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Transcript of moving arguments
film-composition's "invisible galleries"
documenting an emergent film-composition, chronicling our affective, intellectual, and rhetorically rich engagements with film, this book wants to argue for film
in Composition by articulating
an expansive range of rhetorically
defensible arguments as a way of
"completing" earlier arguments via new
reasons and new forms of evidence
(beyond simple hope) that derive from
critical discourses on affect, film, image, multimodality, and perspective.
film-composition gave me tangible access to a wide(r) range of emotions that seemed to be(come) more readily available for critical reflection, analysis, and articulation as i attempted to render material my interior state of mind. whereas the stunning audacity of the Bush
Adminsitration had frightened, outraged, and silenced me into a kind of disengaged "retreat," my work as a film composer reanimated my interest in current affairs and remobilized my sense of political, rhetorical, and aesthetic agency.
select annotated bibliography
nb, all links are as of this date, 10/12/2013, out-of-date, as the documents have been appreciably revised. i will be deleting the links as the project makes its way to publication, but i leave them here, for now, to help the snapshot come into view.