by Martine Beugnet, Greg de Cuir Jr, Ilona Hongisto, Judith Keilbach, Skadi Loist, Toni Pape, Maria Velez Serna, and Andrea Virginás We are proud to present to you the Spring 2025 issue of NECSUS. You will notice that this issue has a condensed format, focusing on a special dossier for the audiovisual essay section alongside the three […]
As the Melbourne Women in Film Festival (mwff.org.au) reaches its ninth year,[1] we have achieved the position of Australia’s longest running women’s film festival currently in operation.[2] From a two-day festival of retrospective screenings and experimental shorts held in 2017, the festival has grown to an annual five-day event that showcases films by Australian, Aotearoa […]
by Marine de Dardel ‘The Colour out of Space’ reflects the transmutation of the image through the combined use of computational tools and poetic fiction, superimposing abstract visuals with evocative text. Scripted with the p5.js web editor,1 shaded forms slowly emerge, morph, and fade as each point value is mapped across the HSB spectrum. […]
[W]hat would be able… to contain and counter the pressure neoliberal social and political transformations have put upon communal and artistic life – capture it and turn it into a form of aesthetic activism? If such an activity – such a form of activism in the face of capital-induced ecological catastrophe and social disintegration – […]
‘Nature Manifesto’ by Björk & Aleph « it is an emergency the apocalypse has already happened and how we will act now is essential after the mass extinction we will start anew our old comfort is gone we will parade with mutated crickets in glowing radio-active harvests migrate with wildebeests amongst endangered orangutans a new world […]
by Annet Dekker Abstract Artist and researcher Ofri Cnaani, along with curator Or Tshuva, discusses her exhibition The Contactless Condition (presented at Exhibition Research Lab in Liverpool in 2024) with Annet Dekker (curator/researcher), exploring themes of distance, technology, and control. Cnaani sees ‘contactless’ not just as technology, but as a social and political condition that […]
In the fall of 2008 Malte Hagener aptly summed up decades of Film (and Media) studies tradition, arguing that its agenda had progressively shifted from an ontological question (‘what is cinema?’) to an historical one (‘when is cinema?’), and finally landed on a matter of location (‘where is cinema?’). Seventeen years later, his interpretive proposal […]
by Kevin B. Lee During the 2024 Locarno Film Festival, the Future of Cinema research team at Università della Svizzera italiana (USI) organised a three-day conference to reflect on cinema’s relevance to the question of survival. Titled ‘The Future of Survival’, the conference convened 50 scholars, students, filmmakers, and artists for presentations and discussions on […]
by Chiara Grizzaffi A lake, an image Upon learning that the Future of Survival conference I was about to attend – organised in Locarno by Locarno Film Festival and Università della Svizzera italiana, and funded by the Swiss National Science Foundation – would include a practical workshop in which we would not be working on […]
by Silvia Cipelletti and Evelyn Kreutzer This video essay grew out of an experiment, which took place over the course of half a day during the Locarno Film Festival. The experiment arose from the observation of a particular phenomenon: an apparent disconnect between the international and glamorous atmosphere of the film festival, the cultural […]
by Donatella Della Ratta, R. Alessandro Turchioe, and Sofia Busquets This video essay is a meditation on memory, politics, and the unsettling persistence of images. Through the recurring presence of a simple yet charged phrase ‘Hands off Syria’, on a wall in Locarno, Switzerland, we trace the trajectory of a revolution, a war, and […]
by Mira Herbel & Florian Krautkrämer Florian: Videographic studies of festivals have the advantage of focusing on the surface. While the focus at film festivals is generally on the films and the makers, and perhaps also the audience, infrastructures can usually only be grasped by looking at the surface. With a camera on the […]
Is it French? Popular Postnational Screen Fiction from France, edited by Mary Harrod and Raphaëlle Moine (Springer International Publishing AG, 2024), is the result of a five-year international research project whose original title was ‘Producing the Postnational Popular: The Expanding Imagination of Mainstream French Film and Televisions Series’. Published in open access, the book gathers […]
Is it possible to examine the role of women in technology from the perspective of art, or more precisely through the lens that art has provided to computer science since its origins? This is what the exhibition Radical Software: Women, Art & Computing 1960-1991, curated by Michelle Cotton with the assistance of Sarah Beaumont, sought […]
by Elsa Despoix I began working on ‘Pressure’ while attending the Future of Survival conference organised by the Locarno Film Festival and Università della Svizzera italiana. Surrounded by discussions on sustainability and cinema, I found myself looking down – literally – at the structures and cables under our feet. As an architect, I became curious […]
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.