At the outset of one of the more celebrated American novels of the second half of the 20th century, the main character and storyteller declares: [t]he fact is I am quite happy in a movie, even a bad movie. Other people, so I have read, treasure memorable moments in their lives: the time one climbed […]
by Pasquale Iannone I have often been frustrated that outside of Italy, and for English-language audiences in particular, the great Italian actress Monica Vitti is known almost exclusively for her collaboration with Michelangelo Antonioni in films such as L’Avventura (1960), La notte (1961), L’eclisse (1962), and Red Desert (1964). These films are undoubtedly groundbreaking, and […]
by Henrike Lindenberger
by Laura McMahon Slow, contemplative films about animals represent a minor yet burgeoning trend in contemporary art cinema, including recent releases such as Sweetgrass (Lucien Castaing-Taylor and Véréna Paravel, 2009), Le Quattro Volte (Michelangelo Frammartino, 2010), Bestiaire (Denis Côté, 2010), and Bovines ou la vraie vie des vaches (The True Life of Cows, Emmanuel Gras, […]
Over the past three decades Le Giornate del Cinema Muto, or the Pordenone Silent Film Festival, has become an indispensible forum for academics, archivists, and collectors working on silent cinema. The festival is held in Pordenone, a small city in northern Italy, and is organised and curated by an international crowd of specialists in the […]
by Philip Brophy
by Laura Mulvey, Anna Backman Rogers, and Annie van den Oever Forty years after the publication of her seminal essay ‘Visual Pleasure and Narrative Cinema’ in Screen, Laura Mulvey, together with Anna Backman Rogers, has edited Feminisms: Diversity, Difference, and Multiplicity in Contemporary Film Cultures (Amsterdam University Press, 2015), which is the latest instalment of […]
The 12th NECS Graduate Workshop, From Sensation to Synesthesia: The aesthetic experience and synesthesia in film and new media, takes place from 26-27 February 2015 at Sapienza University of Rome. The workshop aims at elucidating how cinema and new media products can be considered synesthetic machines. The keynote presentation will be delivered by Wanda Strauven […]
EYE Film Institute Netherlands will organise the conference Colour Fantastic: Chromatic Worlds of Silent Cinema from 29-31 March 2015 in Amsterdam. This conference will explore contemporary archival and academic debates around colour in the silent film era. Keynote speakers include the filmmaker Peter Delpeut, Professor Tom Gunning (University of Chicago), and Professor Vanessa Toulmin (University […]
Jacques Rancière will deliver a pair of presentations in London on 30 and 31 January 2015 at King’s College and Birkbeck. These presentations will concern his newest publication in English, The Intervals of Cinema (Verso, 2014). This weekend of events also includes a screening of Robert Bresson’s Mouchette (1967). Visit this link for more details. […]
Introduction The ethos of the Bristol Radical Film Festival (BRFF), now in its fourth year, appears to be the provision of a space for the screening of films with a strong emphasis on discussion and debate. The festival represents a shift away from merely exhibiting a range of works and onto an examination of the […]
Resolutions 3: Global Networks of Video edited by Ming-Yuen S. Ma and Erika Suderburg (Minneapolis: University of Minnesota Press, 2012) and Cinema and Postmedia: Contemporary Film Territories / Cinema e postmedia: I territory del filmico nel contemporaneo by Miriam De Rosa (Milano: Postmedia Press, 2013) provide two complementary perspectives on the moving image in the […]
by David Archibald & Maria Velez-Serna The relationship between the First World War and early cinema in Britain is both highly complex and far from predictable. In 1914 the visual styles, narrative conventions, exhibition practices, and social roles of moving pictures were still in flux and wartime upheaval inevitably defined the context in which the […]
by Francesco Pitassio Anton Kaes is the Class of 1939 Professor of German and Film & Media at the University of California, Berkeley. He has authored a number of fascinating books, placing films and related discourses within a broader frame: the confrontation of German literati with cinema in the early 20th century, the contradictory relationship […]
by James Harvey-Davitt In Film Fables[1] Jacques Rancière contests some deeply-held theoretical stances on a number of canonical auteurs. He claims these auteurs countered the soullessness of their industrial constraints through a shared act of ‘thwarting’: ‘to thwart its servitude, cinema … constructs dramaturgies that thwart its natural powers’.[2] In doing so he confronts attempts […]
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
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