Necsus. European Journal of Media Studies最新文献

{"title":"Agamben’s cinema: Psychology versus an ethical form of life","authors":"Janet P. Harbord","doi":"10.5117/NECSUS2015.2.HARB","DOIUrl":"https://doi.org/10.5117/NECSUS2015.2.HARB","url":null,"abstract":"Agamben’s essay on gesture is perhaps his most influential piece of work for film studies, in which he argues that cinema at its inception captures the moment at which humans have lost control of their gestures, manifest in a crisis of communicability. Comparing the traces of the gesticulating bodies of Gilles de la Tourette’s patients with those in the proto-cinematic series of photographs taken by EadwardMuybridge, Agamben suggests that these are the twin processes of a biopolitical production of life; respectively, the body as the site of investigation and the exemplary body put to work. Yet the ethicopolitical implications of Agamben’s essay on gesture and the biopolitical production of life are relatively under-developed. This article pursues not only cinema’s relation to biopolitical capture but also theway inwhich cinema came to compensate for such a reductive version of corporeality by constructing the concept of an individual located as complex interiority. When gestural communication declines at the close of the 19 century meaning is relocated to the internal space within the human body; commensurate with this production of human interiority as a site of truth, cinema becomes a machine whose task is to decipher the turmoil of the inside, a process reproduced as narrative explication.","PeriodicalId":174743,"journal":{"name":"Necsus. European Journal of Media Studies","volume":"108 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2015-09-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131581907","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Selling film in the summer of 2015: Midnight Sun, Il Cinema Ritrovato, and Karlovy Vary","authors":"Maria San Filippo","doi":"10.5117/NECSUS2015.2.FILI","DOIUrl":"https://doi.org/10.5117/NECSUS2015.2.FILI","url":null,"abstract":"","PeriodicalId":174743,"journal":{"name":"Necsus. European Journal of Media Studies","volume":"14 6 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2015-09-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116772379","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"A theoretical approach to vintage: From oenology to media","authors":"Katharina Niemeyer","doi":"10.5117/NECSUS2015.2.NIEM","DOIUrl":"https://doi.org/10.5117/NECSUS2015.2.NIEM","url":null,"abstract":"The term ‘vintage’ is common in our modern-day vocabulary. The concept to which it refers is familiar in the fields of oenology and fashion studies but has also, more recently, appeared in those of media and cultural studies. However, a theoretical and historical exploration of its evolution prior to the 20th century is still missing from much literature. This article is a first attempt to fill this gap by discussing patterns of vintage in contrast to retro and kitsch (notions with which it is often blurred). Vintage and its relationship with nostalgia and media are then analysed as part of the discourses and practices that engage with contemporary obsessions with the past. An examination of historical and more recent vintage patterns also leads us to discuss the uses and production of analogue and digital vintage objects. On a more general level this reflection on vintage within media studies might also be inspiring for other research or professional domains.","PeriodicalId":174743,"journal":{"name":"Necsus. European Journal of Media Studies","volume":"34 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2015-09-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134396906","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Strong positioning on the international festival circuit: An interview with Diana Iljine of Filmfest München","authors":"Tanja C. Krainhöfer","doi":"10.5117/NECSUS2015.2.KRAI","DOIUrl":"https://doi.org/10.5117/NECSUS2015.2.KRAI","url":null,"abstract":"","PeriodicalId":174743,"journal":{"name":"Necsus. European Journal of Media Studies","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2015-09-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127119159","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Learning from popular genres – with help from the audiovisual essay","authors":"Cristina A. López, A. Martin","doi":"10.5117/NECSUS2015.2.LOPE","DOIUrl":"https://doi.org/10.5117/NECSUS2015.2.LOPE","url":null,"abstract":"It is sometimes observed that the burgeoning form of the audiovisual essay (of the analytic kind that has been featured in recent issues of NECSUS) is good for close, detailed work on individual films, television episodes, or digital art works, but less suitable for the type of broader contextual, historical, or industrial investigations that frequently characterise the screen studies field today. While not necessarily agreeing with that summation, we do feel that once audiovisual essays broach these wider contexts they inevitably cross over into a much vaster field: documentary. Indeed, experiments in the audiovisual essay (which frequently return us to the theory and practice of montage in its most essential and dynamic form) have much to teach makers of documentary. That, however, is a debate for another time and place. In this issue the audiovisual essays we have assembled point to another kind of expansion beyond the analytic focus on a single film. Audiovisual essays can raise issues and explore methods of screen genre analysis that the often clunky form of the linear, written treatise (proposing a generic model and then trudging through dozens or hundreds of examples) cannot easily achieve. Our specific focus here is on aspects of popular genres. One of the chosen audiovisual essays looks at the mechanics, or poetics, of a typical genre scene; the other inspects the often undervalued and underresearched realm of performance through the example of a highly-skilled Audiovisual essays edited by Cristina Álvarez López and Adrian Martin","PeriodicalId":174743,"journal":{"name":"Necsus. European Journal of Media Studies","volume":"53 2","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2015-09-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"120852469","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Cows, Clicks, Ciphers, and Satire","authors":"Tom Tyler","doi":"10.5117/NECSUS2015.1.TYLE","DOIUrl":"https://doi.org/10.5117/NECSUS2015.1.TYLE","url":null,"abstract":"The social network game Farmville, which allows players to grow crops, raise animals, and produce a variety of goods, proved enormously successful within a year of its launch in 2009, attracting 110 million Facebook users. The game has been criticized, however, for its mindless mechanics, which require little more than repeated clicking on its colourful icons. By way of parody, Ian Bogost’s Cow Clicker permits its players simply to click on a picture of a cow once every six hours. In this essay I extend Bogost’s critique, and suggest that Cow Clicker highlights not just the soulless inanity of Farmville’s gameplay, but also the paucity of that game’s portrayal of the painful reality of a dairy cow’s punishing daily existence and untimely end.","PeriodicalId":174743,"journal":{"name":"Necsus. European Journal of Media Studies","volume":"61 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2015-06-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131435214","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Feminist Film Studies 40 Years After ‘Visual Pleasure and Narrative Cinema’, a Triologue","authors":"L. Mulvey, Anna Backman Rogers, A. V. D. Oever","doi":"10.5117/NECSUS2015.1.MULV","DOIUrl":"https://doi.org/10.5117/NECSUS2015.1.MULV","url":null,"abstract":"Forty years after the publication of her seminal essay ‘Visual Pleasure and Narrative Cinema’ in Screen, Laura Mulvey, together with Anna Backman Rogers, has edited Feminisms: Diversity, Difference, and Multiplicity in Contemporary Film Cultures, which is the latest instalment of The Key Debates series. NECSUS invited Laura Mulvey and Anna Backman Rogers to join Annie van den Oever, editor of NECSUS and series editor of The Key Debates, in a ‘triologue’, which in part reflects and re-emphasises the topics publicly discussed during the Feminisms symposia.","PeriodicalId":174743,"journal":{"name":"Necsus. European Journal of Media Studies","volume":"55 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2015-06-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127561224","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Oppositional Banality: Watching Ordinary Muslims in Little Mosque on the Prairie","authors":"J. Chao","doi":"10.5117/NECSUS2015.1.CHAO","DOIUrl":"https://doi.org/10.5117/NECSUS2015.1.CHAO","url":null,"abstract":"This essay interrogates how the globally-syndicated series Little Mosque on the Prairie (2007-2012) mobilises one of the most beloved television formats – the situation comedy – to insert a banal and normalised gaze toward Muslims and contest hostile representations of Islam in Western media. Through what I have termed ‘ oppositional banality ’ the show relocates Muslim identities to the realm of everyday life and out of the confines of global terrorism. Rather than being under the scrutiny of news cameras and viewed through cataclys-mic international events the Muslims in Little Mosque are made comical and timeless, subjected to the emotional entanglements of ordinary life.","PeriodicalId":174743,"journal":{"name":"Necsus. European Journal of Media Studies","volume":"5 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2015-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116985060","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"A spiritual journey in Bill Viola's art","authors":"Elena Marcheschi","doi":"10.5117/NECSUS2014.2.MARC","DOIUrl":"https://doi.org/10.5117/NECSUS2014.2.MARC","url":null,"abstract":"From 5 March to 21 July 2014 the Grand Palais in Paris presented the largest retrospective ever dedicated to the American artist Bill Viola in France. Viola is one of the most important pioneers of video art, whose work has been showcased in many of the world’s most important museums. This was also the first exhibition dedicated to video art in the history of the Galerie nationales du Grand Palais, a huge site for cultural commemoration, preservation, and canonised art that on this occasion became a spectacular context for showing what the medium of video is. Almost 40 years of Viola’s work was presented, from 1977 to 2013 – a span that, apart from the 1960s, represents the historical development of video art. From single-channel videos, video sculptures, video installations, video projections, and sound environments, the retrospective depicted what may be called Viola’s spiritual journey through the electronic medium. The exhibition itinerary was conceived as an emotional path itself; the public was meant to step into a contemporary version of Plato’s cave, a dark and silent space with a hushed atmosphere that recalled a house of prayer where the visitor was invited to establish a deep visual and spiritual connection with each work of art. As Jérôme Neutres, curator of the exhibition, writes: ‘[t]he artist’s intention is to create conditions that enable the public to immerse itself in the image – a symbol expressed by the recurrant metaphor of a body plunging into water.’ In fact, as Valentina Valentini says, in Viola’s exhibitions the visitor is not only a mere spectator . . . , because his works are not just containers for different things. At the Grand Palais the invitation to a personal and intimate journey was marked at the beginning with a quotation by the soufi Ibn Arabi: ‘[i]f you engage the travel, you will arrive.’ Divided into three ideal chapters connected to three metaphysical questions, the retrospective asked the public to confront some common and fundamental issues about the human condition, questions that have been investigated in Viola’s research: Who am I? Where am I? Where am I going? In this perspective the artist’s desire was to trigger an aesthetic experience and a spiritual confrontation. The cycle of life from birth to death, the practice of introspection, the relationship between landscape and mankind, the ideas of transcendence and transfiguration – these are the great themes that Viola offered in this exhibition.","PeriodicalId":174743,"journal":{"name":"Necsus. European Journal of Media Studies","volume":"36 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2014-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114680426","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Disputing Rossellini: Three French perspectives","authors":"James Harvey-Davitt","doi":"10.5117/NECSUS2014.2.HARV","DOIUrl":"https://doi.org/10.5117/NECSUS2014.2.HARV","url":null,"abstract":"In his burgeoning body of film theoretical work the French philosopher Jacques Rancière repeatedly turns to some canonical films by Neorealist pioneer Roberto Rossellini. Not simply retreading tired motifs of Neorealism, Rancière’s comments offer some profound new insights, revolutionising prior perspectives on Rossellini. In this article I shall put Rancière’s perspective into dialogue with two of the most significant of these perspectives: André Bazin’s and Gilles Deleuze’s. In doing so I shall claim that Rancière’s approach departs radically from the canonised, standardised Neorealist conception of Rossellini. Instead, I wish to claim that he describes a modernist artist primarily concerned with aesthetic clashes. In doing so I shall contemplate how the meaning of these films has evolved since the era of their contemporary reception, demonstrating the congruence and disparity between these three disparate approaches.","PeriodicalId":174743,"journal":{"name":"Necsus. European Journal of Media Studies","volume":"64 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2014-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130522975","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}