2017/1 – #True
Features:
Editorial Necsus
S. 1-2
For a radical media archaeology: A conversation with Wolfgang Ernst
S. 3-14
Statistic intersubjectivity: A phenomenology of television audiences
S. 15-33
Taking stock: Two decades of teaching the history, theory, and practice of audiovisual film criticism
S. 35-59
Special section: #True
Introduction: The ring of the true in contemporary media
S. 61-75
The case of the speculative detective: Aesthetic truths and the television ‘crime board’
S. 77-104
False color/real life: Chromo-politics and François Laruelle’s photo-fiction
S. 105-124
Sweeping changes in Eastern Europe: The documentary frame in Gerd Kroske’s ‘Kehraus’ trilogy (1990-2006)
S. 125-144
Training the eye for war: A politics of spatial fictions
S. 145-166
Acts of laughter, acts of tears: The production of ‘truth-effects’ in Oriana Fox’s ‘The O Show’ and Gillian Wearing’s ‘Self Made’
S. 167-187
Cinema’s Turing test: Consciousness, digitality, and operability in ‘Hardcore Henry’
S. 189-207
Festival reviews:
Current trends across three European human rights film festivals
S. 209-218
Romanian and Hungarian film cultures at the Transilvania International Film Festival
S. 219-225
Rethinking geolinguistic spaces: The San Sebastian Film Festival between Latin America and Europe
S. 227-236
Exhibition reviews:
Archives of the present − memory work in the making: ‘Transmission from the Liberated Zones’ (Filipa César, 2015)
S. 237-244
Confronting the screen. Pipilotti Rist: Pixel Forest at the New Museum
S. 245-260
William Kentridge: Thick Time
S. 261-269
Audiovisual essays:
Critique, protest, activism, and the video essay
S. 271-278
My crush was a superstar
S. 279-281
Outbreak of violent protests prompts a state of emergency
S. 283-285
Snake oil in N—–town
S. 287-288
Problems with the gendered POV shot in ‘Lilya 4-Ever’
S. 289-291