dickinson University Press, 1990)
  5. Gilles Deleuze Cinema 2, The Time-Image (Minneapolis: University of Minnesota Press, 1989) p. 265.


  1. Noguchi: In His Own Words
    Barbican Centre
    Belle Vue Production, 2021
  2. Stan Brakhage enthusiastically praises Menken’s ‘closed eye vision’ and her understanding of hypnagogic imagery in the film Notes on Marie Menken discussed later in this text.
  3. Martina Kudláček “Notes on Marie Menken” (2006)
    Availability on demand through Icarus Films at
    or through Gartenberg Media Enterprises, Inc.
  4. in Martina Kudláček “Notes on Marie Menken” (2006)
    47:47 → 52:57
  5. Will DiGravio “69th Oberhausen Kurtzfilmtage: Against Gravity” Millennium Film Journal 78 “Now … and Then” p. 18
    For the development of the music video “Dance Voldo Dance“:,_Voldo,_Dance
  6.  Stan Brakhage Film at Wit’s End: Eight Avant-Garde Filmmakers (Documentexr, 1989)
  7. Having introduced the descriptive concept of the somatic camera in relation to Menken’s filming technique in Modernist Montage : The Obscurity of Vision in Cinema and Literature (Columbia University Press 1990), distinguished avant-garde film theorist  P. Adams Sitney elaborated the concept in detail in Eyes Upside Down: Visionary Filmmakers and the Heritage of Emerson (Oxford University Press 2008), giving the opening chapter of the book  (pp. 21-47) the title “Marie Menken and the Somatic Camera.” This chapter is by far the most comprehensive study of Menken’s work. a precise descriptive analysis film-by-film of the artist’s entire cinematic oeuvre. Sitney places Menken’s work squarely in the American Romantic tradition of Emerson and Whitman, a claim I find problematic on viewing the films, but this is not the context to examine the argument.
  8. Cash (Melissa) Ragona “The Films of Andy Warhol Catalogue Raisonné (1963-1965)” edited by John G. Hanhardt, with a forward by Adam D. Weinberg and introductions by Bruce Jenkins and Tom Kalin, Whitney Museum of American Art, Yale University Press (2021)
    Millennium Film Journal 78 “Now… and Then” (Fall 2023) p. 46
  9.  Interview with Leslie Mandell, Wagner Literary Magazine 1959-1965, edited by Willard Maas, p. 50; and in Filmnotes 5-6, credited to P. Adams Sitney
  10. ibid. Stan Brakhage Film at Wit’s End  p. 40
  11. Martina Kudláček Notes on Marie Menken (2006) — excerpt “Kenneth Anger: Marie and Willard” used with permission of filmmaker Martina Kudláček  © 2006
  1. For clarity, when I refer to Mass Effect in unitalicized form, I’m referring to game developer BioWare’s trilogy Action-RPGs released from 2007-2012 and updated in a 2020 remastering.
  2. A storyline in Mass Effect I’d define as equally impressive and empty is that of the character of Conrad Verner who appears in all three games of the trilogy. In Mass Effect 3 a sidequest involving the character serves as a self-effacing parody of Bioware’s megamart of story choice (For More Information on this Character and Storyline See Deangelo 2021).
  3. The work utilizes a master computer and two physical sculptures including a hollowed-out book featuring a touch screen, and a copy of the novel The Monkey Grammarian by Octavio Paz. The viewer/participant physically touching these books can lead to the playing of sound and voices and the projection of an amalgam of cinematic images. Also, the response to the viewer’s touch can be either immediate or delayed (Feingold 1991).
  4. My aesthetic is inspired by the low-definition video imagery of Nam June Paik (1932-2006) and Ina Bloom’s previous theorization on its relationship to the below standard quality image of the Apollo 1969 television broadcast (Blom 2001, 214).

Blom, Ina. 2001. “The Touch through Time: Raoul Hausmann, Nam June Paik and the Transmission Technologies of the Avant-Garde.” Leonardo 34, no. 3: 209–15.
Deangelo, Daniel. 2021. “Mass Effect 3: How to Get Conrad Verner as a War Asset.” Game Rant website, May 25. Accessed December 9, 2023.
Feingold, Ken. 1991. “The Surprising Spiral.” Ken Feingold website. Accessed Saturday, December 9, 2023.
Feingold, Ken. 1997. “The Interactive Art Gambit (‘Do not run! We are your friends!’)”. Ken Feingold website, April 7. Accessed December 9, 2023.
MacDonald, Scott. 2022. “Is the Video Essay a New Avant-Garde?” The Edge website, November 16. Last accessed, June 4, 2023.
Weinbren, Grahame. 2014. “Navigating The Ocean Streams of Story.” In Transmedia Frictions: The Digital, the Arts, and the Humanities edited by Marsha Kinder and Tara McPherson, 126-147. Berkeley, CA: University of California Press.
Wellenreiter, Michael. 2015. “Screenwriting and Authorial Control in Narrative Video Games.” Journal of Screenwriting 6 (3): 343–61. doi:10.1386/josc.6.3.343_1.
Youngblood, Gene. 2020. Expanded Cinema: Fiftieth Anniversary Edition. New York, NY: Fordham University Press.


  1. James A Snead, “On Repetition in Black Culture,” Black American Literature Forum,  Vol. 15, No. 4, (Winter 1981), 146.
  2. ibid. 151