If it is true that since the introduction of accelerated digitalization, the practice of archiving has strongly influenced modes of academic work and cultural activities, it has also massively affected artistic practice.
If cinematic media may be understood to have a Copernican potential, whereby they may be used as instruments of scientific discovery and anti-anthropocentric displacement, how does such a potential change how one conceives of the world or even constructs, or for the historian, reconstructs new ones?
Cinema’s onscreen worlds have always borne an indexical bond to the real, thanks to film’s ability to register traces of physical reality and preserve
them as enduring images. What happens when computer-generated video game images—images possessing no such indexical bond—usurp
What is a "medium"? And how can the history of the term - the way in which it has been used and theorized - help us answer this question?
VISUAL STUDIES. Intersecting Art History and Film Studies
February 18, 2016 16h00
DB Clarke Theater
A discussion with Thomas Elsaesser and James Elkins
SCMS’ Fieldnotes Project Expands Selection of Film Studies Oral Histories.
The SCMS Fieldnotes project is pleased to present a new slate of oral history interviews, featuring many seminal scholars from the fields of film and media studies. New video and audio interviews include Tom Gunning, Mary Ann Doane, Francesco Casetti, and many more.
Our contemporary media landscape might be called the era of heightened seriality. In this talk, Professor Jason Mittell explores how serial storytelling has pervaded both film and television narrative, considering what formal elements define contemporary seriality, and how seriality is forged by industrial and viewing practices.
From the mid-1940s, when Maurice Merleau-Ponty gave a lecture on film at the Institut des hautes études cinématographiques in Paris, which was subsequently published as ‘Le Cinéma et la nouvelle psychologie’ (‘Cinema and the New Psychology’), film scholars have shown a keen interest in the relationship between his philosophy and cinema.