Leering in Lockdown: COVID-19 and its impact on White America’s Social Media Responses to the Death of George Floyd.


Presenter: Allison Wiltshire

Registration Number: 039
Institution: University of Missouri-Columbia, USA

Abstract: In the late spring and early summer of 2020, only one news story could pry America’s attention away from the growing rampancy and anguish of the COVID-19 pandemic. When footage of the murder of George Floyd surfaced and spread across social media platforms, Americans were offered a rare view of the gleam of death through a focus on a single individual rather than an ever-growing ailing group. In this paper, I analyze the intersection of the pandemic and Floyd’s death, drawing an antithetical yet causal connection between the social distancing of the pandemic and white America’s social media-fueled attraction to the George Floyd case. I argue that during the rise of COVID-19, white American social media users became particularly attached to footage of George Floyd’s death because of their pandemic-driven expulsion from physical public spaces. Through a theoretical framing that encompasses Jacques Lacan’s psychoanalytic theory of the gaze and Frank Wilderson’s theory of Afropessimism, as well as a variety of theoretical and scientific studies related to social isolation, I demonstrate how white voyeurism at George Floyd’s dying body is ultimately an unconscious attempt to soothe anxiety associated with social distancing—a feeling of outcasting to which white Americans have rarely been subject. Additionally, I draw historical connections between the white gaze at Floyd’s body and white voyeurism at the bodies of Sarah Baartman and lynched black men during the Jim Crow era. In the case of George Floyd, social media has served as an antidote for white anxiety, allowing white Americans the chance to both subdue their feelings of social segregation by repeatedly consuming intimate images of Floyd’s dying body and feel a sense of personal pride and social gratification in publicly denouncing the overt racism of Derek Chauvin and his supporters. In my final analysis, I contend that within virtual public spaces, white responses to racial injustice must transcend the typical perception of white silence as a perpetuation of white violence, and I assert that social distancing, even in the form of virtual distancing through social media, is a crucial step for white Americans who are sincerely committed to social justice and civil rights activism. 




Bio: Allison Wiltshire is a G. Ellsworth Huggins Fellow, PhD student, and graduate instructor of English at the University of Missouri-Columbia. Wiltshire focuses her scholarship on literature of the African diaspora. Predominantly, she examines themes of race, Afropolitanism, duality, and twinning in contemporary African and African American texts. Wiltshire received her MA and BA from Mississippi State University and began her doctoral studies at the University of Missouri-Columbia in 2019.

VIDEO-ISLAND: Performing Environmental Imaginaries and Agency in Honey Island


Presenter: Roderick Steel
Registration Number: 005
Institution: University of São Paulo, Brazil

Abstract: How do performative bodies alter perceptions of the world through cinema in order to activate personal and political change? This film-essay will present a running academic commentary of especially edited excerpts from the feature film Ínsula, made as part of practice-based research at the University of São Paulo, in Brazil from 2017-2021. The presentation will discuss how this film was developed in partnership with a group of 8 women at the ENCOSTA Artist Residency, on Ilha do Mel (Honey Island), steeped within a political scenario that has mobilized hundreds of artists and activists in the movement to “Save Honey Island” from a project to build a new port in its immediate vicinity. In partnership with dozens of NGOs, tourist agencies, and university research agencies, this movement has organized public debates, intervened in governmental actions and produced dozens of videos which feature contributions by some of Brazil’s best-known public figures.

The film is driven by the main issue that oriented the PhD thesis in Media Studies, centered around the challenges of creating audiovisual documentation of contemporary performance art. The ephemeral nature of the body, transformative and immaterial elements generated by presence and ritual, the specificity and nature of site are elements of performance art traditionally deemed to be undocumentable. This practice-based research has led to the formulation of the notion of “cine-performance,” which brings together three normally independent bodies, that together have the creative potential to transform performance art. Central to the construction of this knowledge is the notion of how the body of the performer (body-performer), the body of the filmmaker (cine-performer), and finally the body of an audiovisual work (film-body), intertwine concepts and problems specific to their languages. Cine-Performance creates a knot, a membrane, an experimental artistic device or dispositive, within a set of films that have expounded on experience with documentary filmmaking and performance art.



