by Carloalberto Treccani Introduction In the context of machine vision, image recognition refers to the ability of machines and algorithms to identify people, places, objects, gestures, or other subjects in a given image. Self-driving cars, for instance, use machine vision systems to locate road signs, vehicles, pedestrians, and cyclists, to understand the three-dimensional space in […]
by Kuhu Tanvir The history of cinema is replete with instances of anxiety and disavowal of new technologies by filmmakers, cinephiles, and scholars – be it the arrival of synced sound, the shift from black and white to colour, telecasting feature films, or more recently, the adoption of digital technology, particularly as an alternative to […]
by Federico Pierotti and Alessandra Ronetti Introduction: Digital infrared visual culture Infrared has an important place in contemporary society, especially since the 1990s, with the introduction of new military display and detection technology and increasingly sophisticated tracking and control systems. In the military field, these uses were quickly followed by the pursuit of various digital […]
by Susanne Østby Saether Around 2005 the image gained a new mobility. Undergirded by digitisation and the large-scale dispersal of digital technologies into everyday life, a series of events marks 2005 as a tipping point for this development. Arguably the most important factor was the implementation of the so-called Web 2.0 in 2004-05 and its […]
by Diego Cavallotti Introduction In this paper, I will present some notes concerning remediation within the context of the small gauge film archive. Three major points will be at stake here: first, the interactions between the basic units of the analog and the digital – the grain and the pixel; second, the notion of a […]
by Jonathan Larcher and Leyokki How does creative research in the film and digital arts, which captures the archives and practices of found footage, confront the possibilities, limits, constraints, political issues and criticism of resolution? With the multiplication of formats – unlike the MP3 ‘the most common form in which recorded sound is available today’,[i] […]
by Nikita Braguinski In 2012 the Public Broadcasting Service aired a ‘special’ dedicated to the popularity of retro-videogame-themed music, design, and art.[1] Combining interview snippets with footage of historic examples of video game technology as well as their modern imitations, this seven-minute program titled The Evolution of 8-Bit Art is implicitly built around the premise […]
by Francesco Casetti and Antonio Somaini Often used as a synonym of ‘definition’, the term ‘resolution’ indicates the quantity of detail an image holds, and may be interpreted in different ways when applied to digital visual technologies. It may refer to the resolution of a raster digital image (that is, the size of a digital […]
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 Patrick Keating
by Liz Greene
by Davide Rapp
The study of television is often viewed as a crucial window into a given society’s popular culture. Dominant codes of meaning contained within the programming, and the ways in which various cultural groups decode those meanings – even the very broadcast technology itself – can reveal much about a society’s values, politics, and cultural traditions. […]
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 […]
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.
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