Subverting the usual touristic signifiers of Scottishness – tartanry, whisky, and so on – The Angels’ Share (Loach, 2012) follows four young people from Glasgow’s impoverished East End as they embark on what might be considered a victimless crime in the north of Scotland. Predominantly comic in tone, the film was shot in 2011 and […]
by Caylin Smith Regarding FILM, an installation that took place from 11 October 2011 to 11 March 2012 as part of Tate Modern’s Unilever Series, the artist Tacita Dean remarks that ‘it is a platform for me to say let’s protect film’.[1] Dean’s simple, bold statement will allow me to expand upon the importance of […]
by Adriano D’Aloia The constitution of a spatial level is simply one means of constituting an integrated world: my body is geared onto the world when my perception presents me with a spectacle as varied and as clearly articulated as possible, and when my motor intentions, as they unfold, receive the responses they expect from […]
by Katharina Lindner A phenomenological description of the cinematic situation considers the film as a lived body. Just as the human lived body forms the basis for intentionality, perception, expression and action in the world, the film’s body – its technological and instrumental dimension – forms the basis for the films perceptual and expressive engagement […]
by Wanda Strauven Return of the rube? Last spring a ‘magic moment’ happened at an afternoon screening of Martin Scorsese’s 3D film Hugo (2011). When the end credits were scrolling across the huge screen-wall and the audience was leaving the auditorium, a little girl ran to the front. At first a bit hesitant, she reached […]
by Barbara Flueckiger In his landmark study The Virtual Life of Film, David N. Rodowick rephrases André Bazin’s famous question ‘what is cinema?’ using the past tense: ‘what was cinema?’ He notes that, paradoxically, film studies is dealing with an object that no longer exists; it ceased existing as an object of study in the […]
by Erik Bordeleau A thin veneer of immediate reality is spread over natural and artificial matter, and whoever wishes to remain in the now, with the now, on the now, should please not break its tension film. – Vladimir Nabokov, Transparent Things 1. Transparent things The opening generic of Tsai Ming-Liang’s Face (2009) has just […]
In the second part of the much celebrated recent novel 2666 (Roberto Bolaño, 2004), a Chilean philosopher with an Italian surname teaching in a Northern Mexico university unexpectedly finds a book in his library: Testamento geométrico, a treatise on geometry written by a poet named Rafael Dieste. Amalfitano (the name of the philosopher) cannot recall […]
The British Academy of Film and Television Arts is organising a panel called ‘Greening the Screen’ on sustainable futures for film, tv, and games. The panel takes place on 12 November 2012 and will be hosted by Alistair McGowan, with introductions from Ben Roberts (BFI, Director of the Film Fund) and Kevin Price (BAFTA, COO). […]
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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