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13. Frontmatter
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THE PROC ESS GENRE
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13. Frontmatter
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13. Frontmatter
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THE
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GENRE
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THE AESTHETIC
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OF LABOR
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SALOMÉ AGUILERA SKVIRSKY
DUKE UNIVERSITY PRESS
Durham and London 2020
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© 2020 Duke University Press
All rights reserved
Printed in the United States of Amer i ca
on acid- free paper ∞
Designed by Aimee C. Harrison
Typeset in Chaparral Pro, din
Neuzeit, and Neuzeit s lt Std by
Westchester Publishing Ser vices
Library of Congress Cataloging- in- Publication Data
Names: Skvirsky, Salomé Aguilera, author.
Title: The process genre : cinema and the aesthetic of labor /
Salomé Aguilera Skvirsky.
Description: Durham : Duke University Press, 2020. |
Includes bibliographical references and index.
Identifiers: lccn 2019032751 (print)
lccn 2019032752 (ebook)
isbn 9781478005407 (hardcover)
isbn 9781478006442 (paperback)
isbn 9781478007074 (ebook)
Subjects: lcsh: Work in motion pictures. | Process films—
History and criticism Classification: lcc pn1995.9.l28
s58 2020 (print) | lcc pn1995.9.l28 (ebook) |
ddc 791.436/552—dc23
lc record available at https://lccn.loc.gov/2019032751
lc ebook record available at https://lccn.loc.gov/2019032752
Cover art: Frame enlargements, “How People Make Crayons”
segment, “Competition (#1481): A Favorite Factory Visit:
Crayons!” Mister Rogers’ Neighborhood, season 14, episode 81.
Duke University Press gratefully acknowledges the University
of Chicago Humanities Council, which provided funds toward
the publication of this book.
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This book is dedicated
to Anton, Felix, and Rosa;
to my parents, Alan Skvirsky
and Anexora Aguilera Skvirsky;
and to my sister, Karina
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13. Frontmatter
A13.17 FMT | 11/20.7
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all caps + lsp 20. Each FMT
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A Note on the Art: FL/RR,
broken as shown, 0p10 from
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0p10 from top of box.
Acknowledgments: centered,
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CONTENTS
A NOTE ON THE ART i x □ A CKNOWL EDGMENTS x i
Introduction: The Pro cess Genre 1
1. The Pro cess Film in Context 5 1
2. On Being Absorbed in Work 77
3. Aestheticizing Labor 1 16
4. Nation Building 1 46
5. The Limits of the Genre 193
Epilogue: The Spoof That Proves the Rule 2 19
NOTES 2 39 □ B IBLIOGRAPHY 2 87 □ INDEX 3 05
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13. Frontmatter
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A NOTE
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ON THE ART
THROUGHOUT THIS BOOK there are a series of grids com-
posed of frame enlargements from single films— some are 1 × 3, some 2 × 3,
some 3 × 3, some 4 × 3. The grids are not meant as adornment. I employ
them to help the reader visualize what I am discussing. They should be
read as Eadweard Muybridge’s grids are read: from left to right, top to
bottom, row by row. The grids are designed to approximate the pro cesses
under discussion. Two- dimensional repre sen ta tion is not ideal for convey-
ing pro cesses that unfold in time. Each image in the grids is intended to
allude to a step in the pro cess. Most of the grids are not complete (i.e.,
each and every step is not represented), though some are more complete
than others. In some grids, each frame enlargement corresponds, sim ul-
ta neously, to a step in the pro cess and to a discrete shot of the film. In
others, several steps (and thus several frame enlargements) come from a
single shot.
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