2018/2 – #Mapping
Features:
NECSUS Editorial
S. 1-2
Early cinema, Sergei Eisenstein, and film culture today: An interview with Ian Christie on new directions in film history
S. 3-21
The playfulness of Ingmar Bergman: Screenwriting from notebooks to screenplays
S. 23-42
Handmade films and artist-run labs: The chemical sites of film’s counterculture
S. 43-63
Border crossings: Serial figures and the evolution of media
S. 65-84
Special section: #Mapping
The exact shape of the world? Mapping and the media
S. 85-95
The mapping of ‘500 Days of Summer’: A processual approach to cinematic cartography
S. 97-120
Earth networks: ‘The Human Surge’ and cognitive mapping
S. 121-140
Digital maps and fan discourse: Moving between heuristics and interpretation
S. 141-160
Embodied cartographies of the unscene: A feminist approach to (geo)visualising film and television production
S. 161-181
Making the map speak: Indigenous animated cartographies as contrapuntal spatial representations
S. 183-203
Plus ultra: Coloniality and the mapping of American natureculture in the empire of Philip II
S. 205-227
Media mapping and oil extraction: A Louisiana story
S. 229-251
Festival reviews:
A brief study of film festivals in Mexico: Consumption and historical evolution 2010-2016
S. 253-262
The Dutch film festival landscape: A walk-through
S. 263-272
Evidentiary aesthetics: Landscapes of violence at RIDM 2017
S. 273-279
Exhibition reviews:
Codes of conflux: Collaborations between human and computer in MoMa’s ‘Thinking Machines’
S. 281-287
Nothing stable under heaven at the San Francisco Museum of Modern Art
S. 289-299
Racial phantasmagoria: The demonisation of the other in Richard Mosse’s ‘Incoming’
S. 301-307
Book reviews:
(Re)imagining African independence
S. 309-314
Form and feeling: Kinaesthetic Knowing / Artificial Darkness
S. 315-322
Audiovisual essays:
Videographic scene analyses, part 2
S. 323-330