Posts

Early cinema, Sergei Eisenstein, and film culture today: An interview with Ian Christie on new directions in film history

by Malte Hagener and Annie van den Oever  Martin Scorsese and production design, early British cinema and Sergei Eisenstein, the Archers and contemporary European film culture – Ian Christie is as versatile as he is prolific. We caught up with Ian between a visit to the Giornate del Cinema Muto in Pordenone, teaching at Birkbeck, […]

Master class and public lecture by Richard Dyer

On 5 and 6 April, Richard Dyer, Professor Emeritus of Film Studies at King’s College London, will give a master class and a public lecture at the University of Amsterdam. Both events are organised by NECSUS editorial board member Jaap Kooijman. Based on two of Dyer’s recent books, the master class topic is Lethal Repetition: […]

The journeys of a film phenomenologist: An interview with Vivian Sobchack on being and becoming

by Julian Hanich Introduction Vivian Sobchack, born in 1940 in New York City, is one of the most influential American film theorists of the last 25 years. At the beginning of the 1990s she was the main driving force behind the recuperation of phenomenology as a viable methodology in film studies with her book The […]

Pleasure | Obvious | Queer: A conversation with Richard Dyer

by Catherine Grant and Jaap Kooijman How to introduce Richard Dyer? One could start by recognising that he is an academic star, as Su Holmes and Sean Redmond have done in their introduction to Framing Celebrity. Referring to Dyer’s 2006 SCMS keynote lecture, they write: [h]is entrance was greeted with ecstatic applause and he delivered […]

Horseplay: Equine performance and creaturely acts in cinema

by Stella Hockenhull Béla Tarr’s latest and reputedly final film, The Turin Horse (2011), takes its prompt from the story about an encounter that Nietzsche claims to have experienced with a maltreated horse on Via Carlo Alberto, Turin.[1] Tarr’s film opens with an image of a large horse pulling a cart through the bleak, inhospitable […]

Feminist film studies 40 years after ‘Visual Pleasure and Narrative Cinema’, a triologue

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 […]