Denson, ShaneLeyda, Julia2020-02-182020-02-1820169780993199639https://mediarep.org/handle/doc/14379If cinema and television, as the dominant media of the 20th century, shaped and reflected our cultural sensibilities, how do new digital media in the 21st century help to shape and reflect new forms of sensibility? In this new collection, editors Shane Denson and Julia Leyda have gathered a range of essays that approach this question by way of a critical engagement with the notion of “post-cinema.” Contributors explore key experiential, technological, political, historical, and ecological aspects of the transition from a cinematic to a post-cinematic media regime and articulate both continuities and disjunctures between film’s first and second centuries.<ul> <li><a href='http://dx.doi.org/10.25969/mediarep/13458'>Shane Denson and Julia Leyda: <i>Perspectives on Post-Cinema: An Introduction</i></a></li> </ul> <h4>1. Parameters for Post-Cinema</h4> <ul> <li><a href='http://dx.doi.org/10.25969/mediarep/13459'>Lev Manovich: <i>What is Digital Cinema?</i></a></li> <li><a href='http://dx.doi.org/10.25969/mediarep/13470'>Steven Shaviro: <i>Post-Continuity: An Introduction</i></a></li> <li><a href='http://dx.doi.org/10.25969/mediarep/13481'>Richard Grusin: <i>DVDs, Video Games, and the Cinema of Interactions</i></a></li> </ul> <h4>2. Experiences of Post-Cinema</h4> <ul> <li><a href='http://dx.doi.org/10.25969/mediarep/13484'>Vivian Sobchack: <i>The Scene of the Screen: Envisioning Photographic, Cinematic, and Electronic “Presence”</i></a></li> <li><a href='http://dx.doi.org/10.25969/mediarep/13485'>Steven Shaviro: <i>Post-Cinematic Affect</i></a></li> <li><a href='http://dx.doi.org/10.25969/mediarep/13486'>Patricia Pisters: <i>Flash-Forward: The Future is Now</i></a></li> <li><a href='http://dx.doi.org/10.25969/mediarep/13487'>Sergi Sánchez: <i>Towards a Non-Time Image: Notes on Deleuze in the Digital Era</i></a></li> <li><a href='http://dx.doi.org/10.25969/mediarep/13488'>Shane Denson: <i>Crazy Cameras, Discorrelated Images, and the Post-Perceptual Mediation of Post-Cinematic Affect</i></a></li> <li><a href='http://dx.doi.org/10.25969/mediarep/13489'>David Rambo: <i>The Error-Image: On the Technics of Memory</i></a></li> </ul> <h4>3. Techniques and Technologies of Post-Cinema</h4> <ul> <li><a href='http://dx.doi.org/10.25969/mediarep/13460'>Leon Gurevitch: <i>Cinema Designed: Visual Effects Software and the Emergence of the Engineered Spectacle</i></a></li> <li><a href='http://dx.doi.org/10.25969/mediarep/13461'>Andreas Sudmann: <i>Bullet Time and the Mediation of Post-Cinematic Temporality</i></a></li> <li><a href='http://dx.doi.org/10.25969/mediarep/13462'>Caetlin Benson-Allott: <i>The CHORA Line: RealD Incorporated</i></a></li> <li><a href='http://dx.doi.org/10.25969/mediarep/13463'>Steven Shaviro: <i>Splitting the Atom: Post-Cinematic Articulations of Sound and Vision</i></a></li> </ul> <h4>4. Politics of Post-Cinema</h4> <ul> <li><a href='http://dx.doi.org/10.25969/mediarep/13464'>Julia Leyda: <i>Demon Debt: PARANORMAL ACTIVITY as Recessionary Post-Cinematic Allegory</i></a></li> <li><a href='http://dx.doi.org/10.25969/mediarep/13465'>Felix Brinker: <i>On the Political Economy of the Contemporary (Superhero) Blockbuster Series</i></a></li> <li><a href='http://dx.doi.org/10.25969/mediarep/13466'>Bruce Isaacs: <i>Reality Effects: The Ideology of the Long Take in the Cinema of Alfonso Cuarón</i></a></li> <li><a href='http://dx.doi.org/10.25969/mediarep/13467'>Steen Christiansen: <i>Metamorphosis and Modulation: Darren Aronofsky’s BLACK SWAN</i></a></li> <li><a href='http://dx.doi.org/10.25969/mediarep/13468'>Elena del Río: <i>Biopolitical Violence and Affective Force: Michael Haneke’s CODE UNKNOWN</i></a></li> </ul> <h4>5. Archaeologies of Post-Cinema</h4> <ul> <li><a href='http://dx.doi.org/10.25969/mediarep/13469'>Francesco Casetti: <i>The Relocation of Cinema</i></a></li> <li><a href='http://dx.doi.org/10.25969/mediarep/13471'>Ruth Mayer: <i>Early/Post-Cinema: The Short Form, 1900/2000</i></a></li> <li><a href='http://dx.doi.org/10.25969/mediarep/13472'>Richard Grusin: <i>Post-Cinematic Atavism</i></a></li> <li><a href='http://dx.doi.org/10.25969/mediarep/13473'>Michael Loren Siegel: <i>Ride into the Danger Zone: TOP GUN (1986) and the Emergence of the Post-Cinematic</i></a></li> <li><a href='http://dx.doi.org/10.25969/mediarep/13474'>Alessandra Raengo: <i>Life in Those Shadows! Kara Walker’s Post-Cinematic Silhouettes</i></a></li> </ul> <h4>6. Ecologies of Post-Cinema</h4> <ul> <li><a href='http://dx.doi.org/10.25969/mediarep/13475'>Adrian Ivakhiv: <i>The Art of Morphogenesis: Cinema in and beyond the Capitalocene</i></a></li> <li><a href='http://dx.doi.org/10.25969/mediarep/13476'>Selmin Kara: <i>Anthropocenema: Cinema in the Age of Mass Extinctions</i></a></li> <li><a href='http://dx.doi.org/10.25969/mediarep/13477'>Mark B. N. Hansen: <i>Algorithmic Sensibility: Reflections on the Post-Perceptual Image</i></a></li> <li><a href='http://dx.doi.org/10.25969/mediarep/13478'>Billy Stevenson: <i>The Post-Cinematic Venue: Towards an Infrastructuralist Poetics</i></a></li> </ul> <h4>7. Dialogues on Post-Cinema</h4> <ul> <li><a href='http://dx.doi.org/10.25969/mediarep/13479'>Therese Grisham et al.: <i>The Post-Cinematic in PARANORMAL ACTIVITY and PARANORMAL ACTIVITY 2</i></a></li> <li><a href='http://dx.doi.org/10.25969/mediarep/13480'>Paul Bowman et al.: <i>Post-Cinematic Affect: A Conversation in Five Parts</i></a></li> <li><a href='http://dx.doi.org/10.25969/mediarep/13482'>Shane Denson et al.: <i>Post-Continuity, the Irrational Camera, Thoughts on 3D</i></a></li> <li><a href='http://dx.doi.org/10.25969/mediarep/13483'>Julia Leyda et al.: <i>Post-Cinema, Digitality, Politics</i></a></li> </ul>engCreative Commons Attribution Non Commercial No Derivatives 4.0 GenericDigitales KinoPost-Cinema79110.25969/mediarep/13457https://doi.org/10.25969/mediarep/2441