by Giorgio Avezzù, Teresa Castro, and Giuseppe Fidotta ‘There’s something to knowing the exact shape of the world and one’s place in it – don’t you agree?’ – Pirates of the Caribbean: Dead Man’s Chest (Gore Verbinski, 2006) Among the different critical turns that have been reshaping recent media scholarship, the emphasis on space and spatiality […]
For the Autumn 2018 issue of NECSUS we have again compiled dynamic visual material and scholarly texts, including contributions that expand current research themes and explore new forms. The special section in this issue covers the topic #Mapping, guest edited by Giorgio Avezzù, Teresa Castro, and Giuseppe Fidotta. The authors who have been selected to […]
by Adam Wickberg Introduction By 1570 the Spanish empire under the reign of King Philip II had already ruled the part of Central America known as New Spain for half a century. The famous conquistadors like Hernán Cortés and Christopher Columbus were dead and gone, but stories of their great fortune were very much alive […]
by Tiago de Luca In this article[1] I want to explore the way in which the global can be imagined in the cinema by taking up the concept of cognitive mapping as proposed by Marxist cultural theorist Fredric Jameson. I argue that the totalising remit of the concept offers an especially productive avenue through which […]
by Laura Sharp [T]he frame refers to what is around the frame – a spatially and temporally contiguous ‘unseen’ that may, in its turn, subsequently enter the frame and so become actualized as a seen/scene… The essential thing about film, then, is not the framed image, but that which comes between the frames: the cut.[1] […]
by Marta Boni It has already been established that maps, studied as a form of knowledge, share certain attributes with moving images. Both have the function to make visible elements of real, or imaginary, landscapes, but also to offer a multitude of possible paths, as well as multiple ways of existing in space and, sometimes, […]
by Chris Lukinbeal Introduction Film, media, and visual culture’s spatial turn has kindled interest in the relationship between cartography and cinema. This growing body of literature has emphasised the similarities between the mediums as well as how cartography and cinema may be productively combined. Castro describes this as cinema’s ‘mapping impulse’, while Bruno calls cinema […]
by Lola Remy ‘That’s what we’re gonna use… their own medicine.’ – Michael Kanentakeron Mitchell, You Are on Indian Land (1969) Introduction: Maps as (colonial) power With the discovery of the so-called ‘New World’ and the exploration of its lands by European nations, mapping became the ideal tool for comprehending and mastering the unknown territories […]
by Janet Walker Introduction Dead trees with leafless branches grey against the sky, flooded roads, houses raised up on stilts: such are the marks of coastal communities in peril in this time of environmental volatility and degradation. Chief Albert Naquin states in the 2015 documentary Can’t Stop the Water that ‘[t]he small Indian community of […]
by Anna Sofia Rossholm The voice: You said you wanted to ‘play and fantasise’. Bergman: We can always try. The voice: That’s what you said: play and fantasise. Bergman: Sounds good. You don’t exist, yet you do. The voice: If this venture is going to make sense, you have to describe me. In detail actually. […]
by Malte Hagener and Annie van den Oever Martin Scorsese and production design, early British cinema and Sergei Eisenstein, the Archers and contemporary European film culture – Ian Christie is as versatile as he is prolific. We caught up with Ian between a visit to the Giornate del Cinema Muto in Pordenone, teaching at Birkbeck, […]
‘Space … is a product of relations-between, relations which are necessarily embedded material practices which have to be carried out.’ – Doreen Massey[1] Founded in 1998 by a group of Québécois documentary filmmakers, the Rencontres internationales du documentaire de Montréal (RIDM) has become one of Canada’s most established documentary film festivals. Since its inception, the […]
by Rossella Catanese and Jussi Parikka Introduction: Counterpractices in artist-run film labs It is safe to say that much of the contemporary artistic practice with moving images is concerned with materiality and technique. This interest can be seen in the practices and methods involving building and dismantling machines and devices, working with the chemistry of […]
by Shane Denson and Ruth Mayer translated by Abigail Fagan[1] Media’s influence on narrative form and subject matter is never fully transparent, but its impact manifests especially in cases of serial narration and particularly in the production of what we call ‘serial figures’. In these contexts, media do not just serve as narrative platforms, but […]
Formalism, as a term in the criticism of visual art, might be defined thus: as the conviction that forms contain their own syntax which acts on the spectator more or less directly. Further, the formalist maintains that experience of form is aesthetic experience; its effect is something called aesthetic emotion. And its opposite is not […]
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
Norwegian University of Science and Technology
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.