The Third Party Diary: Tracking the trackers on Dutch governmental websites

by Lonneke van der Velden Introduction: Web tracking as data and Web tracking as issue There are a range of ‘privacy enhancing’ tools on the Web. In this article I will discuss how the browser plugin Ghostery transcends individual usage. By making Web tracking transparent it empirically and conceptually contributes to a particular understanding of […]

Enhanced echoes: Digitisation and new perspectives on film sound

by Jasper Aalbers Introduction To say that sound has long been a neglected subject in film studies has become something of a commonplace – yet this is no longer true. Starting in the 1980s with a special edition of the journal Yale French Studies film scholars have increasingly paid attention to a wide range of […]

Animated maps and the power of the trace

by Giuseppe Fidotta For about a decade animated maps were extremely popular in many documentaries as devices for illustrating places, actions, and processes set on the surface of the globe. Although some examples could be found in French newsreels during the First World War it is only after the mid-1930s that animation techniques and technologies […]

The beauty of the act: Figuring film and the delirious baroque in ‘Holy Motors’

by Saige Walton To the intuition of an unstable and moving world, of a multiple and inconstant life, hesitating between being and seeming, fond of disguise and of theatrical representation, there correspond, on the expressive and structural level, a rhetoric of metaphor and trompe l’oeil, a poetics of surprise and variousness, and a style of […]

Microphysics of a rationalist utopia: Ruins, town plans, and the avant-garde documentary

by Andrea Mariani Erase the traces! – Bertolt Brecht (Ten Poems from a Reader for Those Who Live in Cities) The historical and theoretical inquiries sustained in this essay derive from the recovery of an object found in the attic of an old photographer in Como, Northern Italy:[1] the 16 mm dupe negative print, originating […]

Assembling traces, or the conservation of net art

by Annet Dekker Net art is built and distributed through a complex, intricate, and interrelated system of networks that presents an assemblage of art, technology, politics, and social relations – all merged and related to form a variable entity. In the last decade a discussion on how to conserve net art emerged in museums of […]

Webcams as cinematic medium: Creating chronotopes of the real

by Paula Albuquerque [T]he likelihood of being captured by the relentless mechanical eyes of the surveillance cameras, webcams and all sorts of portable camera devices has arguably turned our whole world cinematic, a condition that now exists prior to and regardless of any actual intervention of recording and display.[1] In my work as an experimental […]

Poetics and politics of the trace: Notes on surveillance practices through Harun Farocki’s work

by Miriam De Rosa Found footage and archive images, split-screen or a multiplication of the image on screen, a replacement of the original soundtrack with commentary, a detached voice-over alternating long/silent sequences, an explanatory use of info-graphics and tracking technologies. These elements feature in Harun Farocki’s work on surveillance – work ranging from documentary films […]

The navigational gesture: Traces and tracings at the mobile touchscreen interface

by Nanna Verhoeff & Heidi Rae Cooley While touchscreen technology has been around since at least 1974 it did not become widely available on the consumer market until the 2007 release of the Apple iPhone.[1] Since then our handheld devices have gotten smarter and more connected. We enjoy an ever-increasing ability to access and manipulate […]

Past memories for a new future: The 70th Mostra Internazionale d’Arte Cinematografica di Venezia

From 28 August-7 September 2013 the Mostra Internazionale d’Arte Cinematografica di Venezia celebrated its 70th edition.[1] It is the oldest film festival in the world and the first ‘international cinematographic art exhibition’[2] to reach that milestone. The ‘Mostra’ certainly does not need an introduction since it is a very well-known event to which several monographic […]

Initiating regional talents: 2013 Sarajevo Film Festival

Initiated in the mid-1990s by a group of enthusiasts during the siege of Sarajevo and the war in Bosnia & Herzegovina, Sarajevo Film Festival (SFF)[1] has developed into one of the biggest Southeast European film festivals along with the Thessaloniki International Film Festival in Greece.[2] Although one could hear some of the locals complaining about […]

Celebrating independence: 54th Thessaloniki International Film Festival

In its fourth year under the leadership of Dimitris Eipides the 54th Thessaloniki International Film Festival (TIFF) affirmed its vision as a festival of independent cinema: (relatively) low-budget, (often) politically motivated, (at times) formally experimental films from around the world were showcased and celebrated. Eipides’ concept of independence is fluid and broad as indeed befits […]

Brazil’s International Disability Film Festival Assim Vivemos

I am I and my circumstance. –  José Ortega y Gasset[1] A blind person and her companion proceed to the information desk at the festival center and request audio description equipment. A sighted person also gets one. Entering the screening hall, the employee in charge of collecting tickets instructs me to do the same. Curious, […]

Oberhausen: An interview with Lars Henrik Gass

by Enrico Camporesi Founded in 1954, the International Short Film Festival Oberhausen (Internationale Kurzfilmtage Oberhausen) is one of the pioneering film festivals for short films and a major venue for experimental, documentary, and artist’s film and video. Throughout the decades Oberhausen has been the site of crucial turning points in film history. In 1962, during […]

Impossible dreams: ‘Europe and Love in Cinema’

As its title makes clear, Europe and Love in Cinema, edited by Luisa Passerini, Jo Labanyi, and Karen Diehl (Bristol: Intellect, 2012), offers an intriguing and provocative encounter between three concepts – ‘Europe’, ‘love’ and ‘cinema’ – which may not initially seem to have that much in common, at least in the field of film […]