Visible Things Unseen

Abstract

Research Article| March 01 2020 Visible Things Unseen: Co-creation and Its Philosophical Turn Reece Auguiste Reece Auguiste Reece Auguiste is a practitioner and scholar focusing on national cinemas, transnational screen cultures, and documentary practice. He is a founding member of the Black Audio Film Collective and directed Twilight City (1989), Mysteries of July (1991), Duty of the Hour (2016), and Stillness Spirit (2017). He is an associate professor of critical media practices at the University of Colorado, Boulder. Search for other works by this author on: This Site PubMed Google Scholar Afterimage (2020) 47 (1): 36–41. https://doi.org/10.1525/aft.2020.471007 Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Share Icon Share Facebook Twitter LinkedIn MailTo Tools Icon Tools Get Permissions Cite Icon Cite Search Site Citation Reece Auguiste; Visible Things Unseen: Co-creation and Its Philosophical Turn. Afterimage 1 March 2020; 47 (1): 36–41. doi: https://doi.org/10.1525/aft.2020.471007 Download citation file: Ris (Zotero) Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search All ContentAfterimage Search In response to being called an “auteur,” the Australian director of such films as The Chant of Jimmy Blacksmith (1978) and Roxanne (1987), Fred Schepisi, scoffed: “Auteur theory just denigrates everyone else's job.”1 Unfortunately, the acts of denigration alluded to are in the name of an idea that has found expression in many critical texts and received the blessings of scholars and critics across a large spectrum of constituencies. As a result, we have witnessed theoretical battles and multiple contentious debates pursued over the historical meanings and cultural implications of “auteur theory” or single authorship in film and media arts production. The accumulative result of these historical debates is a series of competing interpretations about the legitimacy of an idea that has glacially evolved into what is now an entrenched categorical imperative in theories of the moving image. The rhetorical underpinnings of the advocates of single authorship are, more... You do not currently have access to this content.