The year 2019 marked 40 years since the publication of Stars – Richard Dyer’s seminal intervention in film studies which promoted the importance of, and provided a framework for, analysing film stars. The anniversary prompted some reflection on the current state of star studies in a special issue of Celebrity Studies journal[1] and at a […]
by Claire Salles The exhibition Le Supermarché des images (The Supermarket of Images, Jeu de Paume, Paris, 11 February – 16 March 2020) explores the economy of images without reducing it to the funding systems of the production of images. Marta Gili, the former director of Jeu de Paume read Peter Szendy’s essay Le Supermarché […]
Only in recent years has a new awareness about the role of colour in film aesthetics arisen. Several historical accounts of colour in film have appeared, but in 2019 two volumes come as significant contributions to film and media studies: Color Mania and Chromatic Modernity. Color Mania: The Material of Color in Photography and Film (Zurich: […]
Two books with very different contents, languages, and structures published between 2018 and 2019 convey through their respective arguments how displacing might serve as a method for investigating new and heterodox forms of remediation and montage. Both books offer the possibility to cross new terrains of interdisciplinary migration, unexpected ‘adaptations’, and new ways of displacing […]
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 […]
‘There have never been any good films on that period’, quips Jean-Luc Godard in his salty assessment of 1968, a thunderous era of insurrection, invention, and promise.[1] No artists, no aesthetics, were able to competently capture those outbursts, monumental as they were; elusive and at least a tad unrepresentable, the Parisian barricades (an event that […]
The xapiri are the images of the yarori ancestors who turned into animals in the beginning of time. This is their real name. You call them ‘spirits’, [sic] but they are other. They came into existence when the forest was still young. The shaman elders have always made them dance and we continue to do […]
Film festivals cannot always claim to practice what they preach. Even some of the best-intentioned festivals often hit a wall: while attempting to exhibit politically subversive films, organisers also have to respond to diverse – and even conflicting – voices. Responding to the demands of local communities, audiences, filmmakers, and sponsors leads to compromises and […]
On 12 January 2020 the exhibition Time Machine: Cinematic Temporalities opened in the Palazzo del Governatore in Parma. Commissioned by the city’s Department of Culture led by the film studies scholar Michele Guerra and conceived as part of the cultural program for Parma 2020 Italian Capital of Culture, this exhibition offers a transmedial and media-archaeological […]
In this review I discuss the recent embracement of VR by film festivals. In less than a half a decade VR emerged as a central phenomenon in the global film festival circuit, turning from a technological gadget in its initial development stages to a prominent visual exhibition form. In 2014, only few film festivals were […]
Regina is a relatively small Canadian city with around 215,000 inhabitants in the province of Saskatchewan. It is also home to one of the most experimental LGBTQ+ film festivals in Canada. Queer City Cinema was founded in 1996 by multimedia artist and executive artistic director Gary Varro. In 2001, the festival started going on tour […]
The advent of cinema coincided with the birth of Italian Futurism. The emerging medium seemed perfectly suited to the concerns of a movement promoting new aesthetics and modes of perception, fascinated with the sensation of speed and the dynamism of modern life. However, the film output of Futurism was very limited, with several works lost […]
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
Film University Babelsberg Konrad Wolf
Toni Pape
University of Amsterdam
Maria A. Velez-Serna
University of Stirling
Andrea Virginás
Babeș-Bolyai University
We would like to thank the following institutions for their support:
NECS–European Network for Cinema and Media Studies is a non-profit organization bringing together scholars, archivists, programmers and practitioners.
Online
The online version of NECSUS is published in Open Access and all issue contents are free and accessible to the public.
Download
The online repository media/rep/ provides PDF downloads to aid referencing. Volumes are also indexed in the DOAJ. Please consider the environmental costs of printing versus reading online.