2023/1 - #Ports
Editorial NECSUS
S. 1-4
Special Section: #Ports
Ports: On the material and symbolic mediation of global capitalism
S. 5-15
Ports and the politics of visibility: An interview with Laleh Khalili
S. 16-34
Port of call: The eyeline of the logistical image
S. 35-57
Ports as nodes in film logistics: Swedish film agent Oscar Rosenberg in the years after the First World War
S. 58-80
The use of sound and film as rebranding strategies in two Danish port cities
S. 81-103
‘The shipyard is dead’: Ports, memory, and left melancholy in contemporary French cinema
S. 104-124
Ports and media: A research project showcase
S. 125-151
Features
From cloudy logic to logistical system: Algorimages, black boxes, and the socio-technical infrastructure of platforms
S. 152-169
Cinema and/as infrastructure in interwar avant-gardes and empire aviation documentaries
S. 170-187
First person war: Helmet cameras between testimony and performance
S. 188-211
National film festivals circuits in the Latin American sphere: Discussing film canon, film culture, and cinephilia
S. 212-230
Girls will be boys in German silent cinema
S. 231-256
Desire lines: An interview on the sociality of film with B. Ruby Rich
S. 257-275
Audiovisual Essays
Desktop documentary as scholarly subjectivity: Five approaches
S. 276-280
Desktop Documentary
S. 281-283
With a Camera in Hand, I Was Alive
S. 284-285
Double Exposures: ‘Visual returns’ in the Deadwood and Breaking Bad sequel films
S. 286-289
Indians from 1967: A Reaction
S. 290-292
Some Thoughts Occasioned by Four Desktops
S. 293-294
Festival Reviews
Arquivo em Cartaz: Archival film festivals amid old and new challenges
S. 295-304
17th DocsMX: Returning to the streets and meeting with audiences
S. 305-315
Havana Film Festival New York 2022: A cultural bridge emerging from COVID-19
S. 316-322
Book Reviews
Experiencing Cinema / Ephemeral Cinema
S. 323-330
The many stories of cinema and cinephilia in Pakistan
S. 331-338
Exhibition Reviews
An infinite exhibition fills the nave: Laurent Grasso’s ANIMA
S. 339-348
Becoming Geological: Imagining an affirmative otherwise
S. 349-358
Data Papers
Data Papers – An Introduction
S. 359-362
How to capture the festival network: Reflections on the Film Circulation datasets
S. 363-390