NECSUS Editorial Board:

Editorial NECSUS

S. 1-3

Francesco Pitassio:

A conversation with Pierre Sorlin about film studies, film and history, and European cinema

S. 5-14

Barbara Le Maître:

The film is the museum: Ken Jacobs, Gus Van Sant, Mark Lewis, and Pierre Perrault

S. 15-30

Paula Albuquerque:

Haunting surveillance: Foregrounding the spectre of the medium in CCTV and military drones

S. 31-50

Alexandra-Maria Colta; María Vélez-Serna:

Between scenes: Glasgow’s alternative film spaces in the 1990s

S. 51-68

Anne-Katrin Weber:

Television as new media: Raymond-Millet’s TÉLÉVISION: OEIL DE DEMAIN (1947) and the politics of French experimental TV

S. 69-89

Special section: #Emotions

edited by Jens Eder, Julian Hanich, and Jane Stadler

Jens Eder; Julian Hanich; Jane Stadler:

Media and emotion: An introduction

S. 91-104

Steffen Hven:

The affective niches of media

S. 105-123

Grant Bollmer:

Books of faces: Cultural techniques of basic emotions

S. 125-150

Carl Plantinga:

Brecht, emotion, and the reflective spectator: The case of BLACKKKLANSMAN

S. 151-169

E. Deidre Pribram:

Strategic pleasure: Gendered anger as collective emotion in WANTED

S. 171-189

Wyatt Moss-Wellington:

The emotional politics of limerence in romantic comedy films

S. 191-209

David Evan Richard:

Episodes of depression: Existential feelings and embodiment in SHARP OBJECTS

S. 211-229

David W R Brown:

Dreading the future: Narrative dread in BETTER CALL SAUL and contemporary television

S. 231-248

Exhibition reviews:

edited by Miriam de Rosa and Leo Goldsmith

Kyveli Mavrokordopoulou:

Digging deeper: On horizontal and vertical landscapes

S. 249-258

Roma Madan Soni:

Nothing to Write Home About

S. 259-271

Book reviews:

edited by Lavinia Brydon and Victoria Pastor-González

Asli Ozgen-Tuncer:

Historiographies of women in early cinema

S. 273-281

Donatella Valente:

European heritage and television

S. 283-291

Audiovisual essays:

edited by Catherine Grant and Jaap Kooijman

Catherine Grant; Jaap Kooijman:

New ways of seeing (and hearing): The audiovisual essay and television

S. 293-297

Jason Mittel:

How Black Lives Matter in THE WIRE: A video essay

S. 299-300

Janet McCabe:

Bodies at the border: Transnational co-produced TV drama and its gender politics in the pilots of BRON/BROEN and adaptions, THE BRIDGE and THE TUNNEL

S. 301-308

Juan Llamas-Rodriguez:

The Female Narcotrafficker‘s Tongue | La Lengua de la Narcotraficante

S. 309-311

Angelo Restivo:

BREAKING BAD and surrealism

S. 313-316