2014/1 – #Traces
Features
Editorial Necsus
S. 1-3
Siegfried Kracauer’s affinities
S. 5-20
Mapping the rise of the iPhone – Between phones and mobile media
S. 21-41
Representations of Madrid in the (post-)transition to democracy
S. 43-68
Empire is out there!? The spirit of imperialism in the Pixar animated film UP
S. 69-87
Representation or misrepresentation? British media and Japanese popular
S. 89-108
Special section: Traces
The navigational gesture – Traces and tracings at the mobile touchscreen interface
S. 111-128
Poetics and politics of the trace – Notes on surveillance practices through Harun Farocki’s work
S. 129-149
Webcams as cinematic medium – Creating chronotopes of the real
S. 151-169
Assembling traces, or the conservation of net art
S. 171-193
The Third Party Diary – Tracking the trackers on Dutch governmental websites
S. 195-217
Microphysics of a rationalist utopia – Ruins, town plans, and the avant-garde documentary
S. 219-243
The beauty of the act – Figuring film and the delirious baroque in HOLY MOTORS
S. 245-265
Animated maps and the power of the trace
S. 267-298
Enhanced echoes – Digitisation and new perspectives on film sound
S. 299-317
Book reviews
Globalisation and television formats
S. 319-325
Soundscapes, sound clash
S. 325-332
Shadow economies and digital disruption
S. 331-337
The cinema of Béla Tarr – The circle closes
S. 337-344
Impossible dreams: EUROPE AND LOVE IN CINEMA
S. 344-351
Festival reviews
Oberhausen: An interview with Lars Henrik Gass
S. 352-359
Brazil’s International Disability Film Festival Assim Vivemos
S. 359-364
Celebrating independence: 54th Thessaloniki International Film Festival
S. 364-371
Initiating regional talents – 2013 Sarajevo Film Festival
S. 371-377
Past memories for a new future – The 70th Mostra Internazionale d’Arte Cinematografica di Venezia
S. 377-383
Exhibition reviews
Fassbinder Frankfurt
S. 384-390
The biennale as a device – 4th Athens Biennale
S. 391-398