Abstract
This essay examines three films and adjacent performance (The Masked Monkeys 2015; Comfort Stations 2018; and Her Name Was Europa 2020) by the Berlin-based filmmaking duo Anja Dornieden and Juan David González Monroy, who together call themselves OJOBOCA. Drawing on the broadly transdisciplinary scholarly treatments and decolonial imperatives of ferality as a site of human and non-human relationality, I contextualize OJOBOCA’s analogue body of work featuring animal subjects as a feral film habit. In describing a feral film habit through OJOBOCA’s work, I also engage a media archaeological concern with making media histories present in practice alongside the complex of aesthetic, ecological, political and economic sensibilities emergent in contemporary photochemical filmmaking and laboratory culture in the (post-)digital age. Overall, my aim is to clarify an experimental project that points towards possible more-than-human cinema-based forms of collectivity and invites novel forms of cinema-based life.
Sign-in/Register to access full text options 
Talk to us
Join us for a 30 min session where you can share your feedback and ask us any queries you have
Schedule a callDisclaimer: All third-party content on this website/platform is and will remain the property of their respective owners and is provided on "as is" basis without any warranties, express or implied. Use of third-party content does not indicate any affiliation, sponsorship with or endorsement by them. Any references to third-party content is to identify the corresponding services and shall be considered fair use under The CopyrightLaw.
