2014/2 – #War
Features
Editorial Necsus
S. 1-4
The documentary temptation: Fiction filmmakers and non-fiction forms
S. 5-20
Reconfiguring film studies through software cinema and procedural spectatorship
S. 21-42
Laughter and collective awareness: The cinema auditorium as public space
S. 43-62
Disputing Rossellini: Three French perspectives
S. 63-80
Special section: War
Serious games
S. 89-97
The light of God: Notes on the visual economy of drones
S. 99-111
The din of gunfire: Rethinking the role of sound in World War II newsreels
S. 113-129
Photographed by the Earth: War and media in light of nuclear events
S. 131-154
Kilts, tanks, and aeroplanes: Scotland, cinema, and the First World War
S. 155-175
Shell shock cinema: A discussion with Anton Kaes
S. 177-188
Audiovisual essays:
Introduction to the audiovisual essay: A child of two mothers
S. 81-87
Found found found
S. 259-260
Smells like Armageddon day – Dreamlike settings and magnified trash
S. 261-262
Book reviews
Haunted by participatory culture
S. 189-195
Female celebrity and ageing in the limelight and under the microscope
S. 195-202
Film festival management and programming
S. 202-207
Cinema, postmedia, and resolutions
S. 207-215
Festival reviews
Minds, bodies, and hearts: Flare London LGBT Film Festival 2014
S. 217-224
Progressive spaces and lines of battle: Bristol Radical Film Festival 2014
S. 225-230
River-to-River Florence Indian Film Festival: The Italian response to Bollywood cinema
S. 231-237
Exhibition reviews
Appropriation / Collaboration: Christian Marclay / Harrell Fletcher and Miranda July at the University of Michigan Museum of Art
S. 239-244
A spiritual journey in Bill Viola’s art
S. 245-251
LEVIATHAN: From sensory ethnography to gallery film
S. 251-258