This special issue of Cin???ma& Cie focuses the topic of post-cinema taking for granted the background of this notion that animated the recent debate revolving around it. The aim of the volume is thus rather to ask which ontologies, if any can, do the moving image justice in a situation in which the cinema is merely one of many configurations of film, which other theoretical frameworks may be appropriate and which modes of temporality, and of historiography and analysis can account for the steady transformation of film's ...
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This special issue of Cin???ma& Cie focuses the topic of post-cinema taking for granted the background of this notion that animated the recent debate revolving around it. The aim of the volume is thus rather to ask which ontologies, if any can, do the moving image justice in a situation in which the cinema is merely one of many configurations of film, which other theoretical frameworks may be appropriate and which modes of temporality, and of historiography and analysis can account for the steady transformation of film's varying configurations. While the most productive accounts of post-cinema rarely trace this filiation in an explicit fashion, the label is closely related to the concept of post-media as developed by F???lix Guattari in the early 1990s, later adapted into art, media theory, new and screen media. Highlighting the importance of bridging post-cinema and post-media, the volume addresses the post-what and post-when of post-cinema providing original arguments and categories enabling to envisage the next step to be taken in film theory.
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