2020/1 – #Intelligence

Browsing 2020/1 – #Intelligence by Issue Date

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  • Review
    Futurist Cinema / Cubism and Futurism
    Bugaj, Malgorzata (2020-05-27) , S. 269-277
  • Review
  • Review
    VR on the film festival circuit: IDFA & IFFR 2017-2019
    Fux, Niv (2020-05-28) , S. 307-314
  • Article
  • Review
    Cinema and a ‘time-varying universe’: An interview with curator Antonio Somaini
    Lacurie, Occitane; Sauvage, Barnabé (2020-06-14) , S. 325-337
  • Review
  • Review
  • Article
    The play of iconicity in Lars von Trier’s THE HOUSE THAT JACK BUILT
    Stavning Thomsen, Bodil Marie (2020-06-14) , S. 69-89
    This article studies the function of the iconic sign and the operation of diagram-icons in Lars von Trier’s The House That Jack Built (2018), a film about a serial killer Jack (Matt Dillon) who builds a house of corpses before being escorted to hell. What is remarkable in this film is von Trier’s specific use of filmic iconicity in probing the value of Western icons in art and architecture. In voiceover digressions from the narrative action following Jack’s serial killing, a comparison is made between the iconic power of murder on a grand scale (specified as genocides throughout history) and culturally valuated icons of art and architecture. The article focuses on the audiovisual icons in the film that invites the audience to diagrammatic readings and fabulation throughout and beyond the film’s narrative content. After a short in-troduction to the iconic sign and the diagram-icon respectively, the exploration of the film takes its starting point in how Jean-Luc Godard used the iconic force of the color red in Pierrot le Fou (1965). Even though the significant use of red throughout The House That Jack Built is justified within the context of serial killing, its many reiterations also qualifies ‘red’ as a diagrammatic feature combining iconic elements transversally. This diagrammatic feature foregrounds the film’s fabu-latory and haptic levels beyond its strictly narrative content, making way for the wider philosophical comments expounded ‘in the film’ by the figure of Verge (Bruno Ganz). His extradiegetic voice becomes in-tradiegetic in the last part of the film as his body appears, acting as a guide for Jack into a version of Dante’s hell.
  • Article
    From ‘video essay’ to ‘video monograph’? Indy Vinyl as academic book
    Garwood, Ian (2020-06-15) , S. 5-29
    Sarah Barrow argues that the video essay provides a ‘viable alternative to the academic book’. This article explores that claim, considering how a video essay-based project can pursue a single topic in the man-ner of a monograph. The case study is Indy Vinyl, my collection of video essays and writing about vinyl records in American Independ-ent Cinema. I argue that an approach informed by traditional schol-arly values should be augmented by more exploratory thinking, when moving from written to practice-based forms of film criticism.
  • Review
  • Article
    A Machine for Viewing – 3 – Manual for a Disassembly of Cinema
    Raby, Oscar (2020-07-02) , S. 267-267
  • Article
    A Machine for Viewing – 1 – A Frame of the Mind
    Shackleton, Charlie (2020-07-02) , S. 263-263
  • Article
    A Machine for Viewing
    Misek, Richard (2020-07-02) , S. 259-262
    A Machine for Viewing is a three-episode hybrid of real-time VR experience, live performance, and video essay in which three moving image makers explore how we now watch films by putting various ‘machines for viewing’, including cinema and virtual reality, face to face.
  • Article
    The Golem in the age of artificial intelligence
    Vudka, Amir (2020-07-06) , S. 101-123
    What can the Jewish myth of the Golem teach us about artificial intelligence? This article explores the Golem as one of the earliest AI prototypes and a myth that became a foundational story of sci-fi cinema. The Golem sets the parameters of opposition between men and intelligent or sentient machines, and at the same time points to possible third options beyond the dialectic of control.
  • Article
    A Machine for Viewing – 2 – A Pillow of Light
    Misek, Richard (2020-07-06) , S. 265-265
  • Article
    New perspectives on an imperfect cinema: Smartphones, spectatorship, and screen culture 2.0
    Szita, Kata (2020-07-06) , S. 31-52
    This paper discusses smartphone spectatorship with a focus on user participation, interactivity, and the fusion of digital media and mov-ing images. In the renaissance of mobile filmmaking and participatory culture, there is no longer a definite difference in the quality of cin-ema and mobile media tools. Instead, users’ embodied and social presences define the framework of viewing and production. By re-flecting on the sovereignty of smartphone film culture, this paper highlights the behavioural and cultural trajectories of mobile movie consumption, where content access merges with content production.
  • Article
    Editorial NECSUS
    NECSUS Editorial Board (2020-07-06) , S. 1-3
  • Article
    Playing intelligence: On representations and uses of artificial intelligence in videogames
    Hennig, Martin (2020-07-06) , S. 151-171
    Computer games take up and extend traditional discourses on technology and artificial intelligence (AI). Moreover, representations of AI in computer games include not only narrative aspects but game mechanics as well. This contribution focuses on what distinguishes this kind of AI representation from other medial forms, and on how different types of AI representation can be identified within the computer games field. Overall, representations of AI make visible specific aspects and ideologies implied by the gameplay. From this perspective, it is outlined how these representations work either as support for fantasies of self-empowerment or as an emphasis on medial determination; moreover, cultural functions and meanings provided in this context are highlighted.
  • Article
    Clipping us together: The case of the Google Clips camera
    Bar-Gil, Oshri (2020-07-06) , S. 215-236
    This article uses the Google Clips camera as a case study to illustrate the impact of autonomous machine learning on self-perception, and to investigate how ‘delegation’ of our self to those cameras occurs. The research is based on reviews of the Google Clips camera, analysed using Computer Assisted Qualitative Data Analysis (CAQDAS) and interpreted using Don Ihde’s postphenomonological framework complemented by Bruno Latour’s relation analysis. Positioning the Clips camera as a technological mediator, the analysis concentrates on human-technology-world interaction relations. The research findings include changes in self-perception through complex concepts, such as autonomy, agency, and rationality.
  • Article
    The artificial intelligence of a machine: Moving images in the age of algorithms
    Eugeni, Ruggero; Pisters, Patricia (2020-07-06) , S. 91-100
    This article introduces the special section #Intelligence, which includes seven essays addressing the impact of artificial intelligence on cinema and media from a cultural perspective. More particularly, three levels of pertinence are focused on. For the first level, selected papers analyse several representations of non-human intelligence confronted with human intelligence, as provided by film, television series, and video games. On the second level, a set of mutual functioning dynamics between AI and the media are identified and scrutinised. On the third level, the contributing authors consider how AI algorithms lead cinema and media theory to deeply rethink its assumptions about creating and viewing moving images.