All posts by Jonathan Rozenkrantz

Jonathan Rozenkrantz is a PhD candidate at the Department of Media Studies at Stockholm University. He has been a writer and editor for more than a decade, publishing extensively on film, visual arts, and media culture. His research interests revolve around the relation between aesthetics, media technologies, and the theoretical discourses that emerge at their intersection. His PhD project Electronic Labyrinths: Tracking Intersections of Video and Film (2013-2018) studies the images and imaginaries that emerge at the intersection of video and film.

Action Max: Notes on a Deictic Dispositif

As a Cinema Studies scholar focusing on analogue video, I was excited to find an old Action Max gathering dust in the wonderful depot Darren Wershler has termed “research collection”. This peculiar 1987 console relies on a special, if not entirely unique technical condition: it uses VHS tapes as its storage medium for live action “gaming” sequences. This leads to a number of bizarre consequences from a gaming point of view, which also make it a fascinating media object to “archaeologise” in toto – that is to say trying to figure out the relation between its intended technical operations, implied discursive formations, and the aesthetic expressions found both on the “outside” (the boxes) and the “inside” (the “games” themselves). Understanding...

/ June 1, 2017

Analogue video processing (proposal for afternoon project)

Here follows a short proposal for my afternoon project at the 2017 edition of the Media Archaeology Summer School (in the context of my research). I am a PhD candidate at the Department of Media Studies at Stockholm University. I hold a BA and an MA in Cinema Studies (Stockholm University). My research interests revolve around the relation between aesthetics, media technologies, and the theoretical discourses that emerge at their intersection. I am specifically interested in analogue video as an aesthetic media technology and an archaeological artefact. My PhD project Electronic Labyrinths: Tracking Intersections of Video and Film (2013-2018) draws on media archaeology in general, and the archaeology of imaginary media in particular, in order to study the images and...

/ May 16, 2017

Four times (of) media archaeology (reading reflection/basis for discussion)

Here follows a reading reflection/basis for discussion for the first session of the 2017 Media Archaeology Summer School. It will be introduced by a short presentation where I will summarise the main issues raised in this short text, and (if there is time) show some of the material I am connecting it to (an excerpt from Kung Fury by David Sandberg, 2015). In her anthology chapter “Media Archaeology: Where Film History, Media Art, and New Media (Can) Meet”, Wanda Strauven maps the field of media archaeology as it divides into three branches, which are nevertheless connected by four common interests: the relation between history and theory; the relation between research and art; the archive; and a rethinking of temporalities (64-68). I will...

/ May 16, 2017