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The Golem in the age of artificial intelligence

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What can the Jewish myth of the Golem teach us about artificial intelligence? This article explores the Golem as one of the earliest AI prototypes and a myth that became a foundational story of sci-fi cinema. The Golem sets the parameters of opposition between men and intelligent or sentient machines, and at the same time points to possible third options beyond the dialectic of control.   

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A Machine for Viewing

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by Richard Misek In 1970, experimental filmmaker Peter Kubelka designed a cinema auditorium for Anthology Film Archives in New York, in which ‘shell-like’ seats and reams of black velvet caused all but the screen to disappear into darkness.[1] He referred to his Invisible Cinema as ‘a machine for viewing’.[2] Though the movie theatre is now […]

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Megaphone, Molotov, Moviola: 1968 and Global Cinema / Celluloid Revolt

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‘There have never been any good films on that period’, quips Jean-Luc Godard in his salty assessment of 1968, a thunderous era of insurrection, invention, and promise.[1] No artists, no aesthetics, were able to competently capture those outbursts, monumental as they were; elusive and at least a tad unrepresentable, the Parisian barricades (an event that […]

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Cinema and a ‘time-varying universe’: An interview with curator Antonio Somaini

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On 12 January 2020 the exhibition Time Machine: Cinematic Temporalities opened in the Palazzo del Governatore in Parma. Commissioned by the city’s Department of Culture led by the film studies scholar Michele Guerra and conceived as part of the cultural program for Parma 2020 Italian Capital of Culture, this exhibition offers a transmedial and media-archaeological […]

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Futurist Cinema / Cubism and Futurism

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The advent of cinema coincided with the birth of Italian Futurism. The emerging medium seemed perfectly suited to the concerns of a movement promoting new aesthetics and modes of perception, fascinated with the sensation of speed and the dynamism of modern life. However, the film output of Futurism was very limited, with several works lost […]

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Autumn 2020_#Method, call for submissions

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‘There is a point at which methods devour themselves.’ – Frantz Fanon (Black Skin, White Masks) One can observe, in recent years, an obsession with methods – both in humanities research and teaching. Discussions include apprehensions about the imminent obsolescence of established media studies methodologies, a more liberal (in all senses?) search for synergies with […]

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Call for book reviewers

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For the upcoming journal issues in 2020, NECSUS is looking for a book reviewer specialising in 1960s cinema. NECSUS intends to publish a review on the following pair of publications addressing the relationship of cinema to the events of 1968: Christina Gerhardt and Sara Saljoughi, eds. 1968 and Global Cinema. Wayne State University Press, 2018. […]

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The mapping of ‘500 Days of Summer’: A processual approach to cinematic cartography

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by Chris Lukinbeal Introduction Film, media, and visual culture’s spatial turn has kindled interest in the relationship between cartography and cinema. This growing body of literature has emphasised the similarities between the mediums as well as how cartography and cinema may be productively combined. Castro describes this as cinema’s ‘mapping impulse’, while Bruno calls cinema […]

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Chris Marker: Memories of the Future

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From 19 September 2018 to 6 January 2019, the BOZAR Centre for Fine Arts in Brussels hosts an exhibition on the French filmmaker Chris Marker (1921-2012), titled Memories of the Future. The exhibition is set up in collaboration with La Cinémathèque Française. Described by the director Alain Resnais as ‘the prototype of the twenty-first-century man’, […]

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CCVA Hors-conference in collaboration with Café Chercher

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On Saturday the 30th of June from 14.30-17h Café Chercher will organise an afternoon of unfinished research projects for the Cinema and Contemporary Visual Art workgroup (CCVA) at the University of Amsterdam (UvA) in the Doelenzaal at the University Library (Singel 425, Amsterdam). This is an hors-conference event following the European Network for Cinema and Media Studies 2018 Conference (NECS): Media Tactics and Engagement (27-29 June) which is hosted by […]

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Towards an alternative history of the video essay: Westdeutscher Rundfunk, Cologne

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by Volker Pantenburg This dossier on audiovisual essays focuses on a trajectory in the history of the video essay that tends to be ignored in current discussions of the format. According to a well-known genealogical account, the video essay was born from the encounter of platforms like YouTube, social media, cinephilia 2.0, inexpensive DIY editing […]

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Marx at the Movies / Cartographies of the Absolute

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It is difficult to separate the history of cinema, a form of art so embedded within the twentieth century, from the history of Communism. Perhaps it is not only because of the coincidence of the two dates of birth but, rather, there is something more profound and more structural in regards to their common heritage […]

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A new era of Maghrebi-French cinema: Two perspectives

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From Tunis to Casablanca and further afield in the diaspora, Maghrebi-French filmmakers have articulated the historical transformations of their societies, including their changing place in the world. All the major events and historical moments that have shaped the Maghreb have been put on camera, with original and critical portrayals detailing the social, political, and economic […]

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Amsterdam University Press (AUP)

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Editorial Board

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

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