Coda

2016 ◽  
Author(s):  
Charles Musser
Keyword(s):  
Twentieth Century ◽  
New Media ◽  
Media Studies ◽  
Presidential Elections ◽  
Film Studies ◽  
Barack Obama ◽  
Early Cinema ◽  
Media Archaeology ◽  
Film And Media Studies ◽  
William Mckinley

The first section characterizes the structure of feeling of US presidential elections during the long 1890s, making comparisons between that decade and the contemporary moment, noting similarities between the campaigns of William McKinley and Barack Obama. It briefly considers new media moments such as radio and television as well as recurrent structures of politicking in the twentieth century. The second section considers the shift from Film Studies to Film and Media Studies and the dialogic relations between the study of early cinema and the emerging field of media archaeology. Finally considers ways in which the illustrated lecture can be analyzed within the framework of Documentary Studies.

Urban Mediation and Mobility in Istanbul

Transfers ◽  
2011 ◽  
Vol 1 (1) ◽  
pp. 134-136
Author(s):  
Dorit Müller
Keyword(s):  
New Media ◽  
Media Studies ◽  
Human Interaction ◽  
Annual Conference ◽  
European Network ◽  
European Capital Of Culture ◽  
Ample Opportunity ◽  
Extensive Analysis ◽  
Broad Scope ◽  
Film And Media Studies

The European Network for Cinema and Media Studies (NECS) held its fifth annual conference “Urban Mediations” from June 24 to 27, 2010 in the European Capital of Culture 2010, Istanbul. A wide variety of scholars and researchers in the field of cinema, film, and media studies, but also archivists or film and media professionals were invited. The broad scope theme of “urban mediations” provided ample opportunity for extensive analysis and discussion of media and urbanity theories by the attendees. In more than 80 panels, with four talks each, various questions could be discussed. For example: How are city spaces represented and created in different media? What urban practices and aesthetics develop when using “media”? To what extent do new media forms influence future urban developments or make them possible in the first place? How does media shape city-human interaction?

Serge Daney, Zapper: Cinema, Television, and the Persistence of Media

October ◽  
2016 ◽  
Vol 157 ◽  
pp. 107-127
Author(s):  
James Tweedie
Keyword(s):  
Twentieth Century ◽  
New Media ◽  
Film Studies ◽  
Film Theory ◽  
New Wave ◽  
Digital Revolution ◽  
The Status ◽  
Late Twentieth ◽  
Late Twentieth Century ◽  
Small Screen

The essay considers Serge Daney's transition from a film critic schooled in New Wave cinephilia to a television critic fascinated by the possibilities of the small screen and the status of cinema as an old medium. Looking in the “rear-view mirror,” Daney challenges foundational film theory that situates cinema at the forefront of technological and cultural modernity, and he introduces the language of belatedness, aging, and delay into his writing on the “adult art” of film. In the 1980s, Daney began to chronicle the experience of watching cinema on television, with old and new media spiraling into each other and the critic engaged in a process of archaeology focused as much on absent or damaged images as the imaginary plenitude of the screen. Tweedie's essay frames the critic's work as a key reference point for film studies in the late twentieth century because it counters both the modernist euphoria of theory produced decades before and the enthusiasm surrounding the digital revolution in the years just after his death, with new media in the vanguard once occupied by cinema. Instead of recomposing this familiar narrative of innovation, succession, and obsolescence, Daney constructs a retrospective and intermedial theory of film, with the act of watching cinema on television revealing both the diminution and the persistence of its most utopian ambitions.

Arab Americans in Film: From Hollywood and Egyptian Stereotypes to Self-Representation

2020 ◽  
Vol 54 (2) ◽  
pp. 328-335
Author(s):  
Viviane Saglier
Keyword(s):  
Middle East ◽  
Media Studies ◽  
Film Studies ◽  
Ethnic Studies ◽  
Arab Americans ◽  
Recent Book ◽  
Political Sciences ◽  
World Cinema ◽  
Film And Media Studies ◽  
Middle East Studies

What can film studies bring to the study of Arab culture, politics, and history? The past ten years have seen an increase in historical, theoretical, and methodological exchanges between Middle East studies and film and media studies. The sub-field of “Arab film studies” (Ginsberg and Lippard 2020, viii) has emerged as one possible intersection of these two fields of inquiry. This is illustrated by two recent book series, the Cinema and Media Cultures in the Middle East series at Peter Lang Publishing (edited by Terri Ginsberg and Chris Lippard) and the Palgrave Studies in Arab Cinema series at Palgrave Macmillan (edited by Nezar Andary and Samirah Alkassim). Waleed Mahdi's Arab Americans in Film (2020) and Peter Limbrick's Arab Modernism as World Cinema: The Films of Moumen Smihi (2020) consolidate these exchanges across ethnic studies, area studies, political sciences, (art) history, and film and media studies. While Mahdi primarily positions himself from within ethnic studies and Limbrick is first a film scholar, both have published in reference journals in film studies, Middle East studies, and cultural studies.

