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Open Access Publication: “Accidental Archivism” by Vinzenz Hediger & Stefanie Schulte Strathaus
Open Access Publication: “Post-Cinematic Bodies” by Shane Denson
“Sovereign Intimacy: Private Media and the Traces of Colonial Violence” by Laliv Melamed
Open Access Publication: “Guantánamo Frames” by Rebecca Boguska
“Migrating Through the Web. Interactive Practices About Migration, Flight and Exile” by Nicole Braida
Open Access Publication: “Die ‘filmende Bäckersfrau’ Elisabeth Wilms – Amateurfilmpraktiken und Gebrauchsfilmkultur” by Alexander Stark
CfP International Conference “Sticky Films. Conceptual and Material Explorations”
Proposals for papers for the Final Conference of the second cohort are now being accepted.
Date: June 1-3, 2023.
Proposal submission deadline: November 20, 2022.
Open Access Publication: “Who Owns the Images?” by Sylvie Lindeperg and Ania Szczepanska
“Geht doch” von Rembert Hüser
Rembert Hüser's new book is now available.
“Brücke, Switchboard, Theke – Working Girls vor Ort” von Verena Mund
The new book by Verena Mund is now available.
Open Access Publication: “Touchscreen Archaeology. Tracing Histories of Hands-On Media Practices” by Wanda Strauven
Extension of funding period
Great news: The German Research Foundation (DFG) has extended funding for the Graduiertenkolleg "Configurations of Film"!
A Touch of the Divine: A Reading & Conversation with Yann Martel
On July 15, 2021, Pavan Malreddy will host a reading and conversation with world-renowned writer Yann Martel.
Radio interview on “Pandemic Media”
"Pandemic Media. Preliminary Notes Towards an Inventory”, the newest publication in the open access book series “Configurations of Film“, was presented by the editors in two episodes of the radio show "Avez-vous du WiFi?", a weekly radio show hosted by Alex Chartrand on CISM 89,3FM, the public radio of the Université de Montréal.
Report “Histories of Tacit Cinematic Knowledge”
The international conference took place from September 24 to 26, 2020. We recall the panels and the discussions. Where, how and when are cinematic techniques used outside of cinema? How could tacit cinematic knowledge be described? And how did the online format of the conference affect the academic exchange of knowledge?
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