From 5-7 November 2020, the Birmingham City University and the Black Sands Educational Project will be hosting the 14th ‘International Conference and Festival on Global Cult Film Traditions’, featuring online academic presentations as well as industry panels and a streamed film festival. The theme of this year, ‘Representations as Weapons: Cult Film and the Politics […]
Author Archive for: Greg DeCuir
You are here: Home1 / Greg DeCuir
About Greg DeCuir
This author has yet to write their bio.
Meanwhile lets just say that we are proud Greg DeCuir contributed a whooping 249 entries.
From 10-11 December 2020, the Leuphana University Lüneberg will be hosting the international workshop ‘Liquidity, Flows, Circulation: The Cultural Logic of Environmentalization’. Drawing on contemporary art, film, and literature, the workshop aims to investigate how spaces of circulation, flow and liquidity and their cultural representations are connected to the environmental era of capitalism. If we […]
The previously postponed film and television studies symposium ‘Genre/Nostalgia’ has announced a new date and deadline for submissions: The one-day symposium, hosted by the University of Hertfordshire, will take place on 6 January 2021, and explore the relationship and interaction between film and television genres and nostalgia, memory and other manifestations of the past. Potential […]
The Association of the Indonesian Film Scholars KAFEIN is hosting the virtual conference “Women in Indonesian Film and Cinema” until the end of August. Organised around eight panels, the virtual conference explores the role of women in the Indonesian film history, in the transformation of film from other media as well as in different genres […]
On 30 October 2020, the London Metropolitan University will be hosting the virtual conference “Trump, Television and the Media: From Drama to Fake News to Tweetstorms”. Considered one of the most media-driven and media-critiqued presidencies in American history, the virtual conference explores the influence of the media on the Trump presidency – and vice versa. […]
Where do we encounter (artificial) intelligence in our everyday media consumption? To accompany the launch of our Spring 2020_#Intelligence issue, we have asked our editorial team for their recommendations – from television to literature, from gaming to art. Westworld, Altered Carbon or Black Mirror: (artificial) intelligence has become an important element of highly praised television […]
On 24 September 2020, the Institute of Communication Studies and Journalism at Charles University, Prague, will be hosting the conference “Challenges of Journalism in 21. Century – Automated Journalism and AI Journalism”. From simple templates to automated content production, from algorithms to the detection of fake news: How does the rise of artificial intelligence change […]
A new open access issue of NECSUS – European Journal of Media Studies is now available online. The NECSUS Spring 2020 issue offers a special article section on #Intelligence, while also containing feature articles, festival, exhibition, and book reviews, and audiovisual essays. Find the new journal issue here.
This issue of NECSUS has been compiled, if not written, during the COVID-19 pandemic which has produced a shock across various existential domains: personal, social, political, economic, public health — the list goes on. Some of us may already have settled into new habits and routines that make this situation livable; yet a sense of […]
This paper discusses smartphone spectatorship with a focus on user participation, interactivity, and the fusion of digital media and moving images. In the renaissance of mobile filmmaking and participatory culture, there is no longer a definite difference in the quality of cinema and mobile media tools. Instead, users’ embodied and social presences define the framework of viewing and production. By reflecting on the sovereignty of smartphone film culture, this paper highlights the behavioural and cultural trajectories of mobile movie consumption, where content access merges with content production.
This paper aims to analyse how cultural products reflect the topics and problematics derived from technological and scientific advances and how these relate to the construction of the subject and power. Following the terminology coined by Foucault, this paper will refer to the technologies of the self and the technologies of power reflected in the new approaches to the relationships between humans and machines. In this precise sense, AI narratives and contemporary speculative fictions construct new realities in which factual truths turn into virtual realities and hyperrealities, usually addressing power and political conflicts as well as socioeconomic implications.
Computer games take up and extend traditional discourses on technology and artificial intelligence (AI). Moreover, representations of AI in computer games include not only narrative aspects but game mechanics as well. This contribution focuses on what distinguishes this kind of AI representation from other medial forms, and on how different types of AI representation can be identified within the computer games field. Overall, representations of AI make visible specific aspects and ideologies implied by the gameplay. From this perspective, it is outlined how these representations work either as support for fantasies of self-empowerment or as an emphasis on medial determination; moreover, cultural functions and meanings provided in this context are higlighted.
The article aims to question the concept of ‘expanded cinema’ proposed by Youngblood in 1970, by taking into account three ‘artificial gazes’, corresponding to three exemplar technologies of the contemporary media scenario, commonly conceived as tools for the augmentation of both the visual perception and the cognition of the human being. Likewise, the experimental cinema, the technologies of augmented reality, machine learning, and search engine algorithms bring out the consciousness of the individuals in order to personalise the user experience in a computational way. Simultaneously, they are commonly intended as ludic and irrational experiences offered by the entertainment industry. The article’s purpose is therefore to tackle the ambiguity among the exact knowledge assured and produced by these technologies and the subjectivity of the gaze set by them. By recovering Youngblood’s inheritance, expanded cinema is not just a path to free the spectator’s gaze from the fictional representation of the world produced by the entertainment industry, but also a new media condition in which the users are requested to interpret and communicate the real world in a truthful way.
This article introduces the special section #Intelligence, which includes seven essays addressing the impact of artificial intelligence on cinema and media from a cultural perspective. More particularly, three levels of pertinence are focused on. For the first level, selected papers analyse several representations of non-human intelligence confronted with human intelligence, as provided by film, television series, and video games. On the second level, a set of mutual functioning dynamics between AI and the media are identified and scrutinised. On the third level, the contributing authors consider how AI algorithms lead cinema and media theory to deeply rethink its assumptions about creating and viewing moving images.
In order to understand artificial intelligence an approach called critical re-modelling operating within commonist media practice might be useful. Critical re-modelling builds on media archaeology, cognitive mapping, countervisuality, and critical theory; while commonist media practise is framed as a cyborgian approach à la Donna Haraway, critically inquiring and applying computational models. Selected works of art by Rybn, Algolit, and Tactical Tech provide concrete examples of critical re-modelling. The article concludes by arguing that the wider educational implications in humanities-driven scholarship of media cultures need to be reconsidered, in case commonist media practice seriously want to participate in the coming societal transformations of this decade.