Archive of the Future/Archive of Everyday Practices: Feminism, Materiality, Temporality
Mary Desjardins

● feminist theory and textual analysis
● feminism + movie + theory
● movies as represented desire, way to sublimate and express desires, taught abotu modalities of desire
● significant things “inspire both attraction and resistance”
● thinking beyond feminist psychoanalysis (Mulvey?)
● understanding the role of desire and pleasure in the production and reception of media practices and texts
● early – fetishize and spatialize the look – ignoring desire
● “desires are continually rehistoricized through encounters with new and other demads- tech, audience, cultural studies
● genre, melodrama
● Williams (Linda) – understanding popular texts “in terms of their rehearsals of fantasy scenarios that are at once primal and historically constructed” (35) - work of critic to relate these to historical contexts
● emerging most significantly in queer and gay and lesbian studies
● Patricia White – inked the way texts and stars evoke fantasy scenarios to historically specific manifestations of sexual identity
● widening our understanding of what constitutes evidence “and of the possible contours of a historical moment” (35)
● our realities are embedded in our interaction with media texts and social discourses of the everyday
● gendered identification with stars – with each medium having its own specific history and effects
● rela to fashion, zines, etc produced and encouraged consumption of these texts
● position in a web of social relations that always place the self in more than one temporal moment” (36)

The Imaginary Archive: Current Practice
Tess L. Takahashi

● archive – official sanctioned repository of objects and docs “that reinforce a group or nation's identity and origins” (179)
● what are “imaginary archives” - becoming ever more present? produced by artists and critics
● what of fake and fictionalized archives? (Atlas Group Archives, Speculative Archive)
● Derrida's archive fever – fever as more than compulsion to store (org. the past) but also “a promise to reveal, pointing to the future” (179)
● artistic projects of the past decade as “a structure that underlies the current ways in we interpret the world; waht Derrida points to as an unquantifiable, and unarchivable, excess of feeling” (179)
● archive and encyclopedia – implies authority
● imaginary and speculative to undermine trad archive law
● “these imaginary archives often envision unrecorded pasts, produce other means of legitimizing information, make old systems signify differently, and imagine as yet undetermined futures through the evocation of everyday people's personal experiences of suffering, displacement, and loss.”(180)
● deconstructing the archive – operates as prescription and manifesto - “an alternative form of medicine for a sicka d feverish culture plagued by forgetting” (180)
● Atlas Group - civil wars in Lebanon bw 75 and 90
● native informants (as producers of documents)
● countering historians' desire to move n to a period of renewal and reconstruction
● and, to get western museum-going audiences to think about so called historical evidence and its role in representation
● lack of (material) evidence – is certain conditions (crimes of war)
● producing a useful public history to represent chaos, etc
● essential to those who lived through it – however impossible to (re)construct
● art – Ra'ad – produces a counter public sphere as cure, space of freedom for artists, not speaking as native informant
● Speculative Archive – Meltzer and Thorne
● film – It's not my memory of it—official historical records from Iranian CIA agent, cold war soviet
● capitalizing on digital capacities to reproduce, edit, move, etc to render visible the hist and political conditions under which “information is produced, travels, is collected and received,
● recovered documents - “that have no official historical record in a way that makes them speak to the present governmental management of both material information and human informants” (182)
● the subaltern – person we most want to hear but most unable to speak
● related to political status
● recovery mediated by the artist as society's witness, archivist, activist and doctor

Postfeminism and the Archive for the Future
Yvonne Tasker and Diane Negra

● popular media have become “postfeminized” (lately)
● “double address” in which “the gains of feminism are savored while feminism itself is repudiated” - feminism as achieved and abjured (171) in film
● irony and self reflex – does not invalidate feminist critique
● romantic comedy in 90s – perceptions of truths of women's experiences in lifestyle culture
● film's resolution
● women as director – read + and - / incorporation of women into industry
● “one of the most striking features of the current popular cinema environment is the persistent categorization of femae-centered films as form of niche cultural production, even in an industry where's interests are taken rather seriously—and their spending power even more so.” (173)
● noting contributions of earlier feminists (beyond nostalgia)
● feminist work is accepted in academia, but not the feminist herself

Breathing in the Archives
Amelie Hastie

● “the memory is an archive” (181)
● home movies in Freud museum
● room designed for series of returns
● home-museum
● narrated by Anna, youngest daughter “made for family members and not intended for public viewing” (182)
● home movies, performance of institution of the family, intimacy displayed, affective engagement with Freud's personal history
● father behind the camera normally, in front now
● “what i propose to archive for a feminist future is the very evanescence of experience, the experience of affect, an intimacy and empathy possible for each” (184)
● feeling in the archive – of uncovering lost piece of history
● archive a provocation: “affect, lasting and evanescent, which we feel as scholars—for moving images, for schools of thought, for historical figures” (184)
● * link to Inkster article

The Archive, the Phallus, and the Future
Karen Beckman

● what the spectre of the feminist archive provokes?
● pedogogical anxieties about canons and intellectual inheritances
● “how to receive, preserve, but also reanimate the legacies of the past” (188)
● relationship between linguistic and material
● call for lesbian feminist theory
● what kind of “ideological work is done by terms like past, present, and future, contemporary and obsolescent – how these terms stand to feminist and queer critiques of normative temporalities
● hypercapitalism and innovation – requires bodies to inhabit time in a prescribed fashion
● phallus and psychoanalysis – link?
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