Lisa Parks, Professor of Comparative Media Studies/Writing at MIT, has been awarded a 2018 MacArthur Fellowship for her research into the global reach of information technology infrastructures and the cultural, political, and humanitarian implications of the flow of information. The MacArthur Foundation praises Parks for ‘extending the parameters of media studies and revealing the ways […]
From 19 September 2018 to 6 January 2019, the BOZAR Centre for Fine Arts in Brussels hosts an exhibition on the French filmmaker Chris Marker (1921-2012), titled Memories of the Future. The exhibition is set up in collaboration with La Cinémathèque Française. Described by the director Alain Resnais as ‘the prototype of the twenty-first-century man’, […]
Concordia University’s Mel Hoppenheim School of Cinema in the Faculty of Fine Arts invites applications for a full-time, tenure-track faculty position in Critical Sexuality Studies in Film and Media to begin 1 August 2019. Film Studies at Concordia University is an internationally renowned leader in scholarship and curriculum devoted to the study of sexuality, gender, […]
For the upcoming Spring 2019 #Emotions issue, NECSUS is looking for two book reviewers. NECSUS intends to publish double reviews on the following two pairs of publications: Two volumes from the same editors addressing female authorship in contemporary documentary practices: Boel Ulfsdotter and Anna Backman Rogers, eds. Female Agency and Documentary Strategies: Subjectivities, Identity and Activism. […]
The Board of Trustees of The Flaherty is pleased to announce that Jon-Sesrie Goff will become Executive Director effective 10 September 2018. Goff, who previously served as Museum Specialist in Film at the Smithsonian National Museum of African American History & Culture, brings considerable talent, deep knowledge of art and film, administrative experience, and leadership ability […]
guest edited by Jens Eder (Film University Babelsberg Konrad Wolf), Julian Hanich (University of Groningen), and Jane Stadler (Swinburne University) For more than two decades emotions have been a major topic of discussion and contention in film and media studies. From cognitive theories and phenomenology to affect studies, many different approaches have been suggested, many […]
Alternative Film/Video, 12-16 December 2018, Belgrade On the occasion of the 60th anniversary of Academic Kino Club, founded in Belgrade (then Socialist Yugoslavia, now Republic of Serbia) in 1958, the Alternative Film/Video Research Forum 2018 will be dedicated to the international histories of kino clubs in Europe and beyond. There is a particular postwar history […]
by Carloalberto Treccani Introduction In the context of machine vision, image recognition refers to the ability of machines and algorithms to identify people, places, objects, gestures, or other subjects in a given image. Self-driving cars, for instance, use machine vision systems to locate road signs, vehicles, pedestrians, and cyclists, to understand the three-dimensional space in […]
by Kuhu Tanvir The history of cinema is replete with instances of anxiety and disavowal of new technologies by filmmakers, cinephiles, and scholars – be it the arrival of synced sound, the shift from black and white to colour, telecasting feature films, or more recently, the adoption of digital technology, particularly as an alternative to […]
by Federico Pierotti and Alessandra Ronetti Introduction: Digital infrared visual culture Infrared has an important place in contemporary society, especially since the 1990s, with the introduction of new military display and detection technology and increasingly sophisticated tracking and control systems. In the military field, these uses were quickly followed by the pursuit of various digital […]
by Susanne Østby Saether Around 2005 the image gained a new mobility. Undergirded by digitisation and the large-scale dispersal of digital technologies into everyday life, a series of events marks 2005 as a tipping point for this development. Arguably the most important factor was the implementation of the so-called Web 2.0 in 2004-05 and its […]
by Diego Cavallotti Introduction In this paper, I will present some notes concerning remediation within the context of the small gauge film archive. Three major points will be at stake here: first, the interactions between the basic units of the analog and the digital – the grain and the pixel; second, the notion of a […]
by Jonathan Larcher and Leyokki How does creative research in the film and digital arts, which captures the archives and practices of found footage, confront the possibilities, limits, constraints, political issues and criticism of resolution? With the multiplication of formats – unlike the MP3 ‘the most common form in which recorded sound is available today’,[i] […]
by Nikita Braguinski In 2012 the Public Broadcasting Service aired a ‘special’ dedicated to the popularity of retro-videogame-themed music, design, and art.[1] Combining interview snippets with footage of historic examples of video game technology as well as their modern imitations, this seven-minute program titled The Evolution of 8-Bit Art is implicitly built around the premise […]
by Francesco Casetti and Antonio Somaini Often used as a synonym of ‘definition’, the term ‘resolution’ indicates the quantity of detail an image holds, and may be interpreted in different ways when applied to digital visual technologies. It may refer to the resolution of a raster digital image (that is, the size of a digital […]