scholarly journals Materiality and Montage: Film Studies, Digital Humanities and the Visualization of Moving Images

2019 ◽  
Author(s):  
Adelheid Heftberger
Keyword(s):  
New Media ◽  
Digital Humanities ◽  
Film Studies ◽  
Avant Garde ◽  
Moving Images ◽  
Dziga Vertov ◽  
Film And Media Studies ◽  
Computer Scientists ◽  
Research Questions ◽  
The One

In this paper, I will highlight some recent initiatives in the study of film within the digital humanities, in which context I will also present some of my own endeavors, specifically visualizations created in collaboration with the pioneering new media theorist Lev Manovich from films made by the Soviet avant-garde director Dziga Vertov (1896-1954). Following this, I will discuss some of the issues related to the use of visualizations as an aid to scholarly research. Finally, I will address a number of possible research questions in film and media studies, answers to which may benefit significantly from the collaboration between film/media scholars and computer scientists on the one hand, and (moving image) archivists on the other.

scholarly journals Introduction

2018 ◽  
Vol 11 (1) ◽  
pp. 1-6
Author(s):  
Elizabeth Castaldo Lunden
Keyword(s):  
Media Studies ◽  
Film Studies ◽  
Methodological Approach ◽  
Costume Design ◽  
Early Career ◽  
Annual Conference ◽  
Special Issue ◽  
Early Career Researchers ◽  
Heterogeneous Nature ◽  
Film And Media Studies

This special issue belongs to a series of activities under the umbrella denomination “Studying and Exploring the Intersections of Fashion, Film, and Media Studies,” created in 2014 by film scholar Anne Bachmann and I. Our goal was to promote an interdisciplinary perspective to the study of fashion, film, and media. This venture was launched with two activities at the 2015 edition of the annual conference of the Society for Cinema and Media Studies, in Montreal. The first activity consisted of a panel featuring the on-going projects of four Ph.D. students working with these combined fields.[1]  The second activity consisted of a workshop, in which presentations opened to discussions addressing how the use of archival material and film fan magazines, combined with film studies’ methodological approach to history, could benefit fashion research.[2] This workshop expanded into a Symposium at Stockholm University featuring established scholars who pioneered research in these fields of studies combined. This special issue of Networking Knowledge seeks to include early career researchers in such conversation, broadening the network of scholars and the combined field of expertise. Since its inception, a historical approach has been encouraged by the founders of this project. Yet, the semiotic roots used for textual analysis of costume design shall not be overlooked. In this sense, this special issue intends to present a panorama of the heterogeneous nature of studies in these interconnected fields.   [1] The panel was titled “Industry Crossovers: Key Women in Fashion, Film, and Media,” with Michelle Tolini Finamore as respondent, SCMS Conference, Montreal. [2] The workshop featured presentations by Tamar Jeffers McDonald, Jenny Romero, and Elizabeth Castaldo Lundén. Because Fashion Matters: Studying the Intersections of Fashion, Film, and Media, SCMS Conference, Montreal, 29th March 2015.

Introduction

2018 ◽  
Author(s):  
Carl Plantinga
Keyword(s):  
Media Studies ◽  
Film Studies ◽  
Cultural Ecology ◽  
The Internet ◽  
Main Argument ◽  
Ethical Evaluation ◽  
Human Emotion ◽  
Personal Story ◽  
Film And Media Studies

The introduction to Screen Stories: Emotion and the Ethics of Engagement traces the main argument of the book and previews the book’s structure. The argument is that stories on screens—films, television, the Internet, and so on—contribute to the cultural ecology of a place and time and are thus subject to ethical evaluation. Screen stories are rhetorically powerful in large part because they engage and elicit human emotion. Academic film studies respond to this power by embracing “estrangement theory,” which largely rejects mainstream screen stories, immersion, and emotion. The personal story told in the Introduction relates the author’s experiences with screen stories and how he came to believe that ethics as practiced by academic film and media studies, at least in the form of estrangement theory, is unable to usefully address the experiences of most contemporary viewers and thus introduces the reader instead to an ethics of engagement.

