BLIK in Bloom
Letter from the Editor-in-Chief
Dear reader,
On my living room windowsill there are seven plants. I watch them to procrastinate. The cilantro plant droops, beige leaves and stems amidst; I asked my flatmate what he wanted to do with it. He points out the small white flowers, a process called bolting, and informs me this indicates the end of its life. However, the flowering is the plant’s way to ensure life of a future generation by producing seeds as quickly as possible. A natural blooming process, any plant is capable of this. My flatmate tells me he’s eager for the seeds.
To put it bluntly, BLIK is in a bolting process, we have been since 2020. It was then the former Editorial Board made the transition to English as the official working language for BLIK. Since then, my status as the sole non-Dutch speaking editor has been met by five others, our origins Finnish, German, Bulgarian, Czech, Polish, and American. Three of these editors are new to the team, thus I warmly welcome Stepan Laštuvka, Ani Encheva, and Maria Bosacka. Luckily, we have three Dutch editors who continue to review essays from Dutch writers (and translate the important emails). I’m happy to welcome new editors Moorle Slager and our visiting editor, Elise Roest. Indeed, many new names! The team is the largest I’ve ever seen it, a fulfilling thing in addition to the return of weekly meetings at the Muntstraat.
Notably, Blik’s bolting continues, for we are making the transition from being a printed, subscription-based journal to a digital, open-access one. It’s not the simplest process but the decision was easily made following a meeting with our Editorial Council, who encouraged us to make the journal more sustainable and accessible in a variety of ways. Additionally, being open access, we anticipate less financial strain, a reason why this 15.2-3 publication must serve as both the second and third edition of this academic year.
So, what does this mean for you?
You should have received an email of our first newsletter (and please do contact us, if not). Though we aim to have the journal accessible online, in the coming academic year of 2022-23, BLIK will still operate with the help of subscribers. This is because the transition to open-access is not overnight, and your contribution allows us to continue the journal even in transition. To note, is it safe to assume BLIK’s website and new ritual of newsletters will contain all the details regarding future changes. Do bear in mind, dear reader, the website is in full bolting, too.
Now, proudly introducing this final edition of the 2021-22 year, it begins with Marit Adriaanse’s essay where she analyses three performances and participatory events from the perspective of how their performer-spectator relationships are applied to address the labour of essential workers. This edition’s teacher’s column features Judith Keilbach, who maps her academic curiosity in sustainability practices within the Dutch film industry to her and her students' now activist endeavours.
Following, you will find Reimer Ikink’s essay that pays attention to the intermediary relations and functions of music in fashion films, these being videos made by brands to promote their clothing collections. Then, our own editors Ani Encheva and Hannah Feldmann discuss the representative importance of the portrayal of the character Luisa Madrigal in Disney’s new animated film Encanto (2021). After this you will find an interview with Chiel Kattenbelt, a beloved Media and Culture faculty member who has just completed his final teaching year; this interview is our gratitude to him.
Next, this edition features two creative writing works by Rebekah Mau and Eva Suijker, respectively. To include creative writing was an initiative in last year’s final edition that we have continued; the pieces are academically supported by their exegeses. The last paper of this edition is Louise Godschalk’s, who, through the case study of The Witcher (2019-) examines how the practice of binge-watching changed the function of the television title sequence.
Finally, graphic designer Lili Svarvas, who’s provided us with the wonderful cover, tells the story of a book that knows everyone's stories. Also, I want to acknowledge Anh Nguyen, the diligent designer of the precise layout of this edition; we couldn’t have done it without her.
It was with great happiness to have been a part of the BLIK team, two years of bolting and all. I’m thankful to have navigated the ropes of being the head of a team, though it was truly the editorial board who made it all the more easier (and enjoyable). Now, I wish you, reader, to continue supporting the academic pursuit that is this journal, remain to watch the flowers bloom, and are eager for the bountiful seeds and plants to come.
Many thanks,
Macy
