Cinema’s second birth

2020

In the past decades, the field of cinema has undergone several transformations. The digital turn increasingly called for new forms of production, distribution, and exhibition, which imply different ways of thinking, doing, and experimenting cinema. These new forms also reduced the gap between cinema to other so-called visual arts. If cinema and visual arts were already in the process of merging, the last years forced the naturalization of thinking in similar theoretical grounds. This special issue aims to be a forum for the discussion of new practices of researching cinema, and the changes in cinema's forms of experience and production.

Radical Philosophy, 2015

The International Journal of Screendance

No abstract availableThis article was originally published by Parallel Press, an imprint of the University of Wisconsin-Madison Libraries, as part of The International Journal of Screendance, Volume 2 (2012), Parallel Press. It is made available here with the kind permission of Parallel Press.

Historical Journal of Film, Radio and Television, 2020

In the last twenty years, the study of the ways in which cinema fits within its ever changing social, cultural and national context, has been a particularly prolific strand of scholarship. Numerous film experts have turned their attention to tools and methods from other disciplines, such as industrial economy, oral history and memory studies. This impressive volume – thirty-one chapters in total! – fits neatly within that tradition, tackling various angles included in the broader term of New Cinema History. To that end, it organizes its contributions into six distinctive sections, each with its own introduction and set of agendas. Part three, for instance, deals with distribution and trade, whilst the final portion of essays appears under the title of ‘Audiences, reception and cinemagoing experiences.’ While the remit of this review does not allow me to delve into each individual contribution, I hope to provide an overview of the issues and themes that run across this companion.

Norsk medietidsskrift

Theory and Event, 2008

include critical international politics and contemporary cultural, social and political thought. His articles have appeared in Borderlands, Theory & Event and Millennium: Journal of International Studies. His current research focuses on aesthetics practices in Asia/Pacific politics and the antigenic shifts of sovereignty in the Avian Flu emergency.

2016

Since the late 1970s, when the history of photography became an academic subject, and with increasing interest in photography in the art market, there have been frequent calls by various scholars for a 'new kind of history' of photography. These calls were part of what Rosalind Krauss and Annette Michelson described in a special photography issue of October (1978) as a renewed scholarly 'discovery' of the medium, characterized by the 'sense of an epiphany, delayed and redoubled in its power' (Krauss and Michelson, 1978: 3). This rediscovery carried the message that photography and its practices have to be redeemed 'from the cultural limbo to which for a century and a half it had been consigned' (1978: 3). The calls for a new history of photography suggested that the time has come to substitute Beaumont Newhall's hegemonic modernist classic The History of Photography from 1839 to the Present with a new text (1939). 1 Newhall was a librarian and later the first director of photography of the Museum of Modern Art in New York. His work is considered as 'the English-language text that has shaped thinking on the subject more permanently than any other' (Nickel, 2001: 550). Based on the catalogue of his MoMA exhibition Photography 1839-1937, 'usually cited as a crucial step in the acceptance of photography as fullfledged museum art' (Phillips, 1992: 17), this book was the predominant photo-history for more than 50 years. It shifted the historiographic focus from the chemical-physical aspect of the medium to its visual aspect.

2013