Posts

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

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 […]

Marx at the Movies / Cartographies of the Absolute

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 […]

A new era of Maghrebi-French cinema: Two perspectives

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 […]

The NECS 2018 Conference

CALL FOR PAPERS  The University of Amsterdam, the Free University of Amsterdam and Utrecht University are happy to present   The NECS 2018 Conference Media Tactics and Engagement 27-29 June 2018 Hosted by the University of Amsterdam and the Free University of Amsterdam  Pre-Conference Media in Transition 26 June 2018 Hosted by Utrecht University Post-Conference […]

NECS 2018 in Amsterdam

The NECS 2018 conference will take place at the University of Amsterdam, organised by NECSUS editorial board members Patricia Pisters and Jaap Kooijman, among others. Kooijman has created a short video to announce the conference. More details coming in the months to follow.

Black Film British Cinema Conference 2017

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 […]

The politics of spatiality in experimental nonfiction cinema: Jonathan Perel’s ‘Toponimia’

by Patrick Brian Smith A whole history remains to be written of spaces – which would at the same time be the history of powers – from the great strategies of geopolitics to the little tactics of the habitat. – Michel Foucault[1] We are just as much spatial as temporal beings … our existential spatiality […]

Even today there are people who think these harmless little books are dangerous: An interview with David Bordwell

by Malte Hagener Following the conversation with Richard Dyer featured in the Spring 2016 issue of NECSUS, we continue our series of interviews with key figures in the field of media studies. This time we turn to David Bordwell, one of the most prolific scholars in film studies, but also a controversial figure who was […]

Dreaming of Cinema / Slow Cinema

Adam Lowenstein’s Dreaming of Cinema: Spectatorship, Surrealism, and the Age of Digital Media (New York: Columbia University Press, 2015) and Slow Cinema (Edinburgh: Edinburgh University Press, 2016), a collection of essays edited by Tiago de Luca and Nuno Barradas Jorge, are attempts to come to grips with some of the different ways that digital technology […]

Whose Cinema: The video-essay on the big screen of the International Film Festival Rotterdam

by Dana Linssen For its 2016 edition the Critics’ Choice program at the International Film Festival Rotterdam once again presented a wide array of video-essays on the big screen. The selection of films and video-essayists was inspired by the question ‘Whose Cinema’ and gave way for discussions about intellectual property rights, image appropriation, and how […]

On cinematic affect

The open access journal The Cine-Files has recently published a special dossier on cinematic affect. The dossier was edited by Anne Rutherford (Western Sydney University) and includes an essay by NECSUS editor Patricia Pisters on Black Swan (Darren Aronofsky, 2010). The Cine-Files is an online scholarly journal of cinema studies produced within the cinema studies program at […]

Songs in European and Latin American Cinemas

The trilingual (French-Spanish-English) international conference Songs in European and Latin American Cinemas (1960-2010) gathers European and Latin American specialists around this rarely-discussed theme. The conference is the result of a collaboration between Free University of Brussels (ULB), Catholic University of Louvain (UCL), University of Buenos Aires (UBA), and the Belgian Film Archive (Cinematek). It will […]

Dyer in conversation

On 13 April 2016 at King’s College London, Catherine Grant and Jaap Kooijman will have a conversation with celebrated cinema and media studies scholar Richard Dyer, author of Stars (1979), Heavenly Bodies (1986), Now You See It (1990), Only Entertainment (1992), The Matter of Images (1993), White (1997), The Culture of Queers (2002), Pastiche (2007), […]

SCMS prize for Central/East/South European cinema and media studies

The Central/East/South European Cinemas Scholarly Interest Group within the Society for Cinema & Media Studies (SCMS) announces the second annual prize for an outstanding published essay in the field of Central/East/South European Cinema and Media Studies. Submissions will be judged by a panel of experts and the winner will be announced at the upcoming 2016 SCMS meeting in Atlanta […]

New special issue of [in]Transition

The new special issue of [in]Transition features five videos that emerged from the June 2015 workshop Scholarship in Sound & Image, hosted at Middlebury College. The workshop brought 14 film and media scholars from the United States and Europe to work with a team of experts to collectively explore how to produce and conceptualise videographic criticism. […]