Conferences primarily dedicated to stars and stardom do not come around on a regular basis. Newcastle University organised an event on the ever-expanding field of star studies, in cooperation with the Center for Film and Digital Media at the University of Sunderland. Despite its low-key character, the conference attracted some 70 delegates from 12 countries […]
A conference that has ‘women’s cinema’ in its title faces a considerable challenge just in defining the term. As Teresa De Lauretis argued over two decades ago, it is ‘a term whose definition … is almost as problematic and contested as the term “feminism” itself’.[1] The organisers of the conference Contemporary Women’s Cinema: Global Scenarios […]
Exhibition: Lo sguardo di Michelangelo. Antonioni e le arti, Palazzo dei Diamanti, Ferrara (10 March 2013 – 9 June 2013) Catalogue: Lo sguardo di Michelangelo. Antonioni e le arti (Ferrara: Ferrara Arte, 2013), edited by Dominique Païni Lo sguardo di Michelangelo is an ambitious exhibition; it portrays Antonioni as a filmmaker, a visual artist, and […]
Exhibition: Fellini – The Exhibition (EYE Film Institute Netherlands, 30 June 2013 – 22 September 2013) Catalogue: Fellini (Amsterdam: Eye Amsterdam & Amsterdam University Press, 2013), written and edited by Sam Stourdzé; edited for EYE by Marente Bloemheuvel and Jaap Guldemond Art, perhaps, is measured by its ability to enrich our understanding, but is also measured […]
The first edition of the Antalya Golden Orange International Film Festival[1] was launched fifty years ago in 1964, at a time when the international success of the director Metin Erksan[2] ignited national support for the creation of a Turkish film festival. Antalya Golden Orange Film Festival has primarily been a national film festival, despite occasional […]
In differentiating between two ‘ideal’ models of ‘business festivals’ and ‘audience festivals’, Mark Peranson offers a useful heuristic for thinking about the film festival ecosystem.[1] He describes how the hierarchies of power and relationships among festival actors vary significantly across the two models, a schema that proves very helpful when considering the film festival circuit […]
by Skadi Loist and Marijke de Valck On a sunny August afternoon in Amsterdam, Marijke de Valck and Skadi Loist of the Film Festival Research Network met cultural analyst, festival programmer, and filmmaker Eliza Steinbock (currently working as a lecturer and researcher at Maastricht University). The discussion ranged from Amsterdam-based transgender film festivals to issues […]
Mobile communication via mobile and wireless devices not only dominates social communication in terms of everyday media but has already replaced the paradigm of the computer as the medium of convergence for information and communication technologies. The development of smart phones has far-ranging impacts on the consumption of previously disconnected individual media and has laid […]
The task of writing the history of the avant-garde cannot be considered an easy one. The term ‘avant-garde’ itself is in many ways problematic. Because of its intrinsic antagonism in regard to tradition, the concept of the avant-garde can appear as an attempt to break with the entire heritage of art history, or at least […]
At first glance, the image chosen for the cover of Sarah Street’s new book Colour Films in Britain: The Negotiation of Innovation 1900-55 (London: Palgrave/BFI Publishing, 2012) seems to be a somewhat unusual pick for a book about colour in cinema. It displays a discreetly-lit interior scene, an empty room without any people – more […]
by Geert Lovink When I met Petra Löffler in the summer of 2012 in Weimar I was amazed to find out about her habilitation topic. She had just finished a study on the history of distraction from a German media theory perspective. After I read the manuscript (in German) we decided to do an email […]
by Christian Olesen Since the late 1980s, EYE Film Institute Netherlands (formerly the Nederlands Filmmuseum) has been collecting and preserving unidentified film fragments from its collection to create an ongoing series of compilations titled Bits & Pieces. The compilations consist of fragments which the majority of film archives would tend to disregard in favour of […]
by Jussi Parikka In this article I will investigate the relations of media and ecology, arguing that the incorporation of nature and ecology as part of the media theoretical discourse should also be connected to the ecological contexts in which theory is being produced. This means a concretisation of media ecology in terms of its […]
by Casper Tybjerg The word ‘psychedelic’ was coined in the 1950s by psychiatrist Humphry Osmond to describe hallucinogenic drugs like mescaline and LSD – but this essay will not be about either the history of ‘head’ films or how to write film history on acid. What I want to do is to show what film […]
by Karl Schoonover In his Theory of Film, Siegfried Kracauer tasks the medium of cinema with a particularly modernist realism, one that recovers the significance of things cast aside and overlooked views. For him, the medium fulfills its potential when it produces images that defamiliarise the familiar or expose what is hidden right in front […]
Martine Beugnet
University of Paris 7 Diderot
Greg de Cuir Jr
University of Arts Belgrade
Ilona Hongisto
University of Helsinki
Judith Keilbach
Universiteit Utrecht
Skadi Loist
Film University Babelsberg Konrad Wolf
Toni Pape
University of Amsterdam
Maria A. Velez-Serna
University of Stirling
Andrea Virginás
Babeș-Bolyai University
We would like to thank the following institutions for their support:
NECS–European Network for Cinema and Media Studies is a non-profit organization bringing together scholars, archivists, programmers and practitioners.
Online
The online version of NECSUS is published in Open Access and all issue contents are free and accessible to the public.
Download
The online repository media/rep/ provides PDF downloads to aid referencing. Volumes are also indexed in the DOAJ. Please consider the environmental costs of printing versus reading online.