No. 18 (2021): Phone Camera at the Intersection of Technology, Politics, and Transmedia Storytelling

Letter from the Editors

Lucia Szemetová, Jacob Browne

ii-vi

F18-2021-Letter from the Editors.pdf

Facing Off: From Abstraction to Diffraction in Hito Steyerl’s Abstract (2012)

Lawrence Alexander

2-28

F18-2021-LA.pdf

Phone Footage and the Social Media Image as Global Anonymous Cinema
Ana Nyma’s (Anonyme) Fragments of a Revolution (2011) and Peter Snowdon’s The Uprising (2013)

Tanya Shilina-Conte

29-68

F18-2021-TSC.pdf

Portraiture, Surveillance, and the Continuity Aesthetic of Blur

Stefka Hristova

69-98

F18-2021-SH.pdf

The Smartphone Camera and Radical Urban Imaginaries in the (Post-)Pandemic City: The Patio 108 Initiative

Samuel Fernández-Pichel

99-114

F18-2021-SFP.pdf

Returning to your Roots: Use of Mobile Shooting in an Ethnomediaology case study with the Tejon Native American Tribe in California

Iakovos Panagopoulos

115-135

F18-2021-IP.pdf

The Death Image as Commodity
On the Limits of Visibility

samira makki

136-149

F18-2021-sm.pdf

Theorising Digital Self-Mediation and the Smartphone as Filmic Apparatus after 6 January, 2021

Jenny Gunn

150-163

F18-2021-JG.pdf

Selfie-Portraits: Agnès Varda, JR, and the Politics of Sharing

Tomas Elliott

164-176

F18-2021-TE.pdf

Rear-facing camera: Cell phone cinematography in Midnight Traveler (Hassan Fazili, 2019)

Miche Dreiling

177-188

F18-2021-MD.pdf

Interfaces of Fiction: Buddha.mov (2017) and Smartphone Aesthetics

Max Bergmann

189-202

F18-2021-MB.pdf

Sickhouse and the “Snap Cinema”

Alex Damasceno

203-215

F18-2021-AD.pdf

Escape to Totality: Realist Commitments in The Florida Project’s iPhone Finale

Sam Thompson

216-231

F18-2021-ST.pdf

Smartphone Cinematics: Contextual Essay

Sarah Atkinson

232-236

F18-2021-SA.pdf

Kira Muratova: The Magnificent Maverick

Dina Iordanova

281-289

F18-2021-Dossier-DI.pdf

Watching Muratova in a Time of Social Isolation

Victoria Donovan

290

F18-2021-Dossier-VD.pdf

Deconstructing Socialism in the Early Films of Kira Muratova

Masha Shpolberg

291-295

F18-2021-Dossier-MS.pdf

Touch and Sight in the Films of Kira Muratova
Towards the Notion of a Cinema of Gesture

Irina Schulzki

296-298

F18-2021-Dossier-IS.pdf

The Pig’s Gaze: Human-Animal Mutuality in Kira Muratova’s Chekhovian Motifs

Raymond De Luca

299-315

F18-2021-Dossier-RDL.pdf

Review: Lee Grieveson, Cinema and the Wealth of Nations: Media, Capital, and the Liberal World System

Maria Fernanda Miño Puga

237-240

F18-2021-MFMP.pdf

Review: David Martin Jones, Cinema Against Doublethink: Ethical Encounters with the Lost Pasts of World History

Sanghita Sen

241-244

F18-2021-SS.pdf

Review: Contemporary Balkan Cinema: Transnational Exchanges and Global Circuits; Lydia Papadimitriou and Ana Grgić

Anna Batori

245-248

F18-2021-AB.pdf

Review: Sady Doyle, Dead Blondes and Bad Mothers: Monstrosity, Patriarchy and the Fear of Female Power

Srishti Walia

249-254

F18-2021-SW.pdf

Review: Anna Backman Rogers, Sofia Coppola: The Politics of Visual Pleasure

Ana Maria Sapountzi

255-258

F18-2021-AMS.pdf

Review: The Other Hollywood Renaissance; Dominic Lennard, R. Barton Palmer and Murray Pomerance

Chris Horn

259-263

F18-2021-CH.pdf

Review: Theorizing Film Through Contemporary Art: Expanding Cinema; Jill Murphy and Laura Rascaroli

Sam Thomson

265-267

F18-2021-STH.pdf

Review: Olivia Khoo, Asian Cinema: A Regional View

Paulina Zurawska

268-272

F18-2021-PZ.pdf

Review: Warren Buckland, Narrative and Narration: Analyzing Cinematic Storytelling

Matthew Bosica

273-276