Daryl Meador explores how the cinematography, soundscape, and generic context of Texas in The Last Picture Show not only evoke alienation but articulate it to settler colonialism.Read More
In this issue’s Global Public Art column, Caitlin Bruce discusses her Hemispheric Conversations Urban Art Project, which connects post-industrial cities across the US/Mexico border and offers new ways of producing and engaging graffiti and mural-making.Read More
Anushka Robinson explores Aki Kaurismäki’s take on migration, Fortress Europe, northern France, and community ties through theories of childhood and affiliation.Read More
David Chan brings several theories of the archive to bear on the recent documentary Shirkers, asking how the film’s openness as a text and mission of collecting a lost film relate to the specificities of place and embodied difference that gave rise to the project.Read More
Cedric Bobro traces the linguistics roots of surveillance and the fantasy of the omnipotent view through ghosts and AI to the modern surveillance apparatus.Read More
Mathilde Fauteux explores the political spaces of Janelle Monáe’s work, concentrating on both the diegetic spaces that make up her recent projects and the transmedia spaces those projects occupy and create.Read More
In her introduction to this installment of Student Voices, Amy Corbin contextualizes the essays in the work of the Society for Cinema and Media Studies’s undergraduate conference, which she co-organized. She also provides a platform for Jeffery Lin, an invited contributor, to discuss the ongoing protests on Hong Kong and his reasons for withdrawing his essay.Read More
Nathan Holmes discusses his new book Welcome to Fear City: Crime Film, Crisis, and the Urban Imagination with Mediapolis Reviews Editor Noelle Griffis.Read More
As a response to Giorgia Piffaretti, Floris Paalman elaborates on her model of the newsstand in relationship to personal archives and archival value.Read More
In this installment of ‘from the archive’, Swiss artist Giorgia Piffaretti focuses on the subject of ‘personal archive’. Starting from her own archive, she recognizes potential in everyday objects and situations, based on the observation of a newsstand at the border between Italy and Switzerland. Persisting in a digital era, Piffaretti has examined its archival features, for the way it provides access to the world through its papers and magazines.Read More
Jean Renoir’s vision of space has continued to sustain theorization since André Bazin’s major critical reappraisal of the quintessential French auteur in Cahiers du…Read More
Alexander Davis interviews Joshua Glick about his new book, which rethinks Los Angeles as a center of documentary productionRead More
Moving-image installations and media architecture have recently given renewed currency to established notions of dispositif, apparatus, and spectatorship. These concepts have allowed for new inquiries into the relationships among screens, viewers, and space in the urban context. In this Polished Panel, the participants use close analyses of peripheral practices of projection to illuminate the centrality of architecture to spectatorial experience.
Mediated cityscapes often reinforce the stigma associated with devalued areas and the underprivileged, yet can also undermine dominant perceptions and counter misrepresentations of place. In this Polished Panel, the participants map that tension that emerges between real and represented places, using a spatial approach to race to trace formal and industrial practices that create meaningful linkages among spaces, places, and bodies.
Of all popular film genres, horror perhaps makes the most consistent and flexible use of space. This use maps out landscapes of power, repression, and displacement. In this Polished Panel, the participants propose to use horror as a map of gentrification and its spectre of racialized violence.