Entries by Jeroen Sondervan

Editorial Necsus, #1, Spring 2012, ‘Crisis’

Now is the time of/for crisis – whether we think about the global financial system, the environment, the European Union, democracy, publishing, even the arts. As we live our mediated and connected lives the symptoms appear to be everywhere. These crises are inextricably and fundamentally linked to the media because without the media we would […]

Crisis and capitalism in contemporary Argentine cinema

In the introduction to her book Crisis and Capitalism in Contemporary Argentine Cinema (Durham and London: Duke University Press, 2009), Joanna Page summarises the vicissitudes of the Argentine film industry from the 1990s until now and establishes the theoretical framework of her research. By highlighting the relationship between Argentina’s economic and political situation and its […]

Sea-change: Transforming the ‘crisis’ in film theory

‘One consistent lesson from the history of film theory is that there has never been a general consensus concerning the answer to the question “What is cinema?” And for this reason the evolving thought on cinema in the twentieth century has persisted in a continual state of identity crisis.’[1] — D. N. Rodowick

Brenez on Epstein

On the occasion of the publishing of the new anthology Jean Epstein: Critical Essays and New Translations (Amsterdam University Press, 2012) edited by Sarah Keller and Jason N. Paul, MUBI is reprinting an essay by Nicole Brenez called ‘Ultra-Modern: Jean Epstein, or Cinema “Serving the Forces of Transgression and Revolt”‘. In one section of the […]