Bio: Roderick Steel is a visual artist, photographer, performer and filmmaker. He has a bachelor’s degree in Film from Boston University and a master’s degree in Film from the University of São Paulo’s College of Communication, where he will shortly complete his PhD. He has worked with documentaries in the US, England, and Brazil, where he was born and currently resides. His work orchestrates entanglements between the human body, objects, and images within different temporal and spatial systems, to propose and reveal critical interactions between performance practices and the audiovisual image. He is interested in the journey images take within other images, and he explores how we construct images of ourselves and project these into diverse territories. He participates regularly in ethnographic film festivals, experimental video and contemporary art exhibits. He has made a series of documentary feature films on Afro-Brazilian religions, and currently experiments with artistic devices that propel performance art and audiovisual performance into unusual circuits and feedback loops.

EXTENDED DEADLINE: April 26th, 2021 - CFP IFM Conference

EXTENDED CFP INTERACTIVE FILM AND MEDIA CONFERENCE 2021:   

NEW NARRATIVES, RACIALIZATION, 

GLOBAL CRISES, AND SOCIAL ENGAGEMENT 

Hosted by 

Ryerson University (Canada)  

The Glasgow School of Art (Scotland) 

University of Sao Paulo (Brazil)  

The University of Texas at Dallas (USA) 

(virtual) 

August 5-7, 2021 

Extended deadline: Monday  April 26th, 2021 

Image by Regina Cunha, 2021

This virtual edition of the Interactive Film and Media conference on ‘new narratives, racialization, global crises, and social engagement’ is dedicated to the development, analysis, and research processing of the digital experience that is transforming our contemporary world vision through the immense range of storytelling practices, including visual arts, cinema, digital/graphic/interactive narratives, virtual reality, games, etc. The purpose of this conference is to bring together researchers and practitioners working in diverse disciplinary areas to establish an interdisciplinary framework for research on contemporary narratives, including case studies of the multimodal narratives across media and cultures. 

In the wake of the death of George Floyd, the hashtag #BlackLivesMatter has gone viral across the world raising many concerns about the media’s role in our society. Today, it is not enough for the media to not be racist: it must actively be anti-racist. It would not be an overestimation to say that the participation of media in discourses other than those centered on racism is also paramount: it played a decisive role in many recent social and political events, including the pandemic crisis. Therefore, this conference is proposing to examine how media around the world are dealing with the aftermath of these developments. This conference also aims to discuss how the late proliferation of online social events and the increased fragmentation of the discourse via microblogging, subtitling, hashtags, and the enhanced sharing of images through screenshots, short-form videos, selfies, and video calls have affected interactive narratives. 

We are inviting interdisciplinary proposals reflecting on the recent changes to the mediascape and the closely related medium of interactive narrative, in its many forms and iterations. Submissions that consider the advantages and drawbacks of the current trends in film, media, and interactive narratives, will be of special value, as well as those that develop new approaches to the process of algorithmization and hybridization between the information ecosystems dominated by tech enterprises and the mediasphere’s micro-level, where the instant-message apps transform our everyday lives by exposing polarized and contradictory messages, disseminating the misinformation. 

The organizers will consider unpublished works that present research results and/or theoretical reflections within the scope of Interactive Film and Media Studies, with a special focus on ‘new narratives, racialization, global crises, and social engagement’. 


CONFERENCE FEE: No registration fee will be charged for participation/presentation at this conference. 

SUBMITTING PROPOSALS 

Submit an abstract (around 500 words in length including the research objectives, theoretical framework, methodology, and conclusions) and a brief Bio-CV (100 words maximum). Please fill out the form available at https://forms.gle/tcBYQ9P9ktvaUcdP7 


CONTACT EMAIL: interactivefilmconference@gmail.com 

MORE INFO: https://interactivefilm.blogspot.com