Tracey Moffatt is arguably Australia's most successful artist. She has exhibited in galleries and museums around the world and is the recipient of the International Center of Photography's 2007 Infinity Award for Art. My Horizon is the first book on this esteemed artist in ten years. With all new work, including large-scale photography and film, this publication situates Moffatt's work in the international arena as an artist who consistently takes the tempo of our times. Moffatt has created highly stylised narratives and montage to explore a range of themes, including the complexities of interpersonal relationships, the curiousness of popular culture, and her own deeply felt childhood memories and fantasies.My Horizon will present a compendium of texts that reflect on the artist's highly political and personal fictions, allowing readers to ponder what might be over the horizon. Contributing authors include Germano Celant, Adrian Martin, Moira Roth, Susan Bright, Djon Mundine, Alexis Wright, and Romaine Moreton.

Explores in depth the film work of Australian artist/photographer Tracey Moffatt.

Fever pitch.

Examines the exchanges within and through feminist film culture to expand critical horizons in film scholarship. Following in the footsteps of the filmmakers whose work it features--including Miranda July, Janie Geiser, Tracey Moffatt, Sally Potter, Cindy Sherman, Samira Makhmalbaf, Sadie Benning, Agnès Varda, Kim Longinotto, and Michelle Citron--There She Goes: Feminist Filmmaking and Beyond seeks to make trouble not only in the archives but also at the boundaries between artistic, industrial, political, critical, and disciplinary practices. Editors Corinn Columpar and Sophie Mayer have assembled scholarship that responds to women's work in the interstices between different branches of the film industry, modes of filmmaking, national or transnational contexts, exhibition media, and varieties of visual representation in order to assess the exchanges such work enables. Essays in the first three sections of There She Goes explore connections at the level of curation and exhibition, while the subsequent four consider local connections such as those between the film and the audience or between works within an oeuvre, down to those occurring on the surface of the film. Contributors reach beyond traditional screen cinema to interact with a larger field of artistic production, including still photography, music videos, installation art, digital media, performance art, and dance. Essays also pay particular attention to a variety of contextual factors that have shaped women's filmmaking, from the conditions of production and circulation to engagement with various social movements and critical traditions, including, but not limited to, feminism. By foregrounding fluidity, There She Goes presents a an exciting new appraisal of feminist film culture, as well as the intellectual and affective potential it holds for filmmakers and filmgoers alike. Scholars of film and television studies and gender studies will appreciate the fresh outlook of There She Goes.

In Unruly Visions Gayatri Gopinath brings queer studies to bear on investigations of diaspora and visuality, tracing the interrelation of affect, archive, region, and aesthetics through an examination of a wide range of contemporary queer visual culture. Spanning film, fine art, poetry, and photography, these cultural forms—which Gopinath conceptualizes as aesthetic practices of queer diaspora—reveal the intimacies of seemingly disparate histories of (post)colonial dwelling and displacement and are a product of diasporic trajectories. Countering standard formulations of diaspora that inevitably foreground the nation-state, as well as familiar formulations of queerness that ignore regional gender and sexual formations, she stages unexpected encounters between works by South Asian, Middle Eastern, African, Australian, and Latinx artists such as Tracey Moffatt, Akram Zaatari, and Allan deSouza. Gopinath shows how their art functions as regional queer archives that express alternative understandings of time, space, and relationality. The queer optics produced by these visual practices creates South-to-South, region-to-region, and diaspora-to-region cartographies that profoundly challenge disciplinary and area studies rubrics. Gopinath thereby provides new critical perspectives on settler colonialism, empire, military occupation, racialization, and diasporic dislocation as they indelibly mark both bodies and landscapes.

A sophisticated theoretical consideration of the related aesthetics and histories of ethnographic and experimental non-fiction films.

E. Ann Kaplan explores the relationship between the impact of trauma on individuals and on entire cultures and nations. Arguing that humans possess a need to draw meaning from personal experience and to communicate what happens to others, she examines the forms that are used to bridge the experience.