Features

NECSUS Editorial Board:

Editorial NECSUS

S. 1-3

Faye Mercier:

Tokyo drifters: The negotiation and regulation of generational precarity in TERRACE HOUSE

S. 5-25

Kim Wilkins:

Gentrification by genre? The Berlin rom-com

S. 27-54

Temenuga Trifonova:

Narrating the 'Eternal City' in LA DOLCE VITA (1960) and LA GRANDE BELLEZZA (2013)

S. 55-74

Alan O’Leary:

Workshop of Potential Scholarship: Manifesto for a parametric videographic criticism

S. 75-98

Miklós Kiss:

Desktop documentary: From artefact to artist(ic) emotions

S. 99-119

Jonathan Larcher:

Shot and never seen again: Videotapes as waste and merchandise in post-socialist Romania

S. 121-143


Special section: #Solidarity

Sam Gregory:

Live-streaming for frontline and distant witnessing: A case study exploring mediated human rights experience, immersive witnessing, action, and solidarity in the Mobil-Eyes Us project

S. 145-171

Shweta Khilnani:

Sensations and solidarity: Affect, ambience, and politics in digital literary narratives

S. 173-193

Sandra Gaudenzi; Jasmin Kermanchi; Anna Wiehl:

Co-creation as im/mediate/d caring and sharing in times of crises: Reflections on collaborative interactive documentary as an agile response to community needs

S. 195-217

Brianna Wiens; Shana MacDonald:

Living whose best life? An intersectional feminist interrogation of postfeminist #solidarity in #selfcare

S. 219-242

Linda Kopitz:

The interdependence of care: A conversation with The Care Collective

S. 243-251


Festival Reviews

edited by Marijke de Valck and Antoine Damiens

Michelle Leigh Farrell:

The 2020 Boston Latino International Film Festival: Continuing the fight for social justice virtually

S. 253-259

Laura Feal; Estrella Sendra:

Nearby the Festival International du Film Documentaire de Saint-Louis: Rethinking proximity in times of COVID-19

S. 261-273

Mariagiulia Grassilli; Alexandra-Maria Colta:

The Human Rights Film Network: Festival resilience in the time of Covid-19

S. 275-282

Petra Jansa:

One World Human Rights Documentary Film Festival: Limits of (de)centralised management during the pandemic

S. 283-290

Esther Moreno Morillas:

Porn film festivals during pandemic times: San Francisco PornFilmFestival and UNCENSORED in lockdown

S. 291-297


Book Reviews

edited by Lavinia Brydon and Victoria Pastor-González

Chris Berry:

Queering film festival studies

S. 299-305

Melinda Blos-Jáni:

Uncovering in-betweens: On photochemical practices and handmade cinema

S. 307-316

Alena Strohmaier:

Defining the high and the low of audiovisual images: Contemporary approaches

S. 317-323


Exhibition Reviews

edited by Miriam de Rosa and Leo Goldsmith

Maud Ceuterick:

Post-cinematic spectatorship in virtual reality: Negotiating 3DoF and 6DoF in QUEERSKINS: ARK

S. 325-337

Kevin Walker:

Turtles all the way down: The Daata Art Fair

S. 339-350

Astrid Korporaal:

Surveillance, bias, and healing through re-articulation: An interview with Paula Albuquerque on her recent solo exhibition in Amsterdam

S. 351-361