Serge Daney, Zapper

2018 ◽  
Author(s):  
James Tweedie
Keyword(s):  
Twentieth Century ◽  
New Media ◽  
Reference Point ◽  
Film Studies ◽  
Film Theory ◽  
New Wave ◽  
Late Twentieth ◽  
Late Twentieth Century ◽  
Small Screen ◽  
Over Time

This chapter considers Serge Daney’s transition from a film critic schooled in New Wave cinephilia to a television critic fascinated with the possibilities of the small screen and status of cinema as an old medium. Daney challenges foundational film theory and introduces the language of belatedness, aging, and delay into his writing on the “adult art” of film. In the 1980s he chronicled the experience of watching cinema on television and engaged in a process of “archaeology” focused on absent or damaged images rather than the imaginary plenitude of the screen. Daney’s work at the threshold between media provides a key reference point for film studies in the late twentieth century because it questions both the modernist euphoria of theory produced decades before and the enthusiasm surrounding new media. Daney instead constructs a retrospective theory of film that reveals its diminution over time and the persistence of its utopian ambitions.

Compte Rendu de Anna Caterina Dalmasso, Le Corps, c’est l’écran. La philosophie du visuel de Merleau-Ponty

2019 ◽  
Vol 21 ◽  
pp. 379-388
Author(s):  
Charles Bobant ◽  
Keyword(s):  
Media Studies ◽  
Significant Contribution ◽  
Film Studies ◽  
Visual Studies ◽  
Compte Rendu ◽  
Film And Media Studies ◽  
Unpublished Manuscripts

Dans son livre Le corps, c’est l’écran. La philosophie du visuel de Merleau-Ponty, Anna Caterina Dalmasso met en évidence la présence de la pensée merleau-pontienne dans les réflexions contemporaines relevant des visual studies, de la médiologie et des études cinématographiques. Les analyses menées révèlent un Merleau-Ponty à l’origine d’un certain nombre de « tournants » majeurs dans le questionnement, touchant notamment à la conception de l’image (de l’image copie d’un modèle à l’image qui nous regarde) et du médium (du modèle de la transparence à celui de l’opacité). Enfin, l’une des ambitions – et l’une des réussites – de l’ouvrage est de restituer l’apport significatif de Merleau-Ponty pour les film studies. A.C. Dalmasso jette des lumières nouvelles sur une interrogation en constante évolution, en s’appuyant à la fois sur les textes bien connus (« Le cinéma et la nouvelle psychologie », L’OEil et l’esprit) et les « inédits » (Le Monde sensible et le monde de l’expression).In her book Le corps, c’est l’écran. La philosophie du visuel de Merleau-Ponty, Anna Caterina Dalmasso brings to light the presence of Merleau-pontian thought in contemporary reflections relevant to visual studies, as well as film and media studies. The analyses she carried out reveal a Merleau-Ponty at the origin of a certain number of major “turns” in the inquiry, touching notably on the conception of the image (from the image as copy of a model to the image that looks at us) and of the medium (from the model of transparency to that of opacity). Besides, one of the ambitions – and one of the successes – of the work is to demonstrate the significant contribution of Merleau-Ponty for film studies. A.C. Dalmasso throws new light on an interrogation in constant evolution, stressing both well-known texts (“Film and the New Psychology,” Eye and Mind) and unpublished manuscripts (Le monde sensible et le monde de l’expression).Nel volume Le corps, c’est l’écran. La philosophie du visuel de Merleau-Ponty, Anna Caterina Dalmasso mette in evidenza la presenza del pensiero merleau-pontyano nelle riflessioni contemporanee dei visual studies, della teoria del cinema e dei media. Le analisi che vi sono condotte rivelano un Merleau-Ponty all’origine di alcune importanti “svolte”, che riguardano in particolare la concezione dell’immagine (dall’immagine come copia di un modello ad un’immagine che ci guarda) e del medium (da un modello basato sulla trasparenza a uno che fa perno sulla sua opacità). Inoltre, una delle ambizioni – e uno degli aspetti più originali – dell’opera è quella di restituire il significativo apporto di Merleau-Ponty per l’ambito dei film studies. A.C. Dalmasso fa luce in modo innovativo su un tema di ricerca in costante evoluzione, appoggiandosi ad un tempo su scritti più noti (come “Il cinema e la nuova psicologia” e L’occhio e lo spirito) e su alcuni testi “inediti” (in particolare Le monde sensible et le monde de l’expression).

New Media Archaeologies

2019 ◽  
Keyword(s):  
New Media ◽  
Media Studies ◽  
Theory And Practice ◽  
Archaeological Theory ◽  
Media Archaeology ◽  
Experimental Media ◽  
Innovative Work ◽  
The Relationship

This collection of essays highlights innovative work in the developing field of media archaeology. It explores the relationship between theory and practice and the relationship between media archaeology and other disciplines. There are three sections to the collection proposing new possible fields of research for media studies: Media Archaeological Theory; Experimental Media Archaeology; Media Archaeology at the Interface. The book includes essays from acknowledged experts in this expanding field, such as Thomas Elsaesser, Wanda Strauven and Jussi Parikka.

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