Introduction

Collins, Jo; Jervis, John

doi:10.1057/9780230582828_1

Cited by 10 publications

(8 citation statements)

References 9 publications

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“…The uncanny has been described as a ‘master trope’ in cultural studies and other fields in the 1990s (Jay, 2012; cf. Collins and Jervis, 2008; Royle, 2003). It was partly popularised by the reception and influential engagements with Freud’s (2003) 1919 essay on Das Unheimliche : literally the ‘unhomely’ and usually rendered as ‘uncanny’.…”

Section: Infrastructural Concernsmentioning

confidence: 99%

“…It has been suggested that the uncanny can be understood as a ‘distinctively modern experience’ arising in relation to emerging configurations of science, technology and urbanisation (Collins and Jervis, 2008), as well as a ‘response to the regime of the programme’ as embodied in ambient information and communication technologies (Johnson, 1999). Several scholars have explored the notion of the ‘digital uncanny’, arguing that we should attend to how the uncanny may be re-articulated through different media technologies (Coyne, 2005; Ravetto-Biagioli, 2016).…”

Section: Infrastructural Concernsmentioning

confidence: 99%

“…The case of junk news suggests that it is partly the agential capacities of digital infrastructures to configure, multiply and redistribute habits and relations in unexpected ways which generate unsettling ambiguities. While earlier studies focused on dichotomies of self/other, animate/inanimate, living/dead, familiar/unfamiliar, more recent work explores how the uncanny may be used to inquire into the unsettling of space, architecture, technologies and media systems (Collins and Jervis, 2008; Vidler, 1994).…”

Section: Infrastructural Concernsmentioning

confidence: 99%

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‘Fake news’ as infrastructural uncanny

Gray

Bounegru

Venturini

2020

New Media & Society

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In this article, we examine how the social disturbance precipitated by ‘fake news’ can be viewed as a kind of infrastructural uncanny. We suggest that the threat of problematic and viral junk news can raise existential questions about the routine circulation, engagement and monetisation of content through the Web and social media. Prompted by the unsettling effects associated with the ‘fake news’ scandal, we propose methodological tactics for exploring (1) the link economy and the ranking of content, (2) the like economy and the metrification of engagement and (3) the tracker economy and the commodification of attention. Rather than focusing on the misleading content of junk news, such tactics surface the infrastructural conditions of their circulation, enabling public interventions and experiments to interrogate, challenge and change their role in reconfiguring relations between different aspects of social, cultural, economic and political life.

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Section: Infrastructural Concernsmentioning

confidence: 99%

Section: Infrastructural Concernsmentioning

confidence: 99%

Section: Infrastructural Concernsmentioning

confidence: 99%

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‘Fake news’ as infrastructural uncanny

Gray

Bounegru

Venturini

2020

New Media & Society

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“…It is when the home becomes fluid and spatial boundaries break down that the ‘myth’ of a separation between our family and the Other is exposed (England, 2006). 2 The sense of detachment from one’s past and environment finds form in ‘disturbances of the spatial sense’ (Collins and Jervis, 2008: 14).…”

Section: The Other and Making The Home Strangementioning

confidence: 99%

Playing Funny Games in The Last House on the Left: The uncanny and the ‘home invasion’ genre

Fiddler

2013

Crime, Media, Culture

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This article dredges the 'reservoirs of dogma' and 'symbolic lagoons of social fears' to locate the 'home invasion' film genre within its diachronic and synchronic contexts. As such, we will first situate these films as part of the historical tradition of Gothic literature. This allows us to unpack the ways in which the depictions of the 'home' and 'homeliness' in Gothic literature and the 'home invasion' genre problematise constructions of identity and category formation. Secondly, exploring the genre in its contemporaneous socio-cultural setting allows us to see how particular social traumas are manifest in popular culture. These dimensions are explored by focusing on three key examples and their subsequent remakes: The Last House on the Left, Straw Dogs and Funny Games.

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“…As explained by Collins and Jervis, this uncertainty testifies to something estranged and displaced that is persistent within the modern experience and construction of selfhood. 5 In 1919, Freud published his well--known essay 'The Uncanny' in which one of the key reference points was the nineteenth--century story of the 'The Sandman' by E.T.A. Hoffmann.…”

Section: -Uncanny Modernitymentioning

confidence: 99%

Uncanny Exposures: Mobility, Repetition and Desire in Front of a Camera

Alù

2013

CSR

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In this article I discuss some of the uncanny characteristics of photographic portraits by turning attention to photographs representing Italian migrants in Australia. These are images of mobility through time and space. These photographs also reduced spatial distance, transporting migrants’ own desires and unknown faraway lives into the imagination of the viewers at home. The migrant’s desire is for both a new life (as it will be mostly discussed here) and for familiar affects. It is also—in Lacanian terms—a desire from the Other: the desire to be the object of the Other’s desire, emotions and gaze.In particular, I will analyse studio photographic portraits produced in Australia during the initial period of the Italian diaspora from the end of the nineteenth century to the first three decades of the twentieth century. By drawing mostly from Freud’s definition of the uncanny and Barthes’s reflection on photography, I will look at these photographs as uncanny visual traces—and promoters—of emotions, desire and of a journey to a multi-faced identity.

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Introduction

Cited by 10 publications

References 9 publications

‘Fake news’ as infrastructural uncanny

‘Fake news’ as infrastructural uncanny

Playing Funny Games in The Last House on the Left: The uncanny and the ‘home invasion’ genre

Uncanny Exposures: Mobility, Repetition and Desire in Front of a Camera

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