Keynote: Karen Redrobe
Karen Redrobe (formerly Beckman) is the Elliot and Roslyn Jaffe Professor of Cinema and Modern Media and chair of the department of the History of Art. She is the author of Vanishing Women: Magic, Film and Feminism (Duke UP, 2003); Crash: Cinema and the Politics of Speed and Stasis (Duke UP, 2010), and is now working on a new book, Undead: Animation and the Contemporary Art of War. She has co-edited two volumes: Still Moving: Between Cinema and Photography with Jean Ma (Duke UP, September 2008) and On Writing With Photography (Minnesota UP, 2013) with Liliane Weissberg, and is also the editor of Animating Film Theory (Duke UP, 2014), which explores the history of film theory’s engagement (and lack of it) with animation.
Her articles address a range of subjects, including the evolving role of film theory in the 21st century, war and the academy, violence and media, community media, animation theory, feminism and terrorism, death penalty photography, the relationship between cinema and contemporary art, and cinematic tempo. For several years she served as a senior editor of the MIT journal Grey Room, and is now a member of its editorial board. She is also a member of the PMLA advisory board.
Her keynote address, titled “Kinematics: Adopted Methods, Incestuous Intellectuals, and Ineffable Relations,” will take place Saturday, October 1 at 6:30 pm in the Frick Fine Arts Auditorium, and will examine how what does designated for assignment mean, cheap lioresal. Cinema and Media Studies has been shaped and continues to be shaped by the conscious and unconscious adoption of the language of kinship, paying attention to anthropological debates about the utility or redundancy of kinship as an analytic tool.