2012/1 – #Crisis

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Busan Cinema Forum 2011
Loist, Skadi; de Valck, Marijke (2012) , S. 197-200
The Busan International Film Festival, based in the South Korean harbor city, is one of the biggest and most important film festivals in Asia and a powerful and innovative newcomer on the international film festival circuit.1 Within only 15 years Busan has become a festival operating much like bigger festivals such as Berlinale and Cannes, featuring competitions, a national/regional showcase, a market (Asian Film Market), a co-production market (Asian Project Market/APM, formerly known as Pusan Promotion Plan/PPP), a film school component (Asian Film Academy), and a film fund (Asian Cinema Fund).
Crisis and Capitalism in Contemporary Argentine Cinema - written by Joanna Page, Durham-London: Duke University Press, 2009
Appiolaza, Fausto (2012) , S. 169-173
In the introduction to her book CRISIS AND CAPITALISM IN CONTEMPORARY ARGENTINE CINEMA, Joanna Page summarises the vicissitudes of the Argentine film industry from the 1990s until now and establishes the theoretical framework of her research. By highlighting the relationship between Argentina’s economic and political situation and its film industry, Page sets out to explore how Argentine cinema helped to construct different ‘modes of subjectivity relating to Argentina’s experience of capitalism, neoliberalism and economic crisis’ (p. 3). This study draws on Frederic Jameson’s theorisation on the intrinsically allegorical nature of third world cultural manifestations and Deleuze’s notion that all films which generally refer to money within their narrative can be considered to be reflexive because they implicitly comment on their own process of production. The figures of allegory and reflexivity are present in all film analyses throughout the book.
The gaps of cinema
Rancière, Jacques (2012) , S. 4-13
I did receive a prize once. It was the first, after leaving the lycée a long time ago. But the country that awarded it to me for my book FILM FABLES also happened to be Italy. This conjunction seemed to me to reveal something about my relation with cinema. That country had been important for my education in the seventh art in more ways than one. There was Rossellini, of course, and that one night during the winter of 1964 when Europe ’51 had blown me away even though I still resisted this trajectory of the bourgeoisie towards sainthood by way of the working class.@eng
Lost in translation? On the diverging responses to the question concerning technology - The Impact of Technological Innovations on the Historiography and Theory of Cinema, La Cinémathèque québécoise, Montreal (1-6 November 2011)
Lundemo, Trond (2012) , S. 187-192
Every academic conference should aim to be site-specific. By this I mean that it should take place at the intersection of different traditions and lines of thought relevant to the specific topic. Could there be a more appropriate place for a discussion of The Impact of Technological Innovations on the Historiography and Theory of Cinema than Francophone Montreal? A powerhouse of film studies with four important universities (Université de Montréal, Concordia, McGill, Université de Québec), it is a city where French thought concerning technology and cinema meets the Anglo-American tradition. In many ways it is a meeting between strangers and indeed, these two traditions of thinking rarely found common ground in the huge Montreal event. Rather, the differences between two historical discourses were continually highlighted. The concepts used in the discussions and their famous un-translatability, as in the key case of ‘dispositif ’ as well as the mode and the tools used for the presentations (‘our writing tools take part in our thinking’, Nietzsche observed about the typewriter), reflected an irreducible distance between the continents. The merit of the site-specificity of Montreal was exactly to showcase these abiding differences in the history of film theory.
Moving image and institution: Cinema and the museum in the 21st century, University of Cambridge (6-8 July 2011)
Herrera, Beatriz Bartolomé (2012) , S. 181-186
Art institutions have shown a growing interest in the moving image throughout the last two decades. Both museums and institutional art spaces have witnessed an increase in the exhibition of film and other moving images. In these spaces we can see films displayed along with other art forms, such as painting and sculpture, or as part of screen art installations. The proliferation of projected moving images and screens re-configures common assumptions about what cinema is and opens up a new set of questions concerning museum exhibition, film curating, and the cinematic experience. Does the gallery space change the way in which we think about and experience cinema? What are the boundaries between artist film and video and the traditional film institution? Which theoretical or conceptual links and historical connections can we establish between cinema as medium and museum as space? These are just some of the questions that arise from the fruitful encounter between museum and cinema. Thus, in this scenario, a conference such as Moving Image and Institution: Cinema and the Museum in the 21st Century was indeed necessary.

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