by Paula Albuquerque Artistic research as modus operandi Methodologically, this artistic research project manifests in two realms: theory-based research and art practice. It involves a theoretical research to study the social and political relevance of documentary evidence produced by CCTV and military drones. This is developed in parallel with a hands-on experimental approach where I […]
by Alexandra-Maria Colta and María A. Vélez-Serna Introduction[1] In the final decades of the twentieth century, the ‘creative city’ dominated cultural policy in Western Europe and provided a blueprint for the assimilation of grassroots and independent artistic practices.[2] In the United Kingdom, the emergence of Glasgow as a hub for visual arts and music in […]
by Anne-Katrin Weber People using miniature-television devices in public places; professional meetings conducted via picture-phones; cars equipped with television screens; shops promoting their goods on television: these snapshots are taken from the 1947 short film Télévision: Oeil de Demain. Produced and shot by J. K. Raymond-Millet, Télévision: Oeil de Demain combines documentary and science fiction […]
The Spring 2019 issue of NECSUS includes a special section on the theme #Emotions, guest edited by Jens Eder (Potsdam), Julian Hanich (Groningen), and Jane Stadler (Melbourne). The section brings together contributions by Steffen Hven, Grant Bollmer, Carl Plantinga, E. Deidre Pribram, Wyatt Moss-Wellington, David Evan Richard, and David W R Brown. Please refer to […]
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 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, […]
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 […]
NECS (European Network for Cinema and Media Studies), one of the key organisations that co-established and continues to support NECSUS, is moving into its 12th year of existence. Founded in Berlin in February 2006, NECS has grown into a large network of media studies academics and researchers in and beyond Europe, many of whom met […]
by Emil Leth Meilvang The birth of cinema is clouded in myth. Dramatised anecdotes speak of the mythical screening of Louis Lumière’s Le Repas de bébé (1895), this fragment of early film in which a baby is being fed in a windy, sunlit garden. The story goes that the properly captivating aspect of the fragment […]
by Arild Fetveit Up on the mic repeating 2 words, over and over again … These 2 words, a little bit behind the beat. I mean just enough 2 turn u on … So over and over, she said the words till he could take no more … 2 words falling between the drops and […]
by Michael Cowan Archaeologies of interactivity If media history has gained anything from the recent archaeological turn, it is perhaps a much-needed scepticism towards ideas of a digital ‘revolution’. Whether examining the ‘Victorian Internet’,[1] fin-de-siècle Skype,[2] the pre-history of mobile phones,[3] or early forms of interactive cinema, the archaeological approach can reveal that modes of […]
by Geert Lovink In Homo Deus, Yuval Harari states that the twentieth century was the age of the masses. According to Hariri, the issue of the masses has disappeared because armies no longer need millions of healthy soldiers and economies no longer employ millions of workers. As the danger – and power – of the […]
by Thomas E. Wartenberg[1] There has been an ongoing debate among philosophers and film theorists about whether films are capable of doing philosophy. The vast majority of the contributions to this debate have concentrated on narrative fiction films and the extent to which they are capable of producing something recognisable as philosophy.[2] This essay begins […]
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.
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