Videos by Alexandra Juhasz
For the 13th international symposium, “Gift of Nam June Paik 13,” a discussion about the digital ... more For the 13th international symposium, “Gift of Nam June Paik 13,” a discussion about the digital archive of Nam June Paik’s video and its possibilities and limits under the theme of “video digital commons.” The beginning point of this symposium is Nam June Paik’s essays, “Extended Education for the Paperless Society” (1968) and “Random Access Information”(1980), which inspired us in the first place to imagine a digital video archive. Via an examination of the current attributes of the digital archive―ephemeral, virtual, moving images, etc.―we will reach discussions about what kind of “digital commons” should be achieved through Nam June Paik Art Center digital video archive. Papers by Alexandra Juhasz
Rutgers University Press eBooks, Dec 31, 2019
Preservation, digital technology & culture, Oct 9, 2017
The author created a media project, #100hardtruths-#fakenews, to collect and preserve media relat... more The author created a media project, #100hardtruths-#fakenews, to collect and preserve media relating to fake news that was generated during the first 100 days of the U. S. Presidency of Donald J. Trump. Her resulting website chronicles fake news as well as the many media responses to it. This article describes the author's construction of the site, characteristics of the posts, and ways in which she navigated the large volume of fake news and related posts. The project explores the complex issues that attend such a project. The goal was to induce energy and insight so that thoughtful professionals might save intentional digital news preserves. The article concludes with preservation recommendations.
Radical Teacher, Jul 27, 2018
The work of media scholar, artist, and activist Alexandra Juhasz directly addresses many of the c... more The work of media scholar, artist, and activist Alexandra Juhasz directly addresses many of the concerns that Lovink and Rossiter raise in the previous two chapters. In this chapter, Juhasz repurposes blog posts about her undergraduate media studies course and "video-book" Learning from YouTube to consider the future of new media scholarship: how academics might write and publish about and in new media. By moving her writing from screen to page, the chapter itself enacts the concerns of circulation, vernacular, standards, and publication at the heart of new media studies projects and the work of writing about them. Juhasz demonstrates and discusses how academic styles, methods, and audiences can adapt in ways that are productive and dynamic. The changing roles that control, knowledge, and reflexivity play for YouTube, Juhasz's course, and digital culture more generally are central frames for the chapter, as Juhasz thinks through what her own experience teaching with and writing about YouTube suggests for the future of digital humanities.
University of Minnesota Press eBooks, Dec 1, 2012
GLQ: A Journal of Lesbian and Gay Studies, Dec 14, 2010
... the other hand, reflects much more complex expressions and receptions of queer sexuality. ...... more ... the other hand, reflects much more complex expressions and receptions of queer sexuality. ... a cosmopolitan hub holding large pop-ulations of foreign workers, expatriates, and tourists ... toward regional integration in Southeast and East Asia (ASEAN +3: China, Japan, Korea).19 ...
Quarterly Journal of Speech, Feb 1, 2012
Alex, I'm glad that you are documenting the good work of ACT UP. I couldn't join ACT UP because I... more Alex, I'm glad that you are documenting the good work of ACT UP. I couldn't join ACT UP because I was undocum.ented and could not afford to get arrested and potentially deported. Good luck with your article. I'd love to read it. 1 I remember and document ACT UP often as a once participant in the lively 1980s AIDS activist video scene in New York. At that time and in that place, I made work for Gay Men)s Health Crisis (GMHC), the Brooklyn AIDS Task Force) my doctoral research, and as a member of ACT UP NY, and the broader national and global activist AIDS comrnunity. 2 I have continued cultural production around AIDS across my career as an artist, activist, and academic. Given this lineage, in this time I am often asked to remember ACT UP in work-related contexts such as this one. I have become a professional ACT UP rememberer. In contexts as varied as at Harvard University, for a doctoral dissertation on 1990s art, in the NY Public Library, for oral histories, at conferences, in my contemporary video production and writing> for gay male youth of color, and in classrooms,3 I recall 1980s AIDS activism with pride, history, my best candor, and stories of our amazing energy and grief. Given this demand, as Cindy Patton noted the quick governmentalization and professionalization of "the AIDS service industry" in the l 980s, 4 I now ackno•wledge, these many years later, the development of a new class, AIDS lamentersa disproportionate number of whom are women. Frankly, this turn from movement participant to expert eulogizer feels at once essential and overblown. I've done this so many times before! 5 What else could I ever have to say? And what does it mean to be compelled to remember by and for others? When ACT UP is remembered-again and again and again-other places, people, and forms of AIDS activism are disremembered. I guess I never became a member of ACT UP because I saw myself as other than the members. For the most part they were educated, white, gay men who talked in a high-fallutir1' manner. Whenever I gathered up the nerves to engage ACT UP about Alexandra Juhasz is Professor of lvledia Studies at Pitzer College. She has produced the feature films The Owls and T/1t: \Vatcrmc/011 Woman, ;me\ is the author of l.earnh1g from i'o111i1bt: (lv!IT 2011),
Camera Obscura, 2003
No woman is filmed as an object; everyone is a subject who combines and presents physical, emotio... more No woman is filmed as an object; everyone is a subject who combines and presents physical, emotional, intellectual, and political selves. -Julia Lesage, "The Political Aesthetics of the Feminist Documentary Film" Feminist Collaborative Video Feminist video does collectivity exceedingly well.1 Certainly other politicized cultural movements and individuals work through this method, and, of course, feminists also produce work in collaboration in film and other media (as Julia Lesage testifies above). However, I assert that there is a profound natural mechanics to women's work in video that makes the medium's method, theory, and theme the interactive and politicized su"qjectification of the female sex. Film and patriarchy share the project of women's objectification-they make victims. Video and feminism see women as complex, worthy selves-they produce subjects. In
GLQ: A Journal of Lesbian and Gay Studies, Apr 1, 2006
Feminist Media Studies, Jun 19, 2017
This essay is one of many attempts to document and process a year-plus long feminist digital medi... more This essay is one of many attempts to document and process a year-plus long feminist digital media project: ev-ent-anglement. The essay has an irregular construction in six sections to hold and honor the practices, concerns, and findings of the project that all aim to mark the power and violence left usually unregarded after the common and willy-nilly, usually corporate-abetted, movement of digital fragments of ourselves. The ev-ent-anglement, including this essay as one iteration, attempts to mark that every simple cut/ paste in a digital environment has an unseen but sometimes felt consequence: a violence and a power. It asks: could this gesture have different meanings or purposes in other formats, environments, and communities? Is affect in Montreal similar to #affect in #Montreal? The essay suggests that perhaps with a dataset made with and for feminist social networks, with a dataset made to feel, our cut/pastes might maintain and pass on some of their original affect. That is to say, principled collections and ethical cuts within coherent datasets might allow for affect to both move and stay within feminist networks. Bleed. 1 The essay proper, feel free to start and stay here. V. Sources: wherein I honor those who participated by gifting words and images VI. Notes: wherein I bleed deep in the shadows with perhaps more clarity 2
Digital nomad" Shu Lea Cheang and friend and critic Alexandra Juhasz consider the reasons for and... more Digital nomad" Shu Lea Cheang and friend and critic Alexandra Juhasz consider the reasons for and implications of the censorship of Cheang's 2017 film FLUIDØ, particularly as it connects to their shared concerns in AIDS activism, feminism, pornography, and queer media. They consider changing norms, politics, and film practices in relation to technology and the body. They debate how we might know, and what we might need, from feminist-queer pornography given feminist-queer engagements with our bodies and ever more common cyborgian existences. Their informal chat opens a window onto the interconnections and adaptations that live between friends, sex, technology, illness, feminism, and representation.
The impact of Yi uTu~ n m dia producnon and distribution h ~en brcak.ne immense. and seemingly ir... more The impact of Yi uTu~ n m dia producnon and distribution h ~en brcak.ne immense. and seemingly irrc e ible. In chis chapter I argue that media production prof. rs need t cmbra e. anJ n t to avoid YouTu~. as 1f it was what the Frcnch call stylo: a pen. To do so. we need to ~tt r und rstand YouTube and Yi uTu~ video. I impart here me f the Jes ru I have learned m teaching an cxperim nr I course, Leaming from YouTu~. in which all th course work h been aboltl, bur also on, the site. Th I illustrate the enrcs. c ntcna, and tyl of H dco riting" that my srudcnts have developed to expand the reach of YouTu~• more standard and banal c nrent. The lessons aho addre55 how knowledge of the technologi , ownership, architecrurc, and cust ms of the site can allow for careful, considered, and If-referential stu cnt work to omc a critical part of this unruly archi~. Dreams of YouTube Writing This, right here, is writing with words on paper about video on YouTube. This variety of YouTube writing uses words to call up digital sounds and images, in a scholarly prose common to the field of media studies. It is to be read on paper, in a chapter of
The impact of YouTube on media production and distribution has been breakneck, immense, and seemi... more The impact of YouTube on media production and distribution has been breakneck, immense, and seemingly irreversible. In this chapter I argue that media production professors need to embrace, and not to avoid YouTube, as if it was what the French call a stylo: a pen. To do so, we need to better understand YouTube and YouTube videos. I impart here some of the lessons I have learned from teaching an experimental course, Learning from YouTube, in which all the course work has been about, but also on, the site. These lessons illustrate the genres, contents, and styles of “video writing” that my students have developed to expand the reach of YouTube's more standard and banal content. The lessons also address how knowledge of the technologies, ownership, architecture, and customs of the site can allow for careful, considered, and self-referential student work to become a critical part of this unruly archive. Keywords: digital authorship; media literacy; media pedagogy; video production; YouTube
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Videos by Alexandra Juhasz
Papers by Alexandra Juhasz
Free PDF from meson press; paper version for sale from UMN Press
Finally, given both the digital and viral truths wrought by the crisis of COVID-19, and to provide some small relief, we provide resources and methods to deepen connection and possibility during a time of social distancing and via technology.
In a media/environmental ecosystem where activism slows but can’t end the building of greed’s pipelines, Dislocation Blues is a holding environment that disorders and reclaims the existential vacuum of our rupturing reality as a process of harm reduction: “[a] dislocated wild is still the wild.
https://necsus-ejms.org/rumors-a-roundtable-discussion-with-mladen-dolar-richard-dyer-alexandra-juhasz-tavia-nyongo-marc-siegel-and-patricia-turner/