From 11-12 September 2020, the University of Kansas and the Birkbeck University of London will be co-hosting the live online conference ‘Contours of Film Festivals Research and Methodologies’. Combining pre-recorded content and live panel discussions, the conference aims to both orient current methodologies and practices in film festival research as well as explore directions for […]
On 11 September 2020, the one-day symposium ‘Archives for Education: Opening up the Archives to Young Filmmakers’, hosted by the Kingston School of Art, will explore the creative and learning opportunities creative reuse can offer to young filmmakers. At the same time, the symposium functions as a reflection after the first year of the “Archives […]
The Media City Film Festival, an international festival for film and video art, is moving online with a new exhibition space: In the “Dark Dark Gallery”, filmmakers, curators and artists explore the connections between concepts and themes and the history of experimental cinema and contemporary moving image art. The inaugural show ‘Radical Acts of Care’, […]
From 21-23 June 2021, the Link Campus University in Rome, Italy, will be hosting the international conference ‘Detecting Europe in Contemporary Crime Narratives: Print Fiction, Film and Television’. As an open forum, the conference explores how crime narratives, as well as their production and reception, have contributed to the appearance of new transcultural representations. In […]
The ‘Cinepoetics Lectures’, a collaboration between the Center for Advanced Film Studies at the Freie Universität Berlin, Germany, and the Kino Arsenal (Institute for Film and Video Art), are open to the public and free of charge – and now also available online as audio recordings. Following the research center’s goal to explore the poetologies […]
The previously postponed film and television studies symposium ‘Genre/Nostalgia’ has announced a new date and deadline for submissions: The one-day symposium, hosted by the University of Hertfordshire, will take place on 6 January 2021, and explore the relationship and interaction between film and television genres and nostalgia, memory and other manifestations of the past. Potential […]
The Association of the Indonesian Film Scholars KAFEIN is hosting the virtual conference “Women in Indonesian Film and Cinema” until the end of August. Organised around eight panels, the virtual conference explores the role of women in the Indonesian film history, in the transformation of film from other media as well as in different genres […]
This issue of NECSUS has been compiled, if not written, during the COVID-19 pandemic which has produced a shock across various existential domains: personal, social, political, economic, public health — the list goes on. Some of us may already have settled into new habits and routines that make this situation livable; yet a sense of […]
The article aims to question the concept of ‘expanded cinema’ proposed by Youngblood in 1970, by taking into account three ‘artificial gazes’, corresponding to three exemplar technologies of the contemporary media scenario, commonly conceived as tools for the augmentation of both the visual perception and the cognition of the human being. Likewise, the experimental cinema, the technologies of augmented reality, machine learning, and search engine algorithms bring out the consciousness of the individuals in order to personalise the user experience in a computational way. Simultaneously, they are commonly intended as ludic and irrational experiences offered by the entertainment industry. The article’s purpose is therefore to tackle the ambiguity among the exact knowledge assured and produced by these technologies and the subjectivity of the gaze set by them. By recovering Youngblood’s inheritance, expanded cinema is not just a path to free the spectator’s gaze from the fictional representation of the world produced by the entertainment industry, but also a new media condition in which the users are requested to interpret and communicate the real world in a truthful way.
This article introduces the special section #Intelligence, which includes seven essays addressing the impact of artificial intelligence on cinema and media from a cultural perspective. More particularly, three levels of pertinence are focused on. For the first level, selected papers analyse several representations of non-human intelligence confronted with human intelligence, as provided by film, television series, and video games. On the second level, a set of mutual functioning dynamics between AI and the media are identified and scrutinised. On the third level, the contributing authors consider how AI algorithms lead cinema and media theory to deeply rethink its assumptions about creating and viewing moving images.
This article examines the nascence of artificial intelligence (AI) applications in the film industry at the greenlighting stage, where decisions are made as to the feasibility and earning potential of film projects. Through a qualitative analysis of company case studies, interviews, and media discourse, I interrogate and tease out the ethical, cultural, and industrial implications emerging from the use of AI in influencing decisions about film production, particularly the ways the use of AI might influence notions of creativity, labour, and reception. The article sets out possible research agendas for the future to critically engage with this emerging phenomenon.
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.
by Julia Leyda and Chris Tedjasukmana This interview arose out of a shared desire to document some of the unwritten, anecdotal history of film studies and the cultures of cinema more broadly. In a conversation with Karola Gramann and Heide Schlüpmann, film and media scholars Julia Leyda and Chris Tedjasukmana encouraged them to narrate some […]
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 […]
In 2012, Helen Warner published the article ‘Tracing Patterns: Critical Approaches to On-screen Fashion’ in which she was still able to claim that ‘the study of on-screen fashion continues to be somewhat marginalised in the academy’.[1] Since then, publications dedicated to fashion and film have significantly grown in number. Beyond the seminal Fashion in Film […]
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Martine Beugnet
University of Paris 7 Diderot
Greg de Cuir Jr
University of Arts Belgrade
Judith Keilbach
Universiteit Utrecht
Skadi Loist
Film University Babelsberg Konrad Wolf
Toni Pape
University of Amsterdam
Belén Vidal
King’s College London
Andrea Virginás
Sapientia University