On 30 May 2014 the Tel Aviv Museum opened the exhibition Traces of Things to Come featuring the Israeli artist David Reeb.[1] On the heels of this opening came the 10th Tel Aviv International Colloquium of Cinema and Television Studies, titled Cinematic Traces of Things to Come and focused on the mediation of impossible pasts […]
by Lonneke van der Velden Introduction: Web tracking as data and Web tracking as issue There are a range of ‘privacy enhancing’ tools on the Web. In this article I will discuss how the browser plugin Ghostery transcends individual usage. By making Web tracking transparent it empirically and conceptually contributes to a particular understanding of […]
by Jasper Aalbers Introduction To say that sound has long been a neglected subject in film studies has become something of a commonplace – yet this is no longer true. Starting in the 1980s with a special edition of the journal Yale French Studies film scholars have increasingly paid attention to a wide range of […]
by Giuseppe Fidotta For about a decade animated maps were extremely popular in many documentaries as devices for illustrating places, actions, and processes set on the surface of the globe. Although some examples could be found in French newsreels during the First World War it is only after the mid-1930s that animation techniques and technologies […]
by Saige Walton To the intuition of an unstable and moving world, of a multiple and inconstant life, hesitating between being and seeming, fond of disguise and of theatrical representation, there correspond, on the expressive and structural level, a rhetoric of metaphor and trompe l’oeil, a poetics of surprise and variousness, and a style of […]
by Annet Dekker Net art is built and distributed through a complex, intricate, and interrelated system of networks that presents an assemblage of art, technology, politics, and social relations – all merged and related to form a variable entity. In the last decade a discussion on how to conserve net art emerged in museums of […]
by Paula Albuquerque [T]he likelihood of being captured by the relentless mechanical eyes of the surveillance cameras, webcams and all sorts of portable camera devices has arguably turned our whole world cinematic, a condition that now exists prior to and regardless of any actual intervention of recording and display.[1] In my work as an experimental […]
by Miriam De Rosa Found footage and archive images, split-screen or a multiplication of the image on screen, a replacement of the original soundtrack with commentary, a detached voice-over alternating long/silent sequences, an explanatory use of info-graphics and tracking technologies. These elements feature in Harun Farocki’s work on surveillance – work ranging from documentary films […]
by Nanna Verhoeff & Heidi Rae Cooley While touchscreen technology has been around since at least 1974 it did not become widely available on the consumer market until the 2007 release of the Apple iPhone.[1] Since then our handheld devices have gotten smarter and more connected. We enjoy an ever-increasing ability to access and manipulate […]
The editorial team at NECSUS is excited to embark on its 3rd year of publication. We continue to be dedicated to an open access model that makes the best work in the discipline of media studies freely available to all, and we are actively looking for additional institutional partners to join us and support this […]
If in essence conceptually at odds, the work of Daniela de Paulis, José Biscaya, and my own artworks are linked by a conscious choice for a precarious aesthetic where medium-specific traces are present as form of content. I have chosen these specific images for the NECSUS homepage slideshow to provide a sample view of how […]
The Spring 2014 issue of NECSUS will feature a special section dedicated to the broad concept of ‘Traces’. On a meta level the ‘trace’ can be related to the idea of the (photographic) image as an index of an independently existing reality. The digital seems to have changed this footprinting-idea of the relation between image […]
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
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.
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