No CrossRef data available.
Article contents
Abstract
This text was written in response to a commission from Berliner Festspiele/MaerzMusik – Festival for Time Issues 2021. Juliet Fraser collaborated with filmmaker Jessie Rodger to create an experimental video essay that layered raw footage of Juliet in her erstwhile London studio space, reading her own words, reflecting on the words of others and doing her singing practice. The result offered a glimpse into one artist's efforts to remain creative and connected during the time of Covid. What follows is the written essay; the full video essay, Inside Out, can be seen at www.youtube.com/watch?v=m96xf41-_PA.
Information
- Type
- RESEARCH ARTICLE
- Information
- Copyright
- Copyright © The Author(s), 2022. Published by Cambridge University Press
References
1 Hustvedt, Siri, ‘The Delusions of Certainty’ in A Woman Looking at Men Looking at Women (London: Sceptre, 2017), p. 281Google Scholar.
2 Beckett, Samuel, The Complete Dramatic Works (London: Faber & Faber, 1986)Google Scholar.
3 Berry, Wendell, ‘The Work of Local Culture’, in The World-Ending Fire (London: Penguin, 2017), pp. 114–15Google Scholar.
4 Carson, Rachel, The Edge of the Sea (London: Unicorn Press, 2015), pp. 15–16Google Scholar.
5 Carson, The Edge of the Sea, p. 42.
6 Wendell Berry, ‘The Agrarian Standard’ in The World-Ending Fire, p. 135.
7 Nick Cave, ‘What Is Mercy for You?’, The Red Hand Files, 109 (August 2020), www.theredhandfiles.com/what-is-mercy-for-you (accessed 22 February 2021).
8 Elsa Von Freytag-Loringhoven, ‘Pity Me [Confession]’ (excerpt), in Body Sweats, ed. Irene Gammel and Suzanne Zelazo (Cambridge: MIT Press), pp. 251–52.