The Politics of Race in Contemporary Film and Digital Practice, 18-19 May 2017. Goldsmiths, University of London (Day One) and Institute of Contemporary Arts (Day Two) Whether we consider the rise of the concept of diversity, the on-screen representation of identities, the off-screen workforce, the production trends of film institutions, new forms of independent production opened up […]
Simon Roberts is a British photographer whose work centres on questions of people and place, particularly in regard to the construction and promotion of national identity. From 2011-2013 these interests fuelled a project titled Pierdom (http://pierdom.com), for which Roberts toured the British coastline capturing the country’s 58 surviving pleasure piers as well as a few […]
The inaugural conference of the Radical Film Network will take place from 7-8 February 2015 at Birmingham City University (England). The theme of this inaugural conference is Political Cinema in the 21st Century. The Radical Film Network was founded in September 2013 when a group of academics, activists, filmmakers, and programmers from across radical film […]
by Perry Hinton From the late 1980s to the early 21th century Japanese popular cultural rose from a cult interest to mainstream media in many Western countries, including the United Kingdom. Large numbers of Japanese comics (manga) and animated films (anime) were sold in English translations, gaining their own sections in British book and video […]
The British Association of Film, Television and Screen Studies (BAFTSS) has posted their 2014 conference program online. The BAFTSS 2014 conference will take place from 24-26 April 2014 at the Institute for Advanced Legal Studies in London. NECSUS editorial board member Dorota Ostrowska will introduce the conference as the representative of the hosting institution Birkbeck […]
by James Zborowski As part of her ‘attempt to establish the specificity of contemporary [lifestyle] programmes’[1] on British television, Charlotte Brunsdon identifies ‘a changing grammar of the close-up’[2] as an important element of what she argues is a tendency for these programmes to offer melodrama rather than realism.[3] Brunsdon argues that in the preceding ‘hobby’ […]
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Martine Beugnet
University of Paris 7 Diderot
Greg de Cuir Jr
University of Arts Belgrade
Malte Hagener
Philipps-University Marburg
Skadi Loist
Film University Babelsberg Konrad Wolf
Toni Pape
University of Amsterdam
Francesco Pitassio
University of Udine
Belén Vidal
King’s College London