by Steffen Hven Introduction Media-technologies exemplify how humans create a variety of environments designed to alter, enhance, sustain, or expand our emotional capacities in specific ways.[1] In reference to theories of ‘niche construction’ and ‘scaffolding’ in evolutionary biology,[2] a series of emotion researchers have proposed that affectivity – broadly construed to include emotions, moods, and […]
by Wyatt Moss-Wellington When we discuss falling in love, we tend to use terms that point to a division in thinking and feeling. Consider, for instance, the phrase ‘my head wants one thing but my heart wants another’. The experience of falling in love is not simply a change in our thoughts about another; it […]
Janet McCabe on Flow/Cut, Body/Matters, Law/Fear – a triptych of audiovisual essays made with Catherine Grant 1. FLOW/CUT … the forces that perpetrate injustice belong not to ‘the space of places’, but to ‘the spaces of flows’. Not locatable within the jurisdiction of any actual or conceivable territorial state, they cannot be made answerable to […]
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 […]
by E. Deidre Pribram Much current television analysis focuses on the impending demise of the medium,[1] in which audiences are conjectured to splinter into ever more fragmented, minute bundles of viewers, in the aftermath of a proliferating multi-channel environment and as we move further into the digital era with its ever-enhanced viewing options. However, one […]
by Grant Bollmer Introduction In 2015, Facebook filed a patent that proposes the passive use of digital cameras on computers and smartphones, taking pictures of users, matching, among other things, photographed facial expressions with those in a database.[1] This would permit, the patent suggests, evaluation of subjective feelings about whatever appears on one’s social media […]
by Jens Eder, Julian Hanich, and Jane Stadler From movies to emojis, from love letters to flame wars, from shocking television news to immersive video games – emotions are of utmost importance for media production, reception, appropriation, and interaction. They guide the sensory perception and meaning-making of their users; they imprint media experiences into memory; […]
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 […]
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.