Martine Beugnet; Greg de Cuir Jr; Judith Keilbach; Skadi Loist; Toni Pape; Belén Vidal; Andrea Virginás:

Editorial NECSUS

S. 1-4

Special Section: #Ports

María Vélez-Serna; Markus Stauff:

Ports: On the material and symbolic mediation of global capitalism

S. 5-15

María Vélez-Serna; Markus Stauff:

Ports and the politics of visibility: An interview with Laleh Khalili

S. 16-34

Stephen Turner:

Port of call: The eyeline of the logistical image

S. 35-57

Mats Björkin:

Ports as nodes in film logistics: Swedish film agent Oscar Rosenberg in the years after the First World War

S. 58-80

Ida Sofie Gøtzsche Lange; Lea Holst Laursen; Marieke van Hulst Pedersen:

The use of sound and film as rebranding strategies in two Danish port cities

S. 81-103

Ben Scott:

‘The shipyard is dead’: Ports, memory, and left melancholy in contemporary French cinema

S. 104-124

Vincent Baptist; Francesca Savoldi; Carola Hein; James Louis Smith; George N. Ramírez; Wyatt Moss-Wellington; Ming-yeh T. Rawnsley; Yat Ming Loo; Eileen Karmy; Judit Vidiella Pagès; Aurelio Castro-Varela:

Ports and media: A research project showcase

S. 125-151


Leo Hansson Nilson:

From cloudy logic to logistical system: Algorimages, black boxes, and the socio-technical infrastructure of platforms

S. 152-169

Anu Thapa:

Cinema and/as infrastructure in interwar avant-gardes and empire aviation documentaries

S. 170-187

Federico Selvini:

First person war: Helmet cameras between testimony and performance

S. 188-211

Sebastián González Itier:

National film festivals circuits in the Latin American sphere: Discussing film canon, film culture, and cinephilia

S. 212-230

Laura Horak:

Girls will be boys in German silent cinema

S. 231-256

Dagmar Brunow; Skadi Loist:

Desire lines: An interview on the sociality of film with B. Ruby Rich

S. 257-275

Audiovisual Essays

Kevin B. Lee; Ariel Avissar:

Desktop documentary as scholarly subjectivity: Five approaches

S. 276-280

Johannes Binotto:

Desktop Documentary

S. 281-283

Katie Bird:

With a Camera in Hand, I Was Alive

S. 284-285

Brunella Tedesco-Barlocco:

Double Exposures: ‘Visual returns’ in the Deadwood and Breaking Bad sequel films

S. 286-289

Ritika Kaushik:

Indians from 1967: A Reaction

S. 290-292

Ariel Avissar:

Some Thoughts Occasioned by Four Desktops

S. 293-294

Festival Reviews

Juliana Muylaert:

Arquivo em Cartaz: Archival film festivals amid old and new challenges

S. 295-304

Bianca Pires:

17th DocsMX: Returning to the streets and meeting with audiences

S. 305-315

Michelle Farrell:

Havana Film Festival New York 2022: A cultural bridge emerging from COVID-19

S. 316-322

Book Reviews

Sian Barber:

Experiencing Cinema / Ephemeral Cinema

S. 323-330

Syeda Momina Masood:

The many stories of cinema and cinephilia in Pakistan

S. 331-338

Exhibition Reviews

Oksana Chefranova:

An infinite exhibition fills the nave: Laurent Grasso’s ANIMA

S. 339-348

Rick Dolphijn; Justyna Jakubiec:

Becoming Geological: Imagining an affirmative otherwise

S. 349-358

Data Papers

Alexandra Schneider; Malte Hagener:

Data Papers – An Introduction

S. 359-362

Skadi Loist; Evgenia (Zhenya) Samoilova:

How to capture the festival network: Reflections on the Film Circulation datasets

S. 363-390