Kartik Nair – författare

In 1980s India, the Ramsay Brothers and other filmmakers produced a wave of horror movies about soul-sucking witches, knife-wielding psychopaths, and dark-caped vampires. Seeing Things is about the sudden cuts, botched makeup effects, continuity errors, and celluloid damage found in these movies. Kartik Nair reads such "failures" as clues to the conditions in which the films were made, censored, and seen, offering a view from below of the world's largest film culture. By combining close analysis with extensive archival research and original interviews, Seeing Things reveals the spectral materialities informing the genre's haunted houses, grotesque bodies, and graphic violence.

In 1980s India, the Ramsay Brothers and other filmmakers produced a wave of horror movies about soul-sucking witches, knife-wielding psychopaths, and dark-caped vampires. Seeing Things is about the sudden cuts, botched makeup effects, continuity errors, and celluloid damage found in these movies. Kartik Nair reads such "failures" as clues to the conditions in which the films were made, censored, and seen, offering a view from below of the world's largest film culture. By combining close analysis with extensive archival research and original interviews, Seeing Things reveals the spectral materialities informing the genre's haunted houses, grotesque bodies, and graphic violence.

In 1980s India, the Ramsay Brothers and other filmmakers produced a wave of horror movies about soul-sucking witches, knife-wielding psychopaths, and dark-caped vampires. Seeing Things is about the sudden cuts, botched makeup effects, continuity errors, and celluloid damage found in these movies. Kartik Nair reads such "failures" as clues to the conditions in which the films were made, censored, and seen, offering a view from below of the world's largest film culture. By combining close analysis with extensive archival research and original interviews, Seeing Things reveals the spectral materialities informing the genre's haunted houses, grotesque bodies, and graphic violence.

A free ebook version of this title is available through Luminos, University of California Press’s Open Access publishing program. Visit www.luminosoa.org to learn more.What does a liberatory film pedagogy look like? In situated speculations from around the world, this volume explores the teaching of film as a practice of freedom. Widening its focus beyond the university classroom, Course Projections visits lecture halls and festivals, archives and encampments shadowed by scholasticide, fascism, ecocide, surveillance, attacks on academic freedom, and hate-based exclusion. Against this backdrop of unfreedoms, contributors consider the stakes of film education, experimenting with genres—from the satirical screenplay to the teaching diary, the personal essay to the roundtable conversation—and recuperating teaching archives as diverse as coffee-stained syllabi and customized course questionnaires. Together, these writings posit pedagogy as a field where media theories are tested and revised, histories of the moving image are made and remade, and new communities are forged around screens, opening up horizons of possibility for our collective futures.

A free ebook version of this title is available through Luminos, University of California Press’s Open Access publishing program. Visit www.luminosoa.org to learn more.What does a liberatory film pedagogy look like? In situated speculations from around the world, this volume explores the teaching of film as a practice of freedom. Widening its focus beyond the university classroom, Course Projections visits lecture halls and festivals, archives and encampments shadowed by scholasticide, fascism, ecocide, surveillance, attacks on academic freedom, and hate-based exclusion. Against this backdrop of unfreedoms, contributors consider the stakes of film education, experimenting with genres—from the satirical screenplay to the teaching diary, the personal essay to the roundtable conversation—and recuperating teaching archives as diverse as coffee-stained syllabi and customized course questionnaires. Together, these writings posit pedagogy as a field where media theories are tested and revised, histories of the moving image are made and remade, and new communities are forged around screens, opening up horizons of possibility for our collective futures.