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Cinema: Journal of Philosophy and the Moving Image, No. 3

The new issue of Cinema: Journal of Philosophy and the Moving Image has been published online. The special focus of this issue is ‘Embodiment and the Body’ and it was edited by Patrícia Silveirinha Castello Branco. Included in this issue is the article ‘Upside-down cinema: (Dis)simulation of the body in the film experience’ by Adriano […]

‘The Last Ray of the Dying Sun’: Tacita Dean’s commitment to analogue media as demonstrated through FLOH and FILM

by Caylin Smith Regarding FILM, an installation that took place from 11 October 2011 to 11 March 2012 as part of Tate Modern’s Unilever Series, the artist Tacita Dean remarks that ‘it is a platform for me to say let’s protect film’.[1] Dean’s simple, bold statement will allow me to expand upon the importance of […]

From subject-effect to presence-effect: A deictic approach to the cinematic

by Pepita Hesselberth The late 1990s and first decade of the 21st century saw the release of a number of films that are decidedly self-referential about time and invoke a sophisticated media-literacy on the part of the viewer. In these films past, present, and future are often portrayed as highly mutable domains that can easily […]

The intangible ground: A neurophenomenology of the film experience

by Adriano D’Aloia The constitution of a spatial level is simply one means of constituting an integrated world: my body is geared onto the world when my perception presents me with a spectacle as varied and as clearly articulated as possible, and when my motor intentions, as they unfold, receive the responses they expect from […]

Questions of embodied difference: Film and queer phenomenology

by Katharina Lindner A phenomenological description of the cinematic situation considers the film as a lived body. Just as the human lived body forms the basis for intentionality, perception, expression and action in the world, the film’s body – its technological and instrumental dimension – forms the basis for the films perceptual and expressive engagement […]

Aporias of the touchscreen: On the promises and perils of a ubiquitous technology

by Timo Kaerlein We may debate whether our society is a society of spectacle or of simulation, but, undoubtedly, it is a society of the screen. – Lev Manovich[1] Screens attached to computers have always been tangible insofar as they feature a solid glass surface that lends itself to touch, while other parts like the […]

Early cinema’s touch(able) screens: From Uncle Josh to Ali Barbouyou

by Wanda Strauven Return of the rube? Last spring a ‘magic moment’ happened at an afternoon screening of Martin Scorsese’s 3D film Hugo (2011). When the end credits were scrolling across the huge screen-wall and the audience was leaving the auditorium, a little girl ran to the front. At first a bit hesitant, she reached […]

Material properties of historical film in the digital age

by Barbara Flueckiger In his landmark study The Virtual Life of Film, David N. Rodowick rephrases André Bazin’s famous question ‘what is cinema?’ using the past tense: ‘what was cinema?’ He notes that, paradoxically, film studies is dealing with an object that no longer exists; it ceased existing as an object of study in the […]

Editorial Necsus

In the second part of the much celebrated recent novel 2666 (Roberto Bolaño, 2004), a Chilean philosopher with an Italian surname teaching in a Northern Mexico university unexpectedly finds a book in his library: Testamento geométrico, a treatise on geometry written by a poet named Rafael Dieste. Amalfitano (the name of the philosopher) cannot recall […]

NECSUS editorial board @ AUP offices

NECSUS editorial board at the Amsterdam University Press offices editing issue #2, Autumn 2012, ‘Tangibility’. Pictured from left to right are Annie van den Oever, Jeroen Sondervan (AUP), Dorota Ostrowska, Francesco Pitassio, Patricia Pisters, and Jaap Kooijman.