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Virtual Dayz
This "blook" preserves the musings on media and memory that Elayne Zalis posted on her blog, VirtualDayz, from June 27, 2005, to July 15, 2006 (see http: //www.virtualdayz. blogspot.com/). Both private and public archives inspire her reflections, which explore media in transition, a range that encompasses film, video, print, digital arts, and the Web. She is interested in what artists and writers are doing and in what critics and scholars are saying.
Curated Memories
In this volume, Elayne Zalis maps out a journey of discovery and invention that spans the second half of the twentieth century and the early twenty-first. Amid transformational cultural, societal, political, and technological shifts, her personal story begins in South Florida in the early 1950s and concludes in Southern California, where she settles in the mid-1990s after extended stopovers in the Northeast, elsewhere in the South, and in the Midwest.This expansive view across space and time allows Zalis to establish links between the television, popular culture, and diary writing that spark her imagination when she is a young girl and the creative pathways that independent video, personal c...
Beyond the Spotlight
In Beyond the Spotlight: A Multimedia Preview, Elayne Zalis highlights selected strands of Curated Memories: A Boomer's Personal Retrospective, an autobiography she published on her seventieth birthday in 2023. Designed to stand on its own, Beyond the Spotlight recounts a journey of discovery and invention that begins in South Florida in the early 1950s and concludes in Southern California in the early 2020s. Fusing twentieth- and twenty-first-century sensibilities, Zalis documents her early experiments with video and multimedia and suggests how writing becomes not only a through line in her autobiography but also a lifeline in her real life. The voices and visions of her younger selves echo...
Arella's Repertoire
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When We Believed in Magic
A visit to South Florida in 1995 prompts Leah to reflect on her early years in Miami, beginning with her childhood in the mid-1960s. To help with her memory work, she conjures up a troupe of spectral dancers who stand in for her at different phases of her life. Known by the colors of their costumes, Dancer in Rose, Dancer in Blue, Dancer in Plum, and Dancer in Gold recreate scenes from an ongoing drama. Diaries and archival treasures inspire the performances. Blending the real and imagined and combining genres, the story Leah tells unfolds chronologically, yet each "act" can stand on its own. A travelogue, a memoir, and a screenplay all in one, When We Believed in Magic can also be read as a preliminary script for interactive digital platforms or as a sketch for an actual dance performance. This retrospective highlights the performative strands of Arella's Repertoire, a novel by Elayne Zalis.
Ireland's Great Hunger
The papers collected in this volume are a product of the second conference on Ireland's Great Hunger held at Quinnipiac University in 2005. That conference, focused on the themes of representation and preservation, brought together forty-five scholars from around the world to discuss various aspects of the Famine and its aftermath. Following the conference, the complete An Gorta Mór collection of Quinnipiac's famine commemorative art was placed on display for the first time in the University's Alumni Hall. The An Gorta Mór collection is on permanent display in the University's Arnold Bernhard Library and in other buildings across the University's Mount Carmel campus. This volume, focused on the theses of relief, representation, and remembrance, contains essays from a broad range of disciplines including works of history, literary criticism, anthropology, and art history.
Points of Resistance
In detailing the relationship of three women filmmakers' lives and films to the changing institutions of the post-World War II era, Lauren Rabinovitz has created the first feminist social history of the North American avant-garde cinema. At a time when there were few women directors in commercial films, the postwar avant-garde movement offered an opportunity. Rabinovitz argues that avant-garde cinema, open to women because of its marginal status in the art world, included women as filmmakers, organizers, and critics. Focusing on Maya Deren, Shirley Clarke, and Joyce Wieland, Rabinovitz illustrates how women used bold physical images to enhance their work and how each provided entrée to her subversive art while remaining culturally acceptable. She combines archival materials with her own interviews to show how the women's labor and films, even their identities as women filmmakers, were produced, disseminated, and understood. With a new preface and an updated bibliography, Points of Resistance simultaneously demonstrates the avant-garde's importance as an organizational network for women filmmakers and the processes by which women remained marginal figures within that network.
California Video
Whether designing complex video sculptures & installations, experimenting with electronic psychedelia, creating conceptual & performance art, or producing vanguard works that promote social issues, artists from all over California have utilized video technology to express revolutionary ideas.
Biography
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