NECSUS Editorial Board:

Editorial NECSUS

S. 1-4

Doron Galili:

A conversation with Henry Jenkins

S. 5-19

Charles Musser:

Documentary’s longue durée: Beginnings, formations, genealogies

S. 21-50

Kathrin Friedrich; Moritz Queisner; Matthias Bruhn:

Adaptive images: Practices and aesthetics of situative digital imaging

S. 51-76

Special section: #Method

Toni Pape:

Method unchained: To new adventures of ideas

S. 77-91

NECSUS Editorial Board:

On #Method: A roundtable with the NECSUS editorial board

S. 93-115

Michael Stevenson; Tamara Witschge:

Methods we live by: Proceduralism, process, and pedagogy

S. 117-138

Maria Korolkova; Simon Bowes:

Mistake as method: Towards an epistemology of errors in creative practice and research

S. 139-157

Malini Guha:

Encounters and affinities: Exchanges through the essay form

S. 159-180

Roberto Letizi; Simon Troon:

Teaching writing with images: The role of authorship and self-reflexivity in audiovisual essay pedagogy

S. 181-202

Mario Slugan:

Film studies and the experimental method

S. 203-224

Diane Burgess:

Capturing film festival buzz: The methodological dilemma of measuring symbolic value

S. 225-247

Jessica Balanzategui:

Towards an understanding of children’s screen genres in the streaming video era: Reflecting on shifting intersections between digital media and screen studies

S. 249-272

Deb Verhoeven; Paul S. Moore; Amanda Coles; Bronwyn Coate; Vejune Zemaityte; Katarzyna Musial; Elizabeth Prommer; Michelle Mantsio; Sarah Taylor; Ben Eltham; Skadi Loist; Alwyn Davidson:

Disciplinary itineraries and digital methods: Examining the Kinomatics collaboration networks

S. 273-298

Festival Reviews | Special Dossier: Covid-19

Marijke de Valck; Antoine Damiens:

Film festivals and the first wave of COVID-19: Challenges, opportunities, and reflections on festivals’ relations to crises

S. 299-302

Asli Ozgen-Tuncer:

The International Labour Film Festival in Turkey

S. 303-311

Montserrat Jurado-Martin; Francisco-Julián Martínez-Cano:

Beyond a shadow of a doubt: For the Elche International Independent Film Festival dying is not an option

S. 313-320

Justice A. Whitaker:

San Luis Obispo International Film Festival: The social responsibility of redesigning an American film festival

S. 321-327

Phil Hobbins-White; Brad Limov:

SXSW, Amazon, and the difficulty of staging an exclusive event online

S. 329-338

Dagmar Brunow:

Come together? Curating communal viewing experiences for hybrid and online film festivals

S. 339-347

Sheila Petty:

Story within a story: Vues d’Afrique in the time of COVID-19

S. 349-356

Book Reviews

edited by Lavinia Brydon and Victoria Pastor-González

Rossella Catanese:

‘Color Mania’ and ‘Chromatic Modernity’: The polychrome experience of the moving image

S. 357-366

Spiros Chairetis:

The Queer Fantasies of the American Sitcom / Queering Gender

S. 367-374

Sarah Polley:

The Origins of the Film Star System / George Clooney

S. 375-382

Marie Rebecchi:

Displacing as a method: On ‘Displacing Caravaggio’ and ‘Dance of Values’

S. 383-398

Exhibition Reviews

edited by Miriam de Rosa and Leo Goldsmith

Claire Salles:

The Supermarket of Images: A conversation with curators Peter Szendy, Emmanuel Alloa, and Marta Ponsa

S. 399-411

Mariana Cunha:

Mediating climate visualities: Notes on Meteorological Mobilities

S. 413-419

Rania Gaafar:

Glitch: Art & Technology: Processing media matter

S. 421-433

Liz Greene:

Sound and the audiovisual essay, part 1: Dialogue, music, and effects

S. 435-437

Audiovisual Essays

edited by Liz Greene

Liz Greene:

The Elephant Man’s Sound, Tracked

S. 439-443

Jaap Kooijman:

Talking [Heads] About Whitney

S. 445-448

Oswald Iten:

Beyond the Catchy Tunes: George Bruns and the Craft of Transparent Underscoring

S. 449-451

Cormac Donnelly:

Sonic Chronicle, Post Sound

S. 